Phase One released Capture One 5 PRO, the latest version of their RAW workflow software. New features include the Focus tool and Focus Mask for quick selection of images with correct focus, Skin Tone Enhancer to perfect the appearance of smooth, soft skin tones, and the ability to add vignettes to the edges of images for an artistic effect. This latest version also adds support for additional DSLR models and RAW file support for selected Leaf digital backs. Capture One 5 PRO is available now for $399. Read the rest of this entry »
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Adobe Photoshop Lightroom 2.5 And Camera Raw 5.5 Updates
Yesterday Adobe announced updates for their Photoshop Lightroom and Camera Raw software. Adobe Photoshop Lightroom 2.5 and Camera Raw 5.5 are available for download now from the Adobe Web site. The updates include support for the Olympus E-P1 and Panasonic GF1 Micro Four Thirds cameras as well as the recently announced Nikon D300s and D3000 digital SLRs.
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Adobe Updates Camera RAW and Lightroom Software
Adobe has updated their Camera RAW 5.4 and Lightroom 2.4 digital photography software. Support for new cameras, including the Nikon D5000, Canon Rebel T1i / 500D / EOS Kiss X3 Digital, Olympus E-620, Pentax K7, the Panasonic Lumix GH1 and 18 Hasselblad digital cameras has been added.
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Eye-Fi Pro 4GB Wireless SDHC Memory Card
Eye-Fi introduced the Eye-Fi Pro, a new 4GB wireless SDHC memory card with RAW image support. With the Eye-Fi Pro, users can automatically upload images straight from their camera to their computer and the Web with no router or Internet connection required. Also using the new Selective Transfer feature, users can now select which photos or videos they want to wirelessly transfer from their camera to their computer or the Web. Read the rest of this entry »
Datacolor SpyderCube RAW Calibration Device
Datacolor today announced a revolutionary new way for photographers at all levels to properly obtain proper white balance when shooting in RAW with its introduction of its SpyderCube.
DNG - Format for the Future
The Digital Negative file format, or DNG, from Adobe Systems is a universal RAW format file created to address issues facing digital photographers.
The Standard Solution Need
Camera Manufacturers using proprietary formats present challenges for photographers. Each RAW file type works with contemporary software, until the Manufacturer introduces new technology. Legacy issues of how to work with older files is then relevant.
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Adobe Lightroom 2.0 Review
The much-anticipated Adobe Lightroom 2.0 has arrived and delivers more powerful and usable tools for the digital photographer. Following the April 2008 launch of the Public Beta, the apparent wide and varied commentary has resulted in what was delivered this week. All images in article may be ‘clicked on’ for full size screen shots.
New and Improved
The new and improved label when applied to Lightroom 2.0 is meaningful and should neither be feared nor ignored. Current users of the previous versions should be instantly comfortable with this release. The basic organization of the workspace continues with five sections: Library, Develop, Slideshow, Print, and Web. There is better integration with Adobe Photoshop, larger size file support, and improved performance including 64-bit functionality. The RAW editing features are as good as any available. Multi-monitor support is included.
The integration with Adobe Photoshop products is distinctly faster and cleaner in options for transferring files and their appearance in the Lightroom catalog following editing is welcome. Smart Objects are supported.
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Adobe Photoshop Lightroom 2 Announced
Major Software Upgrade Further Simplifies Photography Workflows
SAN JOSE, Calif. — July 29, 2008 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of Adobe® Photoshop® Lightroom® 2 software, the photographer’s essential toolbox for managing, adjusting and presenting large volumes of digital photographs. With new enhancements such as dual-monitor support, radical advances in non-destructive localized image correction, and streamlined search capabilities, Lightroom 2 is a compelling upgrade that simplifies photography from shoot to finish. As Adobe’s first application to support 64-bit for Mac OS X 10.5 Macintosh computers with Intel® processors and Microsoft® Windows® Vista® 64-bit operating systems, Lightroom 2 also provides improved memory performance for dealing with large scale images.
Panasonic Lumix DMC-FX150 Digital Camera
Official Panasonic Lumix DMC-FX150 Press Release
Today, Panasonic announced two new FX-Series Lumix pocket cameras - the FX37 and the FX150. The new Lumix FX150 should be very exciting to serious photography enthusiasts who want it all in a digital camera that fits in a jeans pocket. The FX150 has a 14.7-megapixel sensor and can capture in RAW mode for maximum image quality and post-processing flexibility. Being able to shoot RAW is a top priority for professional photographers and many digital photography enthusiasts. PhotographyREVIEW.com encourages all photographers who have RAW-capable cameras to shoot RAW.
Panasonic Lumix DMC-LX3 Digital Camera
PANASONIC ANNOUNCES MUCH-ANTICIPATED ADDITION TO ITS LX-SERIES OF LUMIX DIGITAL CAMERAS
New LUMIX DMC-LX3 Combines Enhanced CCD Technology, LEICA Lens, and a Wide-Range of Manual Shooting Controls For Increased Creativity
SECAUCUS, N.J. (July 21, 2008) – Panasonic today introduced the LUMIX DMC-LX3 digital camera, the successor to the highly-regarded and popular DMC-LX2. Designed for easy, creative shooting, and high-performance in low-light conditions, the DMC-LX3 features a F2.0 24mm LEICA DC VARIO-SUMMICRON lens, 10.1 megapixels and an ultra-sensitive 1/1.63-inch CCD developed specifically for this model. By combining a high-quality lens and sensor ready for a variety of shooting conditions with a wide-range of accessories and manual controls, the DMC-LX3 is ideal for professional photographers and serious amateurs looking for a compact digital camera that furthers their creative photography.
At the heart of the DMC-LX3, is its 1/1.63-inch CCD. Making the intentional choice to limit the number of megapixels to 10.1 on its CCD, Panasonic was able to give more space for each pixel and also redesigned the peripheral circuits and other components to further minimize noise generation. As a result, sensitivity is almost 40 percent higher and saturation is increased by 35 percent, when compared to Panasonic’s 10 MP digital cameras*, giving the DMC-LX3 outstanding image quality and a wide dynamic range, and meeting the demand for a camera that works optimally in low-light environments. The CCD is also capable of reproducing images in three aspect ratios – 4:3, 3:2 or 16:9. The new Multi Aspect mode allows the camera to take an image in all three aspect ratios simultaneously, allowing users to choose the version that best suits their needs.
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Sigma DP1 Digital Camera Preview
I was very excited about Sigma’s DP1 compact digital camera when it was announced at the 2006 PMA tradeshow. It took over a year for it to actually be released and then a few more months for us to get one for review. So was it worth the wait? I can’t say yet as I only had a few days to play with it before sending it on to Laurence Chen for the actual review. But I had to do our studio testing and product shots so I got to play with it for a few days and decided I should post a little preview here.
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Why Shoot RAW?
Why Shooting RAW files RAWks (or Realize Your Camera’s Potential with RAW Capture)
by Jim Talkington / prophotolife.com
Camera manufacturers continue to boost the megapixel output of their digital SLRs, enabling them to capture more information and more detail with every new model release. It only makes sense then that you would want to preserve all of that information and detail, right? If you always shoot JPEG files instead of RAW then you may not be realizing your camera’s true potential.
JPEG images emerge from a camera considerably smaller in file size than RAW captures. For many uses JPEGs are convenient and offer fine quality. RAW files are larger and must be processed in software before they can be utilized and shared. So why shoot RAW and have to deal with an extra step when the JPEGs may look just fine? There are a few good reasons that professionals and serious amateurs choose RAW.
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