Today is our beloved image editing application’s 20th birthday. Many of us have spent more time with this little app than we have with our own kids. As much as I have loved using Photoshop over the last 20+ years, I look forward to the day that I can retire it. I say this not because I’m tired of Photoshop, but because I’m excited about the future.

Parametric workflows, like those available through Adobe Lightroom, Express Digital Darkroom and Apple Aperture are clearly the way of the future and offer huge productivity advantages over one-image-at-a-time, pixel editing workflows like Photoshop’s. While photographers switch to parametric applications, Photoshop will continue to be an excellent application for non-photographers like designers, architects, 3D professionals, etc.

Happy birthday Photoshop, you have been great. Let’s take a fun ride down memory lane. But let’s not reminisce and look to the past for too long. Let’s stay focused on the future, which for most photographers, lies elsewhere. The future is great – and it’s all parametric.

You know night photography has become mainstream when Apple uses a night image for the default background image on their newest device. Note the star trails near the top! I would guess this is a ~25 minute exposure not too long after sunset considering the daylight glow along the horizon and gentle lighting on the foreground. If anyone knows who’s image is used on the iPad, please let me know.

Update: The iPad background image is licensed from RIchard Misrach. (via Mark Menjivar)

My good friend and mentor Dan Burkholder is boldly blazing a new path in a way that only he can. Dan is shooting exclusively with an iPhone and is making and exhibiting some serious fine art prints from it. Don’t laugh – Dan’s not just snapping low resolution images and applying filters to them, he’s capturing sometimes dozens of frames, stitching them together and using half a dozen applications to develop the images to his liking. His final results are fairly high resolution files that make for nice prints. His images are made and developed completely on the iPhone.

In his own words these images are "Untouched by Mac hardware or Adobe software. It’s liberating in so many ways. For the first time we have both camera and darkroom in the palm of our hands." Dan has, at the moment, four "iPhone Artistry" workshops planned around the country that focus exclusively on iPhone based image capture and development. Visit iphoneartistry.com to see more images.

Dan is also credited for inventing the digital negative for contact printing process, pigment over platinum and pigment over gold leaf printmaking.

I’m pretty impressed with LR3’s new demosiacing, sharpening and noise reduction in LR3’s new process rendering. To the right is an image taken at this month’s workshop in Mono Lake (larger view). This is a 15 second “star points” exposure taken at 1600 ISO with a 5Dmk2.  Below is a side-by-side detail comparison, processed in LR2.5 on the left and LR3b on the right. Click the image below to view at it’s full resolution.

Tom Hogarty, Lightroom’s Product Manager, has lots to say about this beta in his blog. In it he says:

“We’re only halfway through our noise reduction efforts but believe that you will be very pleased with the results so far. We’ve actually disabled the previous Luminance Noise Reduction so that you can focus on evaluating the Color Noise reduction implementation.”

I’m finding a few reasons to actually increase luminance noise reduction on high res long exposures in low light, so I’m yearning to see these sharpening tool evolve a little further from where they are in this beta. But I’m impressed with the results so far.

Tom also points out that images previously developed in previous versions of Lightroom will initially appear the same in LR3 with a warning triangle that appears above the upper left hand corner of the Histogram. If this triangle is pressed, the image will be re-rendered using LR3’s new processing, including the new demoasiacing, sharpening and noise reduction algorithms. The screen grabs above were taken before and after clicking this triangle using LR’s detail panel defaults. It appears that LR3’s new process quality improvements are best seen on high ISO images, especially those from 20+ megapixel cameras files.

Having used several cameras for a lot of night photography lately, I think the Canon 5Dmark2 is quite likely the best camera on the market for night photography right now. Here are some of the highlights:

6400 ISO for testing
Being able to take photos at 6400 ISO has huge benefits for the night photographer. Night photographers tend to waste a bunch of time taking long exposures only to discover they need to reshoot with a better exposure. Testing exposures at high ISOs can save huge amounts of time but doing so has been clunky as it requires complicated math when using a camera that has a ISO ceiling of 1600. Now that that ceiling has been lifted to include 6400 ISO we can make a direct translation from ISO 6400 exposures in seconds to ISO 100 exposures in minutes. For example, a 15 second exposure at ISO 6400 is the same as a 15 minute exposure at ISO 100 (Canon’s native ISO). Nikon users can figure that a 15 second exposure at 12,800 ISO is the same as a 15 minute exposure at ISO 200 (Nikon’s native ISO).

Either way, this means a night photographer can quickly determine the optimal exposure at a high ISO before committing to a long, final exposure at the native ISO. This has provided me with significant time savings and more optimal exposures on the 5Dmark2.

Low noise
To make a long story short, the noise levels are shockingly low, even during very long exposures (like 30+ minutes at ISO 100). Even 6400 ISO images are less noisy than one would expect, (more…)

The new Apple Cinema Display and MacBooks complete Apple’s all-glass, glossy screen approach and signals the end of the matte surface, glare resistant displays that creative professionals have come to know and love over the years. 

When asked about the choice to move to all-glossy displays Phil Schiller responded “You offset the reflection by the brightness, and consumers love it” at today’s announcement event. I find this comment disappointing and it shows a disconnect with creative professionals. Consumers *do* love bright, glossy screens. Creative professionals, however, (more…)

Having just lead a workshop in Arches National Park last December, I’m particularly saddened to hear that Wall Arch collapsed last week. At 33 feet tall and 71 feet across, Wall arch was the 12th largest in the park and took millions of years to form. When humans first inhabited the park 10,000 years ago they gazed upon the same, albeit slightly younger, arch.

As a side note, Balancing Rock (pictured below) is likely to collapse within the next 75 years. This is kind of a nice reminder that, no matter how “frozen in time” any natural formations are, they are part of a timeline far, far longer than our own lives, and are constantly evolving. Although initially saddened by this loss, I feel glad to be alive and to be able to see the things that are here during my own short sliver of a larger timeline. More importantly, it makes me want to get out there and see even more while I’m here.

I see the new iPhone 3G display has a warmer and more reasonable color temperature of ~6900 Kelvin (K) instead of the original iPhone’s ~8300K.  Thank goodness. The original device was way too cool, and much cooler than any natural or common artificial lighting. Daylight averages 5000K and interior lighting averages somewhere around 3500K. I wish all digital devices were in the 4000-5000K range. If they were, the viewing experience across devices would be easier on the eye and color matching would be improved.

I think the reports of the firmware update changing the color temp are misinformed as it is unlikely that such an update would make that change. The new color temp is surely due to the new backlite light source hardware which, in an industry-wide trend, are moving to warmer color temps to get closer to natural daylight. The super cool, blueish LCDs that have been so prevalent over the past 5 years will hopefully become a thing of the past. Warmer displays are critical for print-to-screen matching and more accurate color viewing

Here’s a quick test: compare the whites on your iPhone (or any other phone) and compare that to a white piece of paper. It’s important that they be reasonably close for fairly accurate color viewing and print to screen matching. The iPhone 3G does this better than the devices before it and when combined with Safari’s color managed browser, (more…)