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Adobe’s Lens Profile Corrections

Magazine - Digital Photo Pro, Software, Software - Photoshop  Comment
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Adobe’s lens profile corrections are simply amazing. Lens Corrections automate correction of standard lens distortions, including geometric distortion, chromatic aberration, and vignette. In addition to correcting lens distortions, this feature can also be used to adjust perspective and rotation.
 
Adobe provides support for a growing list of camera manufacturers, camera models, and lenses: Canon, Nikon, Pentax, Samsung, Schneider, Sigma, Sony, Tamron, and Zeiss.
Adobe Lens Profile Creator
If Adobe doesn’t supply a lens profile for your particular lens you have three choices.
First, you may be able to access a lens profile created by another user on the Adobe Lens Profile Creator forum. Find and share lens profiles at Adobe labs. Of course, these lens profiles will only be as good as the creators were diligent about creating them.
Second, you can visually adjust the parameters of an existing lens profile and save the new settings under a new name for future use. There’s plenty of room for user error with this method but it’s more efficient than creating manual corrections from scratch. Expect to check the results frequently when you apply these settings to different types of images.
Third, you can create your own custom lens profile with the free Adobe Lens Profile Creator utility. Download the Adobe Lens Profile Creator at Adobe Labs.Adobe Lens Profile Creator is a utility designed for photographers who want to create custom lens profiles for their own lenses. The process of creating a custom lens profile for your lens involves capturing a series of images of a printed checkerboard pattern with your specific camera and lens, converting that set of raw images into Digital Negative (DNG) file format (using the Camera Raw plug-in, Lightroom, or the free Adobe DNG Converter), and importing the raw DNG images (or JPEG/TIFF images when creating lens profiles for a non-raw workflow) into the Adobe Lens Profile Creator to generate a custom lens profile. If you create new lens profiles, you can share them with the rest of the user community on the Adobe Lens Profile Creator forums, publishing them directly from inside the Lens Profile Creator. These profiles will then be available via new versions of the Adobe Lens Profile Downloader. This is an extended and complex process few photographers will want to go through, but for those using unsupported cameras and lenses worth the time and effort in the long run.
Using Adobe’s Lens Profile Corrections
You can access Adobe’s Lens Corrections in three locations; Adobe Camera Raw, Lightroom 3, or Photoshop CS5’s Lens Correction filter. (Lens profile corrections were first introduced in Lightroom 3. To get Lens Profile Corrections in Adobe Camera Raw CS5, you need to download a version that has been updated after the release of Lightroom 3. You can download the latest free update at adobe.com.
It’s far less destructive to make these types of adjustments to Raw files during conversion rather than after conversion. It’s also more flexible. (Use a smart object and reaccess the controls any time by simply by double clicking the smart object.) However, if you want to apply Lens Corrections within Photoshop, after a file has been rasterized, you can use CS5’s updated Lens Correction filter.
In ACR and Lightroom, you’ll find two tabs under Lens Corrections; Profile and Manual.
Under Profile, click Enable Lens Profile Corrections to activate this feature. Using the EXIF data in your Raw file, the software will automatically select the Make (of your camera), Model (of your lens), and the Profile (for that lens). You can use the supplied lens profiles, download a custom profile made by another user, or create your own (manually or with Adobe’s Lens Profile Creator).
Checking Enable Lens Profile Corrections will also allow you to access three sliders –  Distortion, Chromatic Aberration, and Vignetting – for manually fine tuning the results. If you like the results of one correction but not another, you can decrease or increase the effects in one or more of the three fields.
Under Manual, you’ll find controls for visually creating your own lens profile corrections …
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Adobe Labs Free Resources

Software, Software - Photoshop  Comment
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Find the latest free Adobe® Photoshop®-related beta downloads, prerelease tools and experimental technologies available on Adobe Labs in addition to a listing of other Photoshop image editing resources for designers and developers.

Visit Adobe Labs here.

Save 15% On Pixel Genius – PhotoKit & PhotoKit Sharpener

Discounts, Software  Comment
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Get 15% off of Pixel Genius products with this code – JPC15CPN.
The people at Pixel Genius (Martin Evening, the late Bruce Fraser, Mac Holbert, Andrew Rodney, Seth Resnick and Jeff Schewe) produce terrific production tools for use within Photoshop – PhotoKit, Photo Kit Color, and Photo Kit Sharpener.
PhotoKit automates a variety of tasks including color correction, color to black and white conversion, toning, and basic sharpening. PhotoKit Sharpener automates some of the most sophisticated sharpening routines ever devised. They’re so sophisticated they were licensed and modified for Adobe’s Lightroom.
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New Images – Inhalation V Diptych

Images - Photographs  Comment
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I recently produced these two images Inhalation VA & B while completing the long-standing series.
I only use the same source materials in composites when I want there to be a strong connection between the separate images. I like to produce serial images, where a change in state is displayed between the separate frames. I like the sense of disappearance between these two frames. And I like that even though an empty space is left by the absence of the ice, the space left behind is still very full.
More than one picture is required to produce a body of work. The separate images within it reinforce each other. I sometimes find the same is true of individual images within a series.
When does a situation benefit from multiple images and serial images? It’s a guiding question I hold with me wherever I go.
The source images for this image were exposed at Jokulsarlon during my annual Iceland workshop.
Find out about my Iceland digital photography workshops here.
Find more images here.
Find my books here.

The Art Project – Visit The World's Museums Online

Event - Exhibit  Comment
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Preview

Visitor Guide

Behind the Scenes
The Art Project is a collaboration between Google and some of the world’s most acclaimed art museums. Powered by a broad, connected suite of Google technologies, the world’s great works of art and museums are now within reach to an unprecedented global audience. It’s a unique collaboration with some of the world’s most acclaimed art museums to enable people to discover and view more than a thousand artworks online in extraordinary detail.
Explore Museums With Street View Technology
Virtually move around the museum’s galleries, selecting works of art that interest you, navigate though interactive floor plans and learn more about the museum and you explore.
Artwork View
Discover featured artworks at high resolution and use the custom viewer to zoom into paintings. Expanding the info panel allows you to read more about an artwork, find more works by that artist and watch related YouTube videos.
Create Your Own Collection
The ‘Create an Artwork Collection’ feature allows you to save specific views of any of the 1000+ artworks and build your own personalised collection. Comments can be added to each painting and the whole collection can then be shared with friends and family.
Find out more about Art Project here.
Visit The Art Project’s YouTube Channel here.

D-Roller – Uncurl Your Prints

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Quickly cure curl in prints made from roll papers with D-Roller.
This device is extraordinarily simple and effective.
You might wonder why a simple plastic tube with an attached sheet of plastic costs as much as it does – 24” $259.99, 36” $279.95, and 50” $299.99. When you see how effective, easy, and fast it is to use you’ll realize it’s money well spent.
Here’s how easy it is.
1 Place a print on the white carrier film near the tube.
2 Roll the tube away from you, wrapping the print between the tube and the film.
3 Hold for a few seconds.
4 Unroll the tube
5 Turn the print 180 degrees and repeat.
6 Remove the flattened print.
Here are a couple of tips for using it.
The longer you hold the paper rolled up the more curl you take out; you can actually reverse the curl if you hold the paper too long.
Paper coming off the outside of the roll requires less derolling than paper coming of closer to the core.
Low humidity requires more derolling.
Non-rag papers require more derolling.
Though the very smooth plastic won’t damage print surfaces, you can include a cover sheet in the derolling process for exceptionally delicate materials.
Special rollers can be custom ordered for very long prints.
Is it really that simple? Yes!
Does it really work? Yes!
Visit inkjetart.com for more information.
Read more about the tools I use here.
Learn more in my digital photography and digital printing workshops here.

InkAID – Coat Your Own Substrates

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Interested in printing on exotic substrates? Consider InkAID (inkaid.com). InkAID is a liquid coating that prepares surfaces for inkjet printing. Coating an exotic substrate’s surface will do several things. It will reduce dot gain, allowing the print to hold more detail. It will increase gamut, providing greater saturation. It will increase dmax, yielding a better black.
Artists are experimenting with many types of exotic substrates from aluminum, to acrylic sheets, to wood, to uncoated fine art and handmade papers. Basically, if you can get it through the printer and you can get the ink to stick you can print on it. InkAID helps the ink stick.
InkAid is easy to use. Stir it. Brush it on. Let it dry. Print.
There are currently five InkAid products. White Matte Precoat creates a white matte coat on any surface. Clear Semi-Gloss Precoat creates a transparent semi-gloss finish on any surface.  InkAID Adhesive and Clear Gloss Precoat create a transparent glossy surface with two coats. Clear Gloss Precoat II creates a transparent glossy surface with one coat. When using clear coats, you can choose to let the coloration of the base surface show through (the material itself or a surface with an image) or you can coat it first with White Matte Precoat.
ping and handling.
Surfaces are water resistant and can be reworked with subsequent printings, over painting, or distressing.
You may be able to use ICC profiles for similar inkjet surfaces (if you get lucky), but it’s more likely that you will have to create new ICC profiles specifically for this surface to achieve the optimum results, especially if the final state of the coated substrate is not white.
InkAID is acid free and contains no optical brighteners. Nonstandard tests (hang samples in a window in direct sunlight next to other prints and compare) indicate longevity is roughly on par with similar inkjet prints. Longevity ratings obtained from standardized tests are not available as the variety of substrates being used today is so vast.
A liter costs $25. A gallon costs $65. A sample set (5 ounces of five products) is available for $21 plus ship
InkAID.com has a useful FAQ section answering many common questions about it’s use. The book Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials by Bonnie Lhotka, Karen Schminke, and Dorothy Simpson Krause is another source of useful information.
Find InkAid here.
Read more about the tools I use here.
Learn more in my digital photography and digital printing workshops here.