THE NEW LIGHTROOMS – Lightroom cc and Lightroom Classic are here

Adobe is taking lightroom on line Lightroom cc is now Adobes new Lightroom that is an online service where your photos will be available to you any place you have a device and an internet connection.  After using it for a couple of months I can say the Lightroom cc plan will be nice for someone who wants to have photos available anytime anyplace.  I find that with my slower than slow Spectrum internet service that the online version will not be for me.

Lightroom Classic – This is Lightroom 7 like the old Lightroom your photos are stored locally on your hard drives.
1. Speed: I can now cull through my images without seeing the loading notice. Once Lightroom converts your library over you will be amazed by the speed improvements.
TIP: import and culling workflow with “Embedded & Sidecar” preview option, use the embedded sidecar for the best speed results.

2. Color and Luminance masking in the adjustment brush &  Graduated filter, with these new features you can select a color (multiple color areas by holding the shift key when using the picker) the multiple color pick seems to only allow 5 areas to be selected at one time. once selected you can adjust the saturation, exposure or any of the adjustments and it will only have an effect on the color you picked. This feature reminds me of how NIK control points work, but Adobe says it isn’t the same.

Luminance masking works by adding a brush and then adjusting the luminosity for the area you selected. you can mask out areas and then use the sliders to adjust the luminosity levels
in the tones you selected.

TIP: When you first start using these new features I found that using the mask overlay helps you see what areas of the photograph are being affected as you move the sliders. of the new masking features.


What’s the difference between Lightroom and Lightroom Classic?

Going forward, the product you’ve known as Lightroom will be rebranded “Lightroom Classic CC”.  Why change? We have introduced a new photography service that will now be called “Lightroom CC”. It is designed to be cloud-based ecosystem of apps that are deeply integrated and work together seamlessly across desktop, mobile, and web.  Lightroom Classic CC is designed for desktop-based (file/folder) digital photography workflows. It’s a well established workflow solution that is distinct and separate from our new cloud-native service.  By separating the two products we’re allowing Lightroom Classic to focus on the strengths of a file/folder based workflow that many of you enjoy today, while Lightroom CC addresses the cloud/mobile oriented workflow.

What’s new in Lightroom Classic CC:

Improved performance in the following areas:

  • Application launch time
  • Preview generation
  • Import and culling workflow with “Embedded & Sidecar” preview option
  • Switching between Library and Develop Module
  • Moving from photo to photo in the Develop Module
  • More responsive brushing

We’ve also added fine control over selections with Range Masking:

  • We have added new tools to make precise color and tone-based selections for Local Adjustments.
  • The new Color and Luminance Range Masking tools are available for use with all the Local Adjustments (Radial Gradient, Graduated Filter, and Local Adjustment Brush). Range Masking is useful when making complex selections.

Highlights of Lightroom CC

Lightroom CC is designed and built around 3 guiding principles:

  • Powerful Yet Simple- Lightroom CC will offer the powerful image editing that you want, while being simple and intuitive to use. Our goal is that it will have everything you need and nothing you don’t.
  • Seamless experience across all your devices – Lightroom CC will work the same across desktop, mobile and web. This allows you to move across your devices without needing to relearn or figuring things out. Your photos and edits are all where you’d expect them to be.
  • Cloud Based – Everything you do in Lightroom CC is synced to the cloud. This means that you can access and work with your photos from any device (including multiple computers), and can easily share photos with others. All of your photos and all of the work that you do with them will be automatically backed up all the time.

The great American Eclipse, August 21, 2017

2solar eclipse, total minutes and 2 seconds went way to quick today.  I set up behind my hotel in Nashville to avoid the traffic. As the Eclipse started we had clear skies with some clouds building to the west.  A few small clouds block our view a few times but then at about 1 pm a about 30 minutes from totality two layers of clouds formed out of no where and blocked the sun right up to the diamond ring phase, as soon as the temperature cooled the cloud just vanished and the sun went into totality. It was amazing watching what looked like a large glowing black ball just sitting there in the sky, it wa was also amazing watching how the darkness took over it was a very soft darkness and then the lights went out.Eclipse, 2017,
It was a very quick 2 minutes, but an amazing 2 minutes.  The Photo above is as totality ended. I am now looking forward to 2024 on April 8th, when the next US total eclipse happens.


2017 solar eclipse

I am in Nashville TN, to watch and photograph tomorrows total eclipse of the sun.  I first read about this event back in 1980 or so in an article in sky and telescope magazine.  I have been waiting for this to happen since reading about it. It is about 15 hours   to the first cgreat american eclipse, eclipse, sun, solar,ontact (when the moon first touched the sun edge). I will have 2 minutes and 3 seconds of totality.  My test shots with solar filters on the lenses seem to be running 1/250 sec, at ISO 100 and f8. these settings will do for most of the eclipse. as totality approaches the exposure will change rapidly and I will also need separate expose times to get the inner and outer corona. So I am going to be doing 3 frame brackets at 1.3 stops apart. shooting 1/125, 1/250, 1/500 seconds, those settings should get me a good exposure.  I am here to watch and experience the event, so during totality I am only planning on shooting a couple sets of exposures.

I have 2 cameras, a 610 that will have a 70-200 on it and my crop frame Nikon D 7000, I have the 28 to 300 on it giving me 450 mm focal length, the photo in this post was taken with the D7000.

I hope you get to enjoy the show

Death Valley by day and night

We just finished our Death Valley by Day and Night workshop, despite the challenges good old mother nature through at us we were able to photograph in all but one of our planned locations. With landscape photography we are always looking at the weather and looking for those moments when the light is just right. The clouds we had provided us with some great opportunities for dramatic sunrise photography but at the same time the clouds hindered our night landscape work.

But thats the life of a landscape photographer, sometimes you need to return to a place several times before you actually get the light you envisioned. I was looking forward to getting to one of my bucket list locations the race track and the moving stones.  We made the 27 mile dirt road trip stopping at tea kettle junction for a few photo opportunities. Driving up from a few miles out you can see the playa and the large grandstand rock formation.  From the road overlooking the valley it was everything I expected.

 When we got to the south end and started to walk out to the magical moving rocks we found the ground to be way to wet and it even looked like it could have need flooded farther out. We made the decision to stop and photograph some of the smaller rocks in the area were we stopped, It wasn’t the Iconic rocks and slide marks I had hoped for but it was the racetrack. I actually spent more time that evening just taking it all in and experiencincg being there.  Some times we find ourselves only seeing the world through the small view finder and the race track is one of those areas that really needs to be seen in its entirety to appreciate.

I will never forget being there on a cool, cloudy and damp Saturday night, I did take a few handheld wide angle photos because after all we did come here to take photographs.

The slide show with this post is a few of the other photographs I did take while out on the workshop. I hope you enjoy them.

Winter is here!

After last year and the snow drought, here in central NY this year we have been getting our fair amount of white stuff.  I went out last week and spent a couple of days taking some photos of the new white landscapes.  I have also been flying the Mavic Pro and taking some photos from a couple of hundred feet up.  I have been studying for my 107 and will be taking my exam in January.  I am looking forward to offering aerial photography services to my local clients.

One quick tip when shooting snow photography, remember the sensor in your camera reads everything as a middle gray. This means if you have lots of snow in your photo the meter will show you a proper exposure but what happens is your nice white snow shows up as gray.

The solution; use the exposure compensation dial and dial in +1 in compensation.  If you are shooting in Manual mode adjust your shutter speed to add one stop of light and take your photo.  Always check your histogram to confirm proper exposure and to make sure you are not clipping the highlights in your photo.

If you have a bright blue sky meter off of the sky about 45 degrees away from the sun, this method will also give you a properly exposed photograph.


Death Valley by day and night

Here are some quick tips for shooting in the sand dunes during our upcoming Death Valley workshop.

Death Valley Photo Workshop, photo workshops, Death Valley, Night Photography

  1. Your hiking boots will fill with fine sand.
  2. Wear a hat and sun screen.
  3. Walking in the dunes can be hard, Walk along the ridge line, keep up a good pace when going uphill. Make sure you have water with you , we will be in the dunes orly in the morning and it won’t be to warm. But the desert air is so dry you can easily become dehydrated.
  4. Headlight is a good idea it keeps your hands free (extra set of batteries).
  5. Tripod before sunrise and for the first fe minutes after sunrise I would recommend having a tripod, after the sun comes up, the Dunes become very bright and you ay find a tripod is not needed.
  6. Be careful if you have a backpack for your gear, if you set it down in the sand you will get sand in it.
  7. Have a plastic bag to protect your camera if its windy
  8. If you have two cameras, bring the both one with a wide angle lens and a second with a normal to short telephoto range.
  9. Changing lenses can be hard trying to not allow and dust into your camera.
  10. Pack only what you need, extra batteries, a polarizing filter, and a lens cloth

1. Consider HDR use a tripod extend the smallest legs first to help keep the sand out of the leg joints.
2. Expose for the the highlights in the scene watch your histogram so you don’t clip the highlights.
3. The Sand dunes are vast think about shooting panorama photos to help capture the vastness.
4.Watch the shadow side of the dunes and don’t forget that shadows will define your photos more then the highlights

Seeing the world in grey

Our cameras are very powerful and wonderful gadgets, they can capture our world in great detail. One thing they all do is when you depress the shutter button the camera will take  meter reading of the scene. The camera attempts to take the highlights the shadows and turn everything into an 18% grey.  When shooting in manual mode you can pick the exposure for any area of the photo you want making your colors, highlights and shadows true.

This week here in New York we had our first lake effect snowstorm last weekend and its been cold enough that we will be having a white Thanksgiving this year.  This afternoon I thought it might be a good idea to show how the camera sees an all white scene and then show you a way to override what the camera things is a proper exposure. Below are two photos taken at this afternoon.

Metered in camera, aperture priority , grey card, grey, exposure, proper exposure,

Metered in camera, aperture priority The properly exposed by the camera is shown here and the snow and leaf have taken on a grey tone.

exposure compensation, exposure meter, proper exposure, what, snow photography, grey card, grey

1.3 + exposure compensation. With the proper exposure compensation the snow becomes white and the leaf is properly exposed








So the next time you are faced with a situation where the photo will be mostly white try adding positive exposure compensation to capture the scene how you see it.  If you are photographing a dark object (black cat) against a dark background use negative exposure compensation and you will get a proper tone on the subject and the background.