Post needed a photo so… Squirrel!
-click to enlarge-
I am sure many of the photographers that might read this are using Adobe products to do their post processing. Recently Adobe announced that their next iteration of Photoshop would not be CS7, but rather a subscription model called Photoshop CC (Creative Cloud). As one would guess, this has caused some confusion, consternation, and internet rioting over the changes.
Part of this new setup is due to the high rate of Adobe Photoshop piracy. One feature of Photoshop CC is to have your installation check in with the Adobe servers at least once a month to ensure that you are paid up and licensed. I have no problem with this part of using the “Creative Cloud”. I have legit software, and don’t have a problem if Adobe wants to verify that. Stressing that this is the main impetus for the changes does not seem genuine, however. I think the part Adobe is more concerned with is effectively raising the prices of their software, but under a new system so it is not as easy to directly compare.
So lets compare!
The last change Adobe made to Photoshop licensing involved the upgrade paths. Previously you did not have to buy every version of PS, you could skip a few and still upgrade to the new version for approximately $200. Then there were some controversial changes to this program that required you to purchase every version or you would no longer get a “discounted” new version/upgrade. There were some changes to this along the way but I think this is how the system eventually was implemented. I recently upgraded from CS5 to CS6 for $200 plus tax (I live in Canada). Lets crunch some numbers without the tax, and assume a customer that had planned on upgrading to each new version on the old 18 month cycle. The new system requires an investment of $20 per month for just Photoshop CC.
|18 month upgrade: $200 over 18 months||$11.11 per month||$133.33 per year|
|Photoshop CC Subscription model:||$20 per month||$240.00 per year|
This is an 80% increase per year just to use Photoshop.
I have to wonder if Adobe will stick to this plan, or at least the pricing it released today. Almost doubling the cost of your software for existing users is something any company knows will draw some ire. Hopefully Adobe was just testing the waters today. I’m not against the need to verify a license, nor a monthly subscription model, but a price increase on this scale is going to be rather hard to stomach. I just wish there was a viable alternative…
-click to enlarge-
A closeup of two Crocus (Crocus vernus) flowers in the backyard last Spring.
This photograph was a bit of an experiment. I wanted to have a shallow depth of field that would blur the background. Since these flowers were at different heights, having them both in focus was not going to occur along with a shallow depth of field. I might have been able to get these both in focus with an aperture of f/16 or higher, but this would not have the background bokeh effect I was looking for. So this is a blend of two exposures shot at f/2.8 each focusing on the top of one of the flowers. The two exposures were then merged in Photoshop. I like the effect this created, and it shows that a “focus stack” doesn’t have to have everything in focus through the composition.
More photos of Spring flowers and gardens can be found in my Garden Photos Gallery.
Late Evening Light at Mount Rainier National Park
-click to enlarge-
Save your photos! Well, some of them.
Sometimes I read how others delete all the shots they aren’t immediately happy with, not just those that were out of focus etc. As I have written before I do go through and quickly delete photos that are obviously not up to par (focus accidents, test shots etc) – but then I tend to sit back and digest them for a while. Immediately after I shoot the impressions I have of the results may not be very objective. I wait for a while to process most images so I can more clearly see what is going on, and to distance myself from my initial expectations. Even after some distance and thought I do not always get things “right” in my choices, and sometimes images fall through the cracks.
The image here is one such example. This is a late evening shot I made in Mount Rainier National Park in October, 2010. Ricksecker Point is a good vantage point for Rainier itself, but unless you get some really special light things will look just like all the other “iconic” shots from the same spot. I had gone there hoping to get some good sunset shots near the Tatoosh Range but this just wasn’t going to happen with that day’s conditions so I started looking for alternative compositions. I noticed the glow of the late evening light on these fir and cedar trees and made a few photographs of what I saw. When I first looked at these at home though, they did not really seem to stand out.
A few weeks ago I was going through some of my folders of photographs from 2010. I like to review things occasionally and look over shots I have passed by in favour of images that, at the time at least, appear stronger. I noticed this shot and was somewhat surprised I had never really noticed it before. It had not been a throwaway but was not selected for bigger things at the time either.
I am curious what other photographers do with the shots they initially think are “borderline”? Do you purge everything but the strongest images right away or do you sit on a lot of shots so you can evaluate them later?
Alpenglow on Mount Redoubt and Nodoubt Peak from Chilliwack Lake Provincial Park
(click for larger version)
6 exposures stitched, Canon EF 70-200mm f/4 L IS USM @ 144mm
When I spend time shooting I will normally take a quick overview of the days results immediately. There are often a few shots that will stand out – and those are often processed and sometimes show up here on the blog right away. I have learned that taking a long step back from a series of new photos can be beneficial to me in terms of my objectivity in culling the weaker shots. If I were to go through all the shots immediately I still carry my mental image of what I had planned for a photo. Not everything I try works out of course, and sometimes my initial expectations turn out to be too high. Sorting and processing images a month or two later gives me a lot better perspective of what is a “good” shot or a bad one – as many of my initial expectations have settled down. This has generally worked out so far – and I think I am better at choosing strong images than I used to be in part because of it.
I recently had an experience where the month+ delay in processing a panorama didn’t really seem to help. I processed and stitched this panorama 3-4 times – never quite happy with the colour of the sky. Things got to the point where I was no long able to view the photo at all objectively.
For this particular panorama I stood in the snow next to Chilliwack Lake for over an hour, freezing, taking the odd shot but waiting for the right light. When it came – I shot about 3 panoramas (and many single shots) with a few different compositions. I like the composition of this one the best. The colour of the sky seemed quite purple compared to what my brain was telling me looked “natural”. This could be a case of over analysis – but I try to process images such that they are faithful to what I saw at the time. So I processed the 6 shots that make up this image again in Camera Raw with some PS adjustments to account for the colour. Then I did this again. Still not happy I put the image away for a few more weeks. I should note the purple color is present in the raw file – not as a result of some other colour processing I have done.
Now that I have picked up this panorama again, I am still not sure if this looks natural. I like the colour on the mountain peaks, this is how it looked when I was there – but the sky still bothers me. I have stared at it so long I no longer remember what it looked like in person – perhaps that is the downside in waiting to do post processing? Maybe I just have to drop an image for longer or toss it entirely? I again processed an alternate panorama – taken about 7 minutes before the one posted above – and the sky looks bland and the clouds undefined – the whole image is uninspiring.
So what is the good thing about all this?
During this process I learned a few more Photoshop techniques that I otherwise would not have. Tweaking sky colours using Selective Color in Photoshop, for example. Next time I have a sky colour problem as a result of changing colour temperature etc – I know how to fix it. I have also learned that sometimes I might need to move on from processing an image that just isn’t right – or leave it behind entirely.