When Apple announced their new desktop Mac – the Mac Studio – I watched the keynote address and was very interested in what this new bit of kit had to offer. Starting at £2000.00 including VAT it looks like a veritable speed machine. I have read some reviews and looked at test bench scores which are supposed to give us real world performance data so that we can compare one machine against another. With all of that in mind, it looks really good. But… what do those score mean for me?
In the editor part of my working life I often end up editing 200, 300, 400 or more RAW files from different cameras a day. When I am shooting my own pictures it is rarely that many and, of course, the files will all be from my own cameras and therefore not varied set of RAW formats. The most power hungry work will all be inside Adobe Camera RAW (ACR) and I want to know what time savings this new Mac will actually give me. Having watched several reviewers (mostly high-end video editors) talk about what has frustrated them in their workflow I started thinking about the relatively few times I find myself waiting for things to happen in ACR.
The truth is that there aren’t many things that take time and frustrate me with my ageing 15″ MacBook Pro but here are a few:
In the past you could pick a linear gradient or radial gradient straight from the tool box and apply those relatively simple options to an image really quickly. You could also use a brush to painstakingly paint a mask onto an image in order to carry out local colour, tone or contrast corrections to the masked area. The two most common functions were quick and simple whilst the more complex functions were, well, complex. I grumbled about why you couldn’t have the best of both worlds because the method for selecting the simpler ones had changed from a single mouse-click to three mouse-clicks.
I am a firm believer in keeping up with technology, learning new things and generally being ‘up-to-date’. The one thing that regularly makes me question that philosophy is the changes that Adobe make on a regular basis to their Camera RAW plug-in for Photoshop. This isn’t going to be my first blog post about what they’ve changed and how it effects my workflow. I was unhappy about what they did in Version 12.3 (but I got over it). I was pretty pleased with Version 13.0 and remained so throughout its lifespan. Now that I have had some time to digest what Version 14.0 has to offer I thought that I’d come back and share my impressions.
Before I get into this remarkably short post I’d like to mention one of the relevant things that I have learned over the years – to avoid commenting on change until I have given it a chance to grow on me.
A little over three and a half years ago I made a video showing users how to do a simple set-up to transmit images directly from the Canon EOS 5D MkIV camera using the built-in FTP feature. Recently a chap who saw that video asked if I could do the same with the EOS R5. At that time I didn’t have access to an R5 so I made a note to get around to it ‘one day’.
Last week I needed to get my hands on one to make sure that it was able to transmit into a server that some of the photographers that I work with use. Thanks to Canon UK and CPS (Canon Professional Services) I have had the camera for a few days, ironed out any issues we had and so I thought that I’d go ahead and make a quick walk-through tutorial and comparison video.
… my other main gripe with Adobe is to ask why call this an update move from .2 to .3 and not actually call it what it is with some decent warnings – as a user this feels like a whole new version and I would like to have had some warning before having to spend time (which I luckily have right now but that’s immaterial) getting to know the new interface. At the end of the day my workflow isn’t going to change much, if at all. Equally, this is still a more suitable application than any of the others I have tried and tried again – including Lightroom. I have challenged myself to work with the default version of the new workspace to see if it is better because a couple of others have assured me that they prefer it and those are also people whose opinion I would always respect but I have to be honest and say that I’m not looking forward to the next big edit
I have been working away with various updates and then, along with the 2021 version of Photoshop CC which appeared a few days ago, version 13 of the Camera RAW module landed and I am able to pronounce myself reasonably happy. That’s for two reasons really, the first is that I have been plugging away learning how to work with the new interface and the second is that I have gone over to using more and more keyboard shortcuts – which makes so much sense given that I have always been a fan of them in other applications such as Photo Mechanic. (more…)
My workflow has revolved around Photo Mechanic and Adobe Camera RAW for a lot of years now and, bit by bit, it has evolved along with those two key applications to become a slick and well-ordered professional process. Adobe have posted regular updates to their RAW converter pretty regularly and those updates have almost always been logical and very welcome. Occasionally they have made quite big changes and I have welcomed pretty much everything they’ve done. Until now.
The latest version, 12.3 wasn’t flagged-up in advance as being a major change and so I (stupidly) hit OK on the update without giving it too much thought. I was more than a little surprised when I opened my first set of RAW files to edit them because what I was seeing were a whole raft of changes that were, in my opinion, not needed and/or not wanted. (more…)
Interview portrait of Lady Helen Brook, founder of the Brook Advisory Centres which gave advice to young women about contraception starting in the in the 1960s, aged 85 at her home in north-west London. 05 May 1993 Photo: Neil Turner
Here we are in day sixty-something of the UK Coronavirus lockdown and I’m still ploughing through my very old work and trying to knock it into a usable archive. There are a number of stages to the process and stage one has been to make a detailed catalogue of somewhere approaching three thousand rolls of negatives from dates on the negative sleeves married up with my old (Filofax) diaries and a few memories kicking around in my head. Stage one is now pretty much finished. There are a few gaps where I cannot work out the exact details of when and where pictures were taken and there are a lot of sheets of negatives missing where the films were processed in newspaper darkrooms and I never got them back.
What I have done as a first step is to create a spreadsheet with columns for the film number, date shot, client who commissioned the job or if it was a self-funded project, a generic caption for the whole sheet of negatives, specific frames where applicable and the digital filename range of files created. From there I can import any or all of that data into the IPTC metadata once I get to the captioning of those images. There will be some rolls of film that will never be touched and there are others which will be given a lot of attention. (more…)