OpenGL Support for Lightroom Classic CC on Mac

OpenGL Support for Lightroom Classic CC on Mac

lrclassic marquee 1440x660 900x413 OpenGL Support for Lightroom Classic CC on Mac

Okay, so I’ve been ‘banging on’ about the problem that quite a few people have been suffering from with the new Lightroom Classic CC and GPU acceleration since Adobe launched the new application.

I must stress that this problem does NOT seem to effect anyone using MBP or iMac, or indeed any Mac Pro that runs a factory-fitted GPU.  But if you can remember, I fitted my Mac Pro with an nVidia GTX 970 4Gb GPU a while back – mainly to help Photoshop CC with the heavy lifting in ‘Refine Edge’ and other masking/channel masking procedures.

But I’m now pleased to report that the problem is FIXED – and, as I suspected, the fix is simple, and the ‘fix’ is a tiny 28 byte file.  Yes, that’s right, 28 BYTES!

It’s an API Thing

Now I’m totally rubbish with computer jargon, but API is the acronym for Application Programming Interface, and with regard to GPU/Graphics Cards there a 4 main APIs:

  • OpenGL
  • Direct Ex – in other words Microsoft
  • Metal – in other words Apple
  • Vulcan – don’t ask/no idea

For some reason, on certain Mac systems, Lightroom Classic CC is not finding OpenGL, and is instead being forced into trying to use the OSX API ‘metal’.

The forums have been rife with Lightroom Classic CC problems for the last few days – this one included.  On one of these forums, Adobes Simon Chen, had been attempting to field questions over this problem.

I asked Simon if there was any way to ‘force’ Lightroom Classic CC to ignore the OSX API and default to OpenGL – which was obviously there on the system, because the previous iteration of Lightroom had been using it quite happily.

Simon suggested the installation of this tiny 28 byte ‘config.lua’ file into Lightrooms’ Application Support root folder – and would you believe it, it works!

You can download the config.lua file from here.

Below is a short video I’ve made this morning on how to download and install this tiny file which will re-instate Lightroom Classic CCs ability to use the OpenGL API.

So now I’m a happy bunny; and if you have the problem then just follow the video instructions and you’ll be a happy bunny too!

Big thanks to Simon Chen, Principle Scientist at Adobe for helping sort this irritating niggle out.

Adobe Lightroom Classic and Photoshop CC 2018 tips

Adobe Lightroom Classic and Photoshop CC 2018 tips – part 1

So, you’ve either upgraded to Lightroom Classic CC and Photoshop CC 2018, or you are thinking doing so.

Well, here are a couple of things I’ve found – I’ve called this part1, because I’m sure there will be other problems/irritations!

Lightroom Classic CC GPU Acceleration problem

If you are having problems with shadow areas appearing too dark and somewhat ‘chocked’ in the develop module – but things look fine in the Library module – then just follow the simple steps in the video above and TURN OFF GPU Acceleration in the Lightroom preferences panel under the performance tab.

Screen Shot 2017 10 19 at 12.06.49 1 900x506 Adobe Lightroom Classic and Photoshop CC 2018 tips

Turn OFF GPU Acceleration

UPDATE: I have subsequently done another video on this topic that illustrates the fact that the problem did not exist in Lr CC 2015 v.12/Camera Raw v.9.12

In the new Photoshop CC 2018 there is an irritation/annoyance with the brush tool, and something called the ‘brush leash’.

Now why on earth you need your brush on a leash God ONLY KNOWS!

But the brush leash manifests itself as a purple/magenta line that follows your brush tool everywhere.

You have a smoothness slider for your brush – it’s default setting is 10%.  If we increase that value then the leash line gets even longer, and even more bloody irritating.

And why we would need an indicator (which is what the leash is) of smoothness amount and direction for our brush strokes is a bit beyond me – because we can see it anyway.

So, if you want to change the leash length, use the smoothing slider.

If you want to change the leash colour just go to Photoshop>Preferences>Cursors

Screen Shot 2017 10 19 at 12.23.50 900x704 Adobe Lightroom Classic and Photoshop CC 2018 tips

Here, you can change the colour, or better still, get rid of it completely by unticking the “show brush leash while smoothing” option.

So there are a couple of tips from my first 24 hours with the latest 2018 ransom ware versions from Adobe!

But I’m sure there will be more, so stay tuned, and consider heading over to my YouTube channel and hitting the subscribe button, and hit the ‘notifications bell’ while you’re at it!

 

 

Color Temperature

Lightroom Color Temperature (or Colour Temperature if you spell correctly!)

“Andy – why the heck is Lightrooms temperature slider the wrong way around?”

That’s a question that I used to get asked quite a lot, and it’s started again since I mentioned it in passing a couple of posts ago.

The short answer is “IT ISN”T….it’s just you who doesn’t understand what it is and how it functions”.

But in order to give the definitive answer I feel the need to get back to basics though – so here goes.

The Spectrum Locus

Let’s get one thing straight from the start – LOCUS is just a posh word for PATH!

Visible light is just part of the electro-magnetic energy spectrum typically between 380nm (nanometers) and 700nm:

%name Color Temperature

In the first image below is what’s known as the Spectrum Locus – as defined by the CIE (Commission Internationale de l´Eclairage or International Commission on Illumination).

In a nutshell the locus represents the range of colors visible to the human eye – or I should say chromaticities:

1200px CIE1931xy blank Color Temperature

The blue numbers around the locus are simply the nanometer values from that same horizontal scale above. The reasoning behind the unit values of the x and y axis are complex and irrelevant to us in this post, otherwise it’ll go on for ages.

The human eye is a fickle thing.

It will always perceive, say, 255 green as being lighter than 255 red or 255 blue, and 255 blue as being the darkest of the three.  And the same applies to any value of the three primaries, as long as all three are the same.

perception Color Temperature

This stems from the fact that the human eye has around twice the response to green light as it does red or blue – crazy but true.  And that’s why your camera sensor – if it’s a Bayer type – has twice the number of green photosites on it as red or blue.

In rather over-simplified terms the CIE set a standard by which all colors in the visible spectrum could be expressed in terms of ‘chromaticity’ and ‘brightness’.

Brightness can be thought of as a grey ramp from black to white.

Any color space is a 3 dimensional shape with 3 axes x, y and z.

Z is the grey ramp from black to white, and the shape is then defined by the colour positions in terms of their chromaticity on the x and y axes, and their brightness on the z axis:

adobeRGB1998 Color Temperature

But if we just take the chromaticity values of all the colours visible to the human eye we end up with the CIE1931 spectrum locus – a two dimensional plot if you like, of the ‘perceived’ color space of human vision.

Now here’s where the confusion begins for the majority of ‘uneducated photographers’ – and I mean that in the nicest possible way, it’s not a dig!

Below is the same spectrum locus with an addition:

PlanckianLocus Color Temperature

This additional TcK curve is called the Planckian Locus, or dark body locus.  Now please don’t give up here folks, after all you’ve got this far, but it’ll get worse before it gets better!

The Planckian Locus simply represents the color temperature in degrees Kelvin of the colour emitted by a ‘dark body’ – think lump of pure carbon – as it is heated.  Its color temperature begins to visibly rise as its thermal temperature rises.

Up to a certain thermal temperature it’ll stay visibly black, then it will begin to glow a deep red.  Warm it up some more and the red color temperature turns to orange, then yellow and finally it will be what we can call ‘white hot’.

So the Planckian Locus is the 2D chromaticity plot of the colours emitted by a dark body as it is heated.

Here’s point of confusion number 1: do NOT jump to the conclusion that this is in any way a greyscale. “Well it starts off BLACK and ends up WHITE” – I’ve come across dozens of folk who think that – as they say, a little knowledge is a dangerous thing indeed!

What the Planckian Locus IS indicative of though is WHITE POINT.

Our commonly used colour management white points of D65, D55 and D50 all lie along the Planckian Locus, as do all the other CIE standard illumimant types of which there’s more than few.

The standard monitor calibration white point of D65 is actually 6500 Kelvin – it’s a standardized classification for ‘mean Noon Daylight’, and can be found on the Spectrum Locus/Plankckian Locus at 0.31271x, 0.32902y.

D55 or 5500 Kelvin is classed as Mid Morning/Mid Afternoon Daylight and can be found at 0.33242x, 0.34743y.

D50 or 5000 kelvin is classed as Horizon Light with co-ordinates of 0.34567x, 0.35850.

But we can also equate Planckian Locus values to our ‘picture taking’ in the form of white balance.

FACT: The HIGHER the color temperature the BLUER the light, and lower color temperatures shift from blue to yellow, then orange (studio type L photofloods 3200K), then more red (standard incandescent bulb 2400K) down to candle flame at around 1850K).  Sunset and sunrise are typically standardized at 1850K and LPS Sodium street lights can be as low as 1700K.

And a clear polar sky can be upwards of 27,000K – now there’s blue for you!

And here’s where we find confusion point number 2!

Take a look at this shot taken through a Lee Big Stopper:

2 Color Temperature

I’m an idle git and always have my camera set to a white balance of Cloudy B1, and here I’m shooting through a filter that notoriously adds a pretty severe bluish cast to an image anyway.

If you look at the TEMP and TINT sliders you will see Cloudy B1 is interpreted by Lightroom as 5550 Kelvin and a tint of +5 – that’s why the notation is ‘AS SHOT’.

Officially a Cloudy white balance is anywhere between 6000 Kelvin and 10,000 kelvin depending on your definition, and I’ve stuck extra blue in there with the Cloudy B1 setting, which will make the effective temperature go up even higher.

So either way, you can see that Lightrooms idea of 5550 Kelvin is somewhat ‘OFF’ to say the least, but it’s irrelevant at this juncture.

Where the real confusion sets in is shown in the image below:

1 Color Temperature

“Andy, now you’ve de-blued the shot why is the TEMP slider value saying 8387 Kelvin ? Surely it should be showing a value LOWER than 5550K – after all, tungsten is warm and 3200K”….

How right you are…..and wrong at the same time!

What Lightroom is saying is that I’ve added YELLOW to the tune of 8387-5550 or 2837.

FACT – the color temperature controls in Lightroom DO NOT work by adjusting the Planckian or black body temperature of light in our image.  They are used to COMPENSATE for the recorded Planckian/black body temperature.

If you load in image in the develop module of Lightroom and use any of the preset values, the value itself is ball park correct(ish).

The Daylight preset loads values of 5500K and +10. The Shade preset will jump to 7500K and +10, and Tungsten will drop to 2850K and +/-0.

But the Tungsten preset puts the TEMP slider in the BLUE part of the slider Blue/Yellow graduated scale, and the Shade preset puts the slider in the YELLOW side of the scale, thus leading millions of people into mistakenly thinking that 7500K is warmer/yellower than 2850K when it most definitely is NOT!

This kind of self-induced bad learning leaves people wide open to all sorts of misunderstandings when it comes to other aspects of color theory and color management.

My advice has always been the same, just ignore the numbers in Lightroom and do your adjustments subjectively – do what looks right!

But for heaven sake don’t try and build an understanding of color temperature based on the color balance control values in Lightroom – otherwise you get in one heck of a mess.

2009 Mac Pro GPU Upgrade

2009 Mac Pro GPU Upgrade

I’ve just had to spend some money and do a 2009 Mac Pro GPU Upgrade, mainly because of Photoshops new ‘Select and Mask” interface.

D4D6816 600x400 2009 Mac Pro GPU Upgrade

Ever since this new workspace was introduced it has caused me no end of problems with brush lag and general ‘hanging’.

And the fact that I need to run screen capture software at the same time, in order to feed the Tube of You, meant that for the last month Uncle Andy’s been unhappy..

For the last couple of months I’ve been toying with adding more RAM to the machine, so last week I sprung £200 at Mac Upgrades for 32GB of OWC RAM to replace the 16GB of Crucial that I installed a couple of years ago.

There’s nothing like the assembly of wide-field astro shots from a 36Mp camera to point out weaknesses in RAM capacity!

But the Select and Mask workspace in Photoshop show diddly-squat of an improvement with doubling the RAM.  It wasn’t until I happened across a note by Scott Kelby where he noted that this new workspace was totally GPU dependent.  No mention of this on anything from Adobe that I could see.

Now the thought of buying a new GPU for Mac should fill anyone with dread over the lightness of their wallet after the purchase.

Mac GPU’s are thin on the ground, of limited spec and HUGELY over-priced.

Mac Upgrades offer “flashed” PC GPU’s – AMD Radeons at an appalling £264 for a 2GB; that’s just daylight robbery in my opinion.

Flashing a mac-suitable PC GPU serves one single purpose – you can see your boot screen at start-up.

My boot screen lasts for about 7 seconds with my existing SSD system drive and the 64GB of new RAM – so I’m not so bothered about seeing it, especially if it can save me money AND steer me away from Radeon and on to an Nvidia chipset.

Opting for an Nvidia chipset allows a greater choice of GPU specification and performance.

So I’ve spent the last few days getting my head around the technicals, and they really are quite simple.

The PCIe slots in a 2009 Mac Pro 4,1 are only capable of supplying 75 watts of power.  However, lurking on the board are TWO mini PCIe 6 pin auxiliary power connectors, each capable of delivering 75 watts each.

So if you purchase a couple of these:

Apple Mac Pro mini pci-e 6pin to pci-e 6pin video card power cable

you can effectively drive a mac-compatible GPU requiring 3x 75, or 225 watts total of power.

And so I came up with this baby!

Screen Shot 2016 08 24 at 14.47.53 copy 2009 Mac Pro GPU Upgrade

4GB – not 2GB, and £179 not £264 – and it only requires 150 watts of power.

So this very morning made a trip to Overclockers in Newcastle under Lyme and once back in the office it took less than 15 minutes to have the 2009 Mac Pro GPU Upgrade done and working.

D4D6802 900x599 2009 Mac Pro GPU Upgrade

Just look at this bad boy in comparison to the GT120 it’s replacing – at least 8 times as useful!

If you fancy doing this to your Mac Pro 4,1 then there are a few things you need to do before you make your decision:

  1. Visit this page at Abobe to check for Lightroom GPU compatibility.
  2. IMPORTANT – you must download and install the Nvidia WEB DRIVERS from HERE if you are still running Yosemite or HERE if you are using El Capitan. You MUST do this BEFORE you turn your machine off to begin the upgrade – if you don’t you might be stuck with a machine that doesn’t turn the monitor on!

Install the downloaded web drivers and you will see the Nvidia drive manager icon at the top of your screen – click it and select driver manger preferences:

Screen Shot 2016 08 24 at 15.13.47 2009 Mac Pro GPU Upgrade

 

 

 

Why do I have to do this Andy?

The Mac OS has it’s own versions of Nvidia drivers (amongst others) but these are fairly crap, inefficient and far from up to date, and almost definitely won’t recognise you new GPU correctly.

Once you have checked that those web drivers are installed and up to date you should be clear to do your 2009 Mac Pro GPU Upgrade.

Once done you can power the machine on; you’ll hear the start-up chime but the screen will stay black for the time the boot screen would have been active – the screen will activate at either your account log in page if you have your machine set up that way, or it’ll go straight to your desktop.

Screen Shot 2016 08 24 at 16.19.33 2009 Mac Pro GPU UpgradeAnd there you are – one 2009 Mac Pro GPU Upgrade – DONE.

Now for some Adobe application setup.

Screen Shot 2016 08 24 at 15.36.47 900x677 2009 Mac Pro GPU Upgrade

  1. Fire up Lightroom and go to the preferences panel.
  2. Activate ‘Use Graphics Processor’.
  3. Click the ‘System Info’ button and check that the card is listed and is functioning properly:

Screen Shot 2016 08 24 at 15.37.23 2009 Mac Pro GPU Upgrade

Next, fire up Photoshop and go to Preferences>Performance:

Screen Shot 2016 08 24 at 15.38.34 2009 Mac Pro GPU Upgrade

 

 

 

Check ‘Use Graphics Processor’ and click the ADVANCED button:

You will see three options; Basic, Normal & Advanced.  It will most likely be defaulted to Basic.  I’ve selected advanced here but may have to change it ‘down’ if there is any fall-off in performance.

One final and very important item on the agenda, re-calibrate your monitor.

That’s it, a new lease of life given to a venerable old 2009 machine.

Apple is supposed to be dropping support for the 2009 Mac Pro 4,1 on the official launch of OSX 10.12 Sierra.

I’m not that bothered at the moment, it’s taken me up until July of this year to feel the need for 10.11 El Capitan – and that was only due to screw-ups with recent Adobe CC installers.

But sometime in the next 12 months I might avail myself of a Mac Pro 5,x.  This new 4GB GPU will transfer direct to that and I’ll turn this Mac Pro 4,1 into an image server – at least that’s what I’m telling myself !

IMPORTANT:  The procedure outlined here worked wonderfully for me – simple and fast.  But it might not go the same for you – I accept NO responsibility for any f***ed up equipment that might occur outside these office walls!

 

Latest Lightroom news from Adobe

Latest Lightroom news from Adobe

LRCC2015splash Latest Lightroom news from Adobe

I’ve been teaching the latest version of Lightroom for the majority of this past week; mostly without a hitch. All-in-all, I’ve seen Lightroom 6/CC 2015 v2.1 working without any problems on 7 different machines; though these were all Macs running OSX 10.10 Yosemite so I can’t comment on PC or the dreaded El Capitan 10.11 OSX version.

I know lot’s of folk are still having problems with the existing release, and that a roll-back to v1.1.1 is still proving their option; but seeing as I manage to get v2.1 working without a hitch I suspect folk are not tidying up their systems before installation as much as they could – remove all traces of Lightroom and do a fresh install.

BUT…………yep, there is always one isn’t there!

Thousands have been moaning about the new, very different, and I have to say rather annoying Import Dialogue..

So the Latest Lightroom news from Adobe is that we can expect another update sometime very soon that will give us the old style import options back – WooHoo!

Tom Hogarty of Adobe made the announcement about 9 hours ago – you can read it here

Tom has been doing a lot of ‘back-pedalling’ and apologising to users on mass this week for the lack of beta-testing of the v2 release, and the new import dialogue options, or rather the lack of them.

He’s obviously never heard the old adage “if it ain’t broke DON’T fix it” !

Personally, I think Eric Chan should be put in the overall “Lightroom Head-Honcho” position over at Adobe – I doubt very much if this shit would have been allowed to happen if it had been so.

Adobe roughly means “house of mud” – mmmm………let’s hope it stops raining soon ehh boys!

For Mac users – I’ve still not upgraded to El Capitan 10.11 OSX.  If anyone has, and has managed to keep Lightroom CC 2015 v2.1 running, please can they let me know in the comments below.

Lightroom Crash Cured?

LRCC2015splash Lightroom Crash Cured?

Lightroom Crash Cure – hot-fix from Adobe

Adobe have now released a hot-fix for the Lightroom CC 2015/6.2 crash problem.

I applied the new patch to two machines and they both appear to be fully functional, but some people are still reporting problems.

The update should appear in your CC Apps panel notifications, or under Help>Updates.  If it doesn’t, you can try restarting Lightroom. I’ll tell you now that neither worked for me, so I manually downloaded the fix, so here are the links:

Mac 2.1 fix HERE

WinPC 2.1 fix HERE

If you are still having problems, please let me know.

And just to be clear, I have still NOT upgraded to El Capitan OSX 10.11.

 

Lightroom CC 2015 v2.0 crash fix

Lightroom CC 2015 v2.0 Crash Fix

LRCC2015splash Lightroom CC 2015 v2.0 crash fix

Okay, there’s a lot muck flying around at the moment with regard to the latest version of Lightroom to be released by Adobe – CC 2015 v2.0 or 6 v2.0

Accusations of premature release because of Adobe Max etc aside, there is undoubtedly a problem, at least for Mac users, regarding v2.0 compatibility with the latest Mac OS – v10.11 El Capitan, and to an extent with the existing OSX 10.10

Now I have been doing a lot of Lightroom training and workshops so far this year, and I’ve been asked on more than a few occasions why I haven’t brought out any new tutorial videos.  Well the answer is quite simple – v1 iterations all seems to me to be a little ‘clunky’.

By that I mean ‘system load’ clunky – the actual GUI and general workflow and dev procedures are great. But I’ve always found it slow-loading, a little reticent to switch catalogues, and also sometimes very slow at recognising metadata changes and file derivatives from Photoshop, even though the edit commands had been issued directly from Lightroom in the first instance.

So I was quite hopeful when I heard we were to expect Lightroom CC 2015 v2…

Also, for a few weeks now, I’ve kept getting notifications from Apple about a beta 10.11 version of OSX – El Capitan.

Having been bitten in the arse by new OSX versions too many times in the past I decided to check out the ‘improvements/benefits’ together with any reported problems.  Seemingly (as of writing) this was a wise decision with regard to both Lightroom CC 2015 v1.1.1 and Photoshop CC 2015  – strange that so many folk globally didn’t think of doing the same!

I jumped from Mountain Lion to Yosemite – never went anywhere near Mavericks! As with most things in life I have the train of thought that if it ain’t broke don’t fix it, and I’ve found that this really does apply a lot to OSX upgrades – updates I take straight away; but changes in OSX I shy away from until all the bugs are ironed out.

Yesterday I did a Lightroom workshop at Calumet Manchester.  When I turned on the iMac that I use for these events I got a CC notification about updates to both Lightroom & Photoshop CC 2015.

Being the responsible twat that I am, I ignored the updates, seeing as I was about to do a whole day in Lightroom in front of witnesses!

And it’s a damn good job I did!

Once back in the office I did some checking about said updates and found that the ‘shit had hit the fan’ big-time – Christ, even “Queen” Victoria was saying not to take the upgrade!  On further reading I noted that a lot of the reported problems were coming for the most part from folk running OSX 10.11 – El Capitan….and Windows 10 too.

Being the eternal sceptic, I couldn’t help getting the feeling that a lot of what I was reading was like ‘throwing the baby out with the bath water’ – so you can guess what I did next; yep, installed Lightroom CC 2015 V2.0 on my Mac Pro!

How wrong was I !

Working within an existing catalogue, everything seems fine on the face of it; it boots much faster and generally appears to be error-free.

But trying to export an image causes it to crash, and it can’t make new catalogues either, it just seems to ignore the process.

The simple fact is that the upgrade is broken – seemingly for all versions of OSX and for Windows PC users too.

So my advice is to NOT upgrade Lightroom from v1.1.1 (July 2015) and do not upgrade your OSX from 10.10 to 10.11.

Adobe are, as they say, on the case.

The Short Term Lightroom Crash Fix

But, if you are one the many poor unfortunate folk who HAVE updated to Lightroom CC 2015 v2.0 then do not stress (and this applies to PC versions too):

That’s it – you’ve now ‘rolled back’ Lightroom.

It’s worth going into the preferences panel to ensure the GPU Acceleration is turned off – this being the cause of the major faux-pas with the original launch!

From what I’ve seen of the new Lightroom I can say I’m impressed, and I certainly hope the official fix, when it comes, doesn’t kill off the apparent speed increase.

The Dehaze filter in the EFFECTS panel is still crap BUT it’s now become very useful in other ways – they’ve added it as a local adjustment within graduated and radial filters and the adjustment brush – now that will add some definite ‘plus’ possibilities for sure.

There’s a new look and layout for the import dialogue box with some big chunky ticks and crosses to make things a bit more obvious to the Lightroom ‘newbie’ as well as other bits ‘n bobs that may prove useful or not as the case may be.

But overall I like it – from what I’ve seen – apart from the fact that it doesn’t work right now!

I’m actually looking forward to the fixed issues version –  it may well turn out to be something of a seriously BIG improvement.

import1 Lightroom CC 2015 v2.0 crash fix

The new view when you click IMPORT in Lightroom CC 2015 v2.0 for the first time – some have suggested this is responsible for crashing v2.0, but personally I can neither prove or disprove the theory.

UPDATE – 06.02am Saturday 10/10/15

Last Night Adobe released a hot fix to address the problems for Mac and Windows PC users – click HERE for more info and links.

 

 

Photoshop Save for Web

Save for Web in Photoshop CC 2015 – where the Chuff has it gone?

“Who’s moved my freakin’ cheese?”

Adobe have moved it……..

For years Photoshop has always offered the same ‘Save for Web’ or ‘Save for Web & Devices’ option and dialogue box:

SFW1 900x563 Photoshop Save for Web

The traditional route to the ‘Save for Web’ dialogue in all versions of Photoshop prior to CC 2015.

But Adobe have embarked on a cheese-moving exercise with CC 2015 and moved ‘save for web’ out of the traditional navigation pathway:

SFW2 900x563 Photoshop Save for Web

Adobe have ‘moved your cheese’ to here, though the dialogue and options are the same.

If we take a closer look at that new pathway:

SFW3 Photoshop Save for Web

…we see that wonderful Adobe term ‘Legacy’ – which secretly means crap, shite, old fashioned, out dated, sub standard and scheduled for abandonment and/or termination.

‘THEY’ don’t want you to use it!

I have no idea why they have done this, though there are plenty of excuses being posted by Adobe on the net.  But what is interesting is this page HERE and more to the point this small ‘after thought’:

SFW4 Photoshop Save for Web

That sounds really clever – especially the bit about ‘may be’……. let’s chuck colour management out the freakin’ window and be done!

So if we don’t use the ‘legacy’ option of save for web, let’s see what happens.  Here’s our image, in the ProPhotoRGB colour space open in Photoshop CC 2015:

SFW5 900x563 Photoshop Save for Web

So let’s try the Export>Quick Export as JPG option and bring the result back into Photoshop:

SFW6 900x563 Photoshop Save for Web

Straight away we can see that the jpg is NOT tagged with a colour space, but it looks fine inside the Photoshop CC 2105 work space:

SFW7 900x563 Photoshop Save for Web

“Perfect” – yay!…………NOT!

Let’s open in with an internet browser……

SFW8 900x563 Photoshop Save for Web

Whoopsy – doopsy…!  Looks like a severe colour management problem is happening somewhere……..but Adobe did tell us:

SFW4 Photoshop Save for Web

Might the Export Preferences help us:

SFW9 900x563 Photoshop Save for Web

In a word……..NO

Let’s try Export>Export As:

SFW10 900x563 Photoshop Save for Web

Oh Hell No!

If we open the original image in Photoshop CC 2015 in the ProPhotoRGB colour space and then go Edit>Convert to Profile and select sRGB; then select Export>Quick Export as JPG, the resulting image will look fine in a browser.  But it will still be ‘untagged’ with any colour space – which is never a good idea.

And if you’ve captioned and key worded the image then all that hard work is lost too.

So if you must make your web jpeg images via Photoshop you will only achieve a quick and accurate work flow by using the Save for Web (Legacy) option.  That way you’ll have a correctly ‘tagged’ and converted image complete with all your IPTC key words, caption and title.

Of course you could adopt the same work flow as me, and always export as jpeg out of Lightroom; thus avoiding this mess entirely.

I seriously don’t know what the devil Adobe are thinking of here, and doubtless there is or will be a work around for the problem, but whatever it is it’ll be more work for the photographer.

Adobe – if it ain’t broke then don’t fix it !!

 

Please consider supporting this blog.

This blog really does need your support. All the information I put on these pages I do freely, but it does involve costs in both time and money.

If you find this post useful and informative please could you help by making a small donation – it would really help me out a lot – whatever you can afford would be gratefully received.

Donations would help offset the costs of running this blog and so help me to bring you lots more useful and informative content.

Many thanks in advance.

 

Lightroom Dehaze – part 2

More Thoughts on The Lightroom Dehaze Control

Screen Shot 2015 06 27 at 14.49.06 900x625 Lightroom Dehaze   part 2

With the dehaze adjustment in Lightroom (right) the sky and distant hills look good, but the foreground looks poor.

In my previous post I did say I’d be uploading another video reflecting my thoughts on the Lightroom/ACR dehaze adjustment.

And I’ve just done that – AND I’ve made a concious effort to keep the ramblings down too..!

In the video I look at the effects of the dehaze adjustment on 4 very different images, and alternative ways of obtaining similar or better results without it.

You may see some ‘banding’ on the third image I work on – this is down to YouTube video compression.

In conclusion I have to say that I find the dehaze ‘tool’ something of an anti-climax if I’m honest. In fairly small positive amounts it can work exceptionally well in terms of a quick work flow on relatively short dynamic range images.  But I’m not a really big fan in general, and It’s possible to create pretty much the same adjustments using the existing Lightroom tools.

In the video I make a passing mention of a third party plug-in by Topaz.

If you take my advice, get the Topaz Clarity plug-in for Lightroom, or Photoshop using the link below.
Clarity banner 125x125 3 Lightroom Dehaze   part 2

I’ll be doing an ‘in-depth’ look at this Topaz plug-in in the next few days or so – it’s got a lot going for it, isn’t all that expensive, and beats the living daylights out of the Lightroom/ACR dehaze tool on those tricky images with a myriad of fine detail.

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