سه مورد مهم در عکاسی از ساختمان های تاریخی

سه مورد مهم در عکاسی از ساختمان های تاریخی

آیا این ساختمان تاریخی است یا هنری ؟؟؟

 

شاید برای شما هم اتفاق افتاده باشد که به شهری در نزدیکی خود سفر کرده باشید،

یا برای تفریح به شهر ها و کشور ها و یا حتی مناطقی نادیده رفته اید.

رفتن به سفر برای هر شخصی ، معنی خاصی را تداعی می کند و به شما جلوه های مختلف قدرت الهی را نشان میدهد،

امروز می خواهیم راجع به دست ساخت های بشر که در طبیعت های مختلف ایجاد شده اند صحبت کنیم.

لوگوی شرکت تجسم زیبا - داپشمعمولا وقتی به سفر میرویم،

علاوه بر فضاهای مختلف طبیعی به ساختمان ها و مکان هایی میرسیم که توسط انسان ایجاد شده اند،

با دیدن این فضا ها متعجب می شویم و گاهی از دیدن آنها لذت برده و گاهی نیز غمگین می شویم،

هر مکانی در جایی از کره خاکی ، معنی و مفهوم خاصی برای اهالی آنجا دارد.

یادمان ، یک نوع بناست که صراحتاً برای بزرگ‌داشت یک شخص یا یک رویداد مهم ساخته‌شده‌است

که برای یک گروه اجتماعی یادآور زمان‌های تاریخی یا میراث فرهنگی آنهاست.

یادمان‌ها نمونه‌ای از معماری تاریخی محسوب می‌شوند.

واژه یادمان معمولاً برای ساختمان‌ها و بناهایی بکارگرفته می‌شود که جنبه تاریخی و فرهنگی دارند.

به‌طور خاص‌تر، بناهایی که در زمان‌های گذشته ساخته شده‌اند و به‌مرور زمان ارزش تاریخی پیدا کرده‌اند یادمان نامیده می‌شوند

و می‌توان به گونه‌های زیر اشاره کرد:

«یادمان باستانی» که شامل بناهای بسیار قدیمی و باستانی است و «یادمان تدفینی» که سازه یا ساختمانی است که در بسیاری از فرهنگ‌ها بر گور درگذشتگان بر پا می‌شده‌است.

اینکه این ساختمان ها ، تاریخی هستند یا هنری ، یا اینکه هم تاریخی و هم هنری هستند،

جای بحث سنگینی دارد که میطلبد متخصصان مختلف راجع به آن بحث کنند ، ولی عکاسی از این ساختمان ها ، شرایط و ویژگی های خاص خود را دارد.

 

از چه زاویه ای نگاه کنیم؟

 

نگاه کردن ، همیشه با چگونه دیدن متفاوت است.

برای دیدن بنا ها و ساختمان های مختلف ، مخصوصا از لحاظ عکاسی ، می بایست ،

به شیوه های مختلفی ساختمان مربوطه را بررسی کنید و بدانید برای معرفی آن ، می بایست از چه زاویه ای عکس بگیرید.

گاها شده در عکس های مختلف ، زاویه های خارق العاده را دیده اید.

ولی این سوال مطرح می شود ، که چگونه این عکس گرفته شده است؟؟؟

چندین زاویه خوب وجود دارد که معمولا مورد استفاده اکثر عکاسان است و استفاده ی زیادی از آنها شده است.

و به گونه ای نیست که بشود گفت ، همیشگی است ، بلکه شما نیز می توانید زاویه مخصوص خودتان را بیابید و آن را با بهترین عکس ثبت کنید.

اینکه چگونه بتوانید زاویه خوبی را بیابید ، بستگی به ساختمان و نگاه شما دارد ،

ولی نمی توانیم فرمولی خاص را برای اینکار پیدا کنیم.

 

یک کادر و ترکیب بندی خوب

با وجود این که دوربین‌ھا و تجھیزات عکاسی ساختمان روزبروز خودکارتر و دقیقتر میشوند،

ھنوز تفاوتھای بسیاری بین عکسھای یک عکاس آماتور و یک عکاس حرفه‌ای وجود دارد.

یکی از نکات مھمی که یک عکس حرفه‌ای و با ارزش را از یک عکس ضعیف و آماتوری متمایز میکند، کادربندی و ترکیب بندی صحیح عکس است.

 

موضوع:

حالت کلی موضوع در انتخاب کادر مؤثر است.

انتخاب کادر باید با حالت جاافتاده و پذیرفته شده طبیعی موضوع که در نهایت براحتی مورد پذیرش چشم بیننده قرار می گیرد.

متناسب باشد. هنگامی که عوامل عمودی متعدد می شوند و در سطح افق گسترش می یابند کادر مستطیل افقی مناسبتر است.

 

عوامل هدایت کننده چشم :

این عوامل، موجب تعیین کادر می شود از این نمونه می توان به جهت دید و یا سمت حرکت موضوع ،‌خطها ، سطحها و تاریکی ها و روشنایی ها اشاره کرد.

 

زاویه دید را به سه دسته تقسیم می کنند:

زاویه دید از روبرو:

اگر دوربین در امتداد محور چشم عکاس و عمود بر خط افق باشد

زاویه دید روبرو نامیده می شود در این زاویه دید، تحریف یا اغراق در تصویر به وجود نمی آید

و موضوع حالت طبیعی خود را حفظ می کند. بیشتر در عکاسی چهره، به کار می رود.

 

زاویه دید از پایین:

اگر دوربین هنگام عکاسی پایین تر از خط چشم موضوع قرارگیرد

در ابعاد موضوع اغراق شده و با عظمت و پایداری بیشتری جلوه می کند

اما اگر زاویه دید بسیار پایین باشد موضوع حالت مضحک و غول پیکر به خود می گیرد.

 

زاویه دید از بالا:

اگر دوربین به هنگام عکاسی ساختمان بالاتر از سطح دید موضوع قرار گیرد تصویر موضوع کوچکتر و حقیرتر به نظر می رسد.

تعیین قاب (کادر یا فریم frame) تدبیری است که در طی آن عکاس با استفاده از عوامل موجود در صحنه، معنای بیشتری به سوژه خود میبخشد.

این قاب میتواند هر چیزی باشد،

چند بوته، درختان، یک پنجره یا یک درب، همه میتوانند قابی دیگر در قاب اصلی عکس ایجاد کرده و توجه بیننده را به موضوع اصلی معطوف نمایند.

شما برای انجام دادن این کار باید بسیار مراقب باشید

که فاصله و نور دوربین را بر روی اسن قاب تنظیم نکنید،

بلکه شما باشد فاصله و نورسنجی را برای سوژه درون قاب انجام دهید.

اگر شرایط نور را طوری فراهم کنید که بتوانید از دیافراگم بسته استفاده کنید بسیار بتر است، زیرا عمق میدان وضوح بیشتری خواهید داشت.

ممکن است که نور سنجی صحیح موجب شود بخشی از این قاب، تاریکتر از بقیه عکس باشد، که این حالت هم میتواند به حس دراماتیک عکس کمک کند.

برای بهبود کادربندی تصاویر٬ معمولا عکاسان از اصول زیر بهره می‌برند:

  • قانون یک‌سوم – (قرار دادن سوژه روی خطوط یک سوم)
  • قانون نقاط طلایی – (قرار دادن نقاط کلیدی سوژه – مانند چشم‌ها – روی نقاط طلایی تصویر)
  • ایجاد حالت S – (انحنای سوژه)
  • ایجاد حالت X – (برخورد سوژه با عوامل محیط در طول قطرهای کادر)
  • بررسی پس زمینه و پیش زمینه تصویر – (تنظیم دیافراگم٬ عمق میدان و نوع کادر عکس)
  • استفاده از کادرهای طبیعی – (استفاده از عناصر موجود – مانند پنجره – به عنوان کادر در تصویر)
  • استفاده از قاعده فرد – (گنجاندن سوژه در کادر با ضریب اعداد فرد).
داپش - مرجع اشتراک طراحان و عکاسان - شرکت پژوهشگران تجسم زیبا

قله و کوه آلگوین کوین

قله Algonquin

محل

رشته قله و کوه آلگوین کوین در بالادست نیویورک واقع شده اند.
پارک Adirondack 6 میلیون هکتار ترکیبی از عمومی و
زمین خصوصی ، به شما امکان می دهد در جوامع کوچک کوهستانی بمانید
احاطه شده توسط بیابان های محافظت شده از دولت. کوهها شکل می گیرند
رودخانه های رودخانه قدرتمند هادسون و در مقابل دریاچه زیبا Champlain.
فرصت های بی پایان برای کشف همه چیز از راه دور وجود دارد
دریاچه های بیابان تا قله های مرتفع کوهستانی. برای کسانی که به دنبال کوتاه تر هستند
مکانهای دیدنی و تفریحی کنار جاده بسیار زیاد است.
کوه های بیابان های قله بلند اکثر مناطق را به خود جلب می کند

لوگوی شرکت تجسم زیبا - داپشتوجه:

اما مکانهای زیادی برای بازدید و گشت و گذار در آن وجود دارد
همچنین. Champlain Valley کم ارتفاع ، تعداد بسیار زیادی از فیلم کوتاه را ارائه می دهد
پیاده روی با چشم اندازهای برجسته از قله های بلند به غرب و دریاچه
Champlain به شرق. کوه Poke-O-Moonshine ، درست قرار دارد
خاموش Interstate 87 ، یک پیاده روی کوتاه با نماهای عالی است.
قله Algonquin با قد 5114 پا ایستاده و بلندترین است
کوه در ایالت نیویورک و بلندترین کوه مک-
Intyre Range که دامنه برجسته ای است که از Lake Placid دیده می شود.
مسیر صعود به قله از یک طرف 4 مایل و در حدود 3،000 صعود می شود
پا. منظره های این قله دیدنی است – از شرق شما
همچنین به کوه کولدن ، کوه مارسی و رشته کوه بزرگ نیز مراجعه کنید
دیکس Whiteface و Lake Placid از شمال برجسته است.
محدوده های Seward و Santanoni در غرب قابل مشاهده است. مستقیما به
از جنوب نماهای دریاچه کولدن و سرزمینهای روان است.

هوا

شرایط آب و هوایی در قله و کوه آلگوین کوین می تواند بسیار متغیر باشد.
در زمستان درجه حرارت می تواند به -40 درجه فارنهایت برسد
در دهه 90 در تابستان. زمستان در Adirondacks
می تواند به خصوص اگر به سمت یک مورد بروید ، به ویژه چالش برانگیز باشد
نشست برای عکاسی. اگر به خوبی پیاده روی در زمستان را پیگیری نمی کنید ،
هنوز هم می توانید صحنه های عالی زمستانی را از مکانهای کنار جاده ضبط کنید.
مسیرهای پیاده روی می توانند بسیار پر گل و عبور از مسیرهای خطرناک باشند
بهار ، زمان سالی که معمولاً چسبندگی توصیه می شود
به ارتفاعات کم تابستان ها گرم و البته مرطوب هستند ، بنابراین خواهید بود
می خواهید مطمئن شوید که مقدار زیادی آب حمل می کنید. همیشه مطمئن باشید
اگر قصد افزایش پیاده روی را دارید ، پیش بینی وضعیت هوا را از قبل بررسی کنید.

تجربه عکس

من به همین دلیل در پارک Adirondack عکاسی و زندگی کردم
بیش از یک دهه و هنوز احساس می کنم فقط سطح را خراشیده ام.
بسیاری از دیدنی ترین مکان ها نیاز به پیاده روی 10 به علاوه دارند
مایل دور رفت و برگشت و صعود 2000 تا 3000 پا. این مسئله یک
چالش ویژه برای عکاس چشم انداز از نظر
بودن در مکانی در ساعات طلایی. باید هزینه کنید
برنامه ریزی زمان زیادی در پیش رو و آماده سازی مخصوصاً
می خواهم از تمام مقررات محلی آگاهی داشته باشید ، که در همه موارد متفاوت است
پارک. به عنوان مثال ، اردو زدن بیش از 3500 پا مجاز نیست
در بیابان های قله بلند
نکته جالب در مورد Adirondacks این است که شما نیازی به بیدار شدن در آن ندارید
نیمه شب برای شروع یک پیاده روی خسته کننده 5 مایل به یک قله کوه بلند
برای گرفتن عکسهای عالی تعداد پیاده روی های کوتاه تر بسیار زیاد است
منجر به نماهای برجسته و این فقط عکس گرفتن از کوه نیست.
منطقه Keene Valley دارای آبشارهای بسیار زیبا و مقدس است
Regis Canoe Area مملو از دریاچه های کوچک و استخرهای زیبا است. OP

بهترین زمانها

اگر قبلاً در Adirondacks نبوده اید ، توصیه می کنم از آنجا بازدید کنید
تابستان یا پاییز اگر در جستجوی شاخ و برگ پاییز هستید ، معمولاً رنگ اوج را مشاهده می کنید
دو قسمت بعد برای قسمت جنوبی پارک. هنگامی که شما یک دراز کشیدن خوب است
از زمین ، زمستان نیز زمان بسیار خوبی برای بازدید است.
مخاطب: از Adirondacks ، visitadirondacks.com بازدید کنید.

 

 

ME, MYSELF, AND SELF-PORTRAITURE

My name is Gilmar Smith, and I’m addicted to self-portraiture.
Self-portraits have been around for a very long time. “Portrait
of a Man in a Turban,” painted by Jan van Eyck in 1433,
is claimed to be the first self-portrait ever made. The first
photographic portrait ever taken was a self-portrait taken in
1839 by Robert Cornelius, who was a photography enthusiast
and a chemist in Philadelphia, Pennsylvania.

Artists such as Rembrandt, Michelangelo, Leonardo
da Vinci, Francisco Goya, Monet, Parmigianino, Gustave
Courbet, Vincent van Gogh, Pablo Picasso, Frida
Kahlo, Andy Warhol, Vivian Maier, just to name a few,
were also self-portrait artists.
There has always been a misconception about selfportraits
being linked to narcissism, but self-portraits are
a way of expression, just like any other form of art.
Selfies vs. Self-Portraits
Before we go deeper into the topic, let’s set something
straight, starting with definitions. The Oxford Dictionaries
website defines “self-portrait” as a portrait of an
artist produced or created by that artist. In 2013, “selfie”
was hailed as the Oxford Dictionaries’ Word of the Year,
and they defined it as “a photograph that one has taken
of oneself, typically one taken with a smartphone or
webcam and shared via social media.”
Self-portraits are the most intimate relationship
between an artist and his or her craft. It’s a representation
of one’s self through art, where there’s an artistic
intent, a concept, and planning involved.
Comparing selfies and self-portraiture is like comparing
a snapshot to a photograph, or comparing Kim Kardashian
to Frida Kahlo. Selfies are ephemeral, while selfportraits
are timeless pieces of art.
Of course, we can’t ignore how selfies have become
a global phenomenon; think about Snapchat, duck lips,
the fish gape, the pout, gym selfies, blur filters, etc.
Even monkeys weren’t able to escape the hype. Do you
remember the case that became a massive copyright
debate back in 2011 about a monkey pressing the trigger
of wildlife photographer David Slater’s camera? I’m
sure the crested black macaque is still upset she doesn’t
own the copyright for her selfies.
Why Self-Portraiture?
If you were a writer, wouldn’t you write your own story?
If you were a tailor, wouldn’t you tailor yourself a nice
fancy suit?
Self-portraiture will take your art to another dimension.
It will help you discover yourself as an artist by
building a more intimate bond with your craft. Self-portraits
are a fantastic way to experiment creatively with

your photography, and it will also
improve the way you connect with
your subjects. After you get over
your camera fear and self-judgment,
you’ll be able to use techniques you
learn through self-portraiture to
ease your subjects and teach them
things such as posing by mirroring,
because, of course, you’ll learn how
to pose while shooting self-portraits.
There’s a magical state of vulnerability
when it’s only you in front of
your camera taking a self-portrait. I’m
not a musician, but I imagine it’s like
when musicians compose a song; it’s
an intimate moment with their heart,
an instrument, and paper.
Self-portraits were a very important tool in developing
my personal style. When I started photography, the first
thing I wanted to shoot was portraits, then I tried a little
bit of everything, but I soon realized that, in my case, an
image was meaningless if there was nobody in my frame.
As I was learning, my family soon tired of my asking
them to be test subjects in front of my camera, so I got
myself a little remote and started to shoot self-portraits.
Only a month in, my infamous Hamburger Hat selfportrait
was born and so was my love for self-portraiture.
I began experimenting with every technique, lighting,
and postprocessing style I could. Then I settled for what
I loved the most, which is happy, colorful, and humorous
portraits. No matter how I felt, I always laughed and

enjoyed myself while shooting that kind of self-portrait;
it’s a way of self-care. I also realized a while ago
that I have a deep connection with self-portraiture
and my love for food. I don’t know what the psychological
explanation to that is, but food is almost
always present in my self-portraiture.
When you work with clients, sometimes you have
to sacrifice your vision to make the client happy. But
when you’re creating self-portraits for yourself, you
have total control of your concept and process. We
all know how important personal work is for artists.
We need to be creating and experimenting to grow.
Self-portraiture has also been very cathartic for me.
I lost my love last year, and grief came to stay, taking
over my whole life. I couldn’t find the joy or the
bright colors in my portraits anymore. It was all darkness
instead. But as Carrie Fisher once said, “Take that
broken heart and turn it into art,” so I put my heart
out there.
We’ve heard stories from many artists on how art
came to save their lives in moments of darkness. Frida
Kahlo’s story is one of them. She was a very resilient
woman. She expressed her physical, romantic, and
emotional pain through her self-portraiture. You can
feel so much emotion by looking at her self-portraits.
One of my favorites of her quotes is, “I paint self-portraits
because I am so often alone, because I am the
person who I know best.” I don’t think any other artist
would be able to express in art the turmoil in which she
lived, the way that she did through her self-portraiture.
How to Get Started in Self-Portraiture
If you’re reading this, chances are you already own
a camera and you’re into photography. You don’t
need much extra gear to start, just a remote trigger,
a tripod, and a tethering cable (optional).
I’m not going to lie to you. Self-portraiture can be
very uncomfortable at first. After you break through
the discomfort of walking away from the back of the
camera to be in front of it, however, you’ll find your
new world of creativity. Start with something that
makes you feel at ease. If you usually shoot landscapes,
try to incorporate yourself in your landscape photography;
the same if you shoot long exposures. I’ve seen
so many captivating, long-exposure self-portraits in
fabulous locations that are just breathtaking. If you’re
a street photographer, look at the way the amazing

Vivian Maier used to shoot beautiful self-portraits
incorporating her love for architecture and street
photography.
Play with light, find lighting diagrams online,
and practice on yourself. Experiment. Tell your
story: who you are, what you stand for, what
makes your heart beat, and what saddens you.
There’s nothing wrong about sharing your vulnerability
with the world through art.
There isn’t a right or wrong when shooting selfportraits,
and that’s the magical part of it. Challenge
yourself to learn and try new things. Look
for images that catch your eye and try to re-create
all of its elements: the lighting, the mood, and the
postprocessing. Have fun—nobody is watching!
Play with color. One of my tricks to get my colors
right is to create a palette first. For that, I go to
paletton.com. I pick my colors and then use them
on my props, clothing, makeup, and background.

Get your voice heard. Shoot for a
cause. I’m from Venezuela, a country
that’s been through a political
and economic catastrophe. I left my
country many years ago, but my
parents and some friends are still
there. It hurts to see such a great
and beautiful country collapse like
that. I can’t do much from here, but
I can share my support through my
art and make sure the world is
aware of everything that’s going
on there.

Get your family involved! You can never
have too many family portraits, especially
when you’re having fun shooting them.
Collaborate with other photographers.
Below is a little collaboration
my friend and
fellow photographer, Mark Rodriguez, and
I did a little while ago. We’ve collaborated on
projects a few times, and it’s always a blast.
Turn yourself into your favorite characters.
I’m a huge Disney fan, so it was evident one
day I was going to become part of the cast,
well, at least in pictures.
Make people laugh…or gross them out!
Shoot a self-portrait for the holidays (all
of them!).

Another great way to use self-portraiture
to improve your craft is to learn
and practice new postprocessing skills,
or even to test new concepts or lighting
for a client assignment. You don’t
want to risk your time trying to see if
your idea will work or not while on set
with clients.
Remember, the images you create, you’re
creating for yourself, so the sky’s the limit.
You have nobody to please; you don’t
have to seek anyone’s approval. Moreover,
it’s there, when you let all those
things go, when you finally find your
voice and yourself as an artist. n

KEEPING UP WITH LIGHTROOM’S EVOLUTION

Lightroom 1.0 released the same year as the first iPhone, and
a lot has changed over these last 10 years regarding computer
technology, mobile technology, and how we use these
devices in our workflow. For most of this time, Lightroom
existed in two nearly identical flavors: Windows and Mac.
Desktop computers have waned in use over this period, as
laptops became more powerful, but whether you used a
desktop or a laptop (or both), you either ran Lightroom on
Mac or on Windows.

In 2014, because of the explosion in popularity of mobile
devices (in the form of phones and tablets) and their increasing
computing power, Adobe released a Lightroom Mobile
app (along with a boatload of other Adobe apps) designed
for the mobile platforms. Updates to the Lightroom Mobile
app come at a frequent pace, and its feature set has begun to
rival that of the desktop/laptop version of Lightroom. We’ve
also seen the emergence of Windows-based tablets, such as
the Microsoft Surface and Wacom MobileStudio Pro, that
are designed with imaging professionals in mind. On top of
all these hardware innovations, we’ve also seen the way we
license Adobe software evolve from a perpetual (pay once)
license to a monthly subscription (Creative Cloud).
While it’s great to have so many choices, and to see so
many innovations in hardware and software, I can tell you
from my experience on the Lightroom Help Desk that all
of this can be hard for new users (and even some experienced
users) to keep straight. So, my goal for this issue is to
clarify the differences between these options, and to define
the terms you’ll see used to describe them, so that you can
spend more time using these tools and less time scratching
your head.

Mac vs. Windows
As someone who has used Lightroom on both Windows and
Mac computers, I love the fact that there’s virtually no difference
in features, functionality, performance, or appearance
on the two platforms. In fact, if you put Lightroom
in Full Screen mode (Window>Screen
Mode>Full Screen), you’d have a hard time
telling which platform it was on. That said,
I do get questions from Lightroom users
who are only familiar with one operating
system, and get confused when they see
things in tutorials, books, or videos that
don’t look exactly the same on their computers.
So, for the sake of anyone not well
versed in both operating systems, here are
the few (minor) differences between using
Lightroom on a Mac or Windows.
Most of the differences are where Lightroom
meets the operating system, such as
when choosing a destination folder from
the Export dialog or adding a new folder in
the Folders panel. For example, on a Mac,
in the Export Location section of the Export
dialog, if you click the Choose button to
navigate to your desired output folder,
you’ll see a very Mac-looking dialog, and
the button you click once you’ve selected
the folder is labeled “Choose.” Performing
that same action on Windows, however,
produces a very Windows-looking dialog
with that same button labeled “Select
Folder.” While not a major difference, I’ve
seen that exact issue confuse a number of
people over the years.
Another key difference between using Lightroom on these
two operating systems is the keyboard itself. There are a few
differences in modifier keys we use for all kinds of shortcuts.

The Command key on the Mac performs the same function
as the Ctrl key on Windows, and the Option key on Mac performs
the same function as the Alt key on Windows. Here in
this magazine, we write out both versions of the keyboard
shortcuts when applicable, but not everyone does.
When Lightroom is in Normal Screen mode (Window>Screen
Mode>Normal), you’ll see the main visible difference.
On a Mac, you’ll have the red (close), yellow (minimize), and
green (maximize) buttons at the top left of the interface,
while on Windows, the minimize, maximize, and close buttons
are at the top-right of the interface. Press Shift-F on
either operating system to cycle through the screen modes.The only other difference in functionality I can think of is that
on the Mac version of the Slideshow module, there’s a dropshadow
effect in the Overlays panel, while there has never
been such a feature in the Windows version. I don’t know
why, but it’s been this way as far back as I can remember.

Perpetual vs. Creative Cloud
Currently, Lightroom is the only application I can think of
that’s available as a perpetual license purchase, as well as
part of the Creative Cloud (CC) subscription. The perpetual
license is where you pay one price for the license and
use it until you either upgrade or your operating system
no longer supports that version. The CC subscription is
where you pay (on a monthly or yearly basis) for that
same license to use the software until you no longer wish
to pay.
The perpetual license version is referred to as Lightroom 6,
while the subscription version is referred to as Lightroom CC
2015. Since Lightroom 6/CC 2015 was released, there have
been 11 “dot” releases that have included bug fixes, new
Camera Raw support, and new lens profiles, which has
brought the software up to Lightroom 6.12 and Lightroom
CC 2015.12 (the .11 number was skipped to avoid naming
Camera Raw 9.11). You can go to Help>System Info to confirm
which version you’re using.
From here, the two versions of Lightroom begin to diverge
in functionality. With the CC subscription, in addition to the
bug fixes and new camera/lens support, Lightroom CC has
gained new functionality in the form of the Dehaze slider
(found in the Effects panel and local adjustments) for removing
atmospheric haze; the addition of Whites and Blacks
sliders in the local adjustment tools; the Boundary Warp
option on the Merge to Panorama function (Photo>Photo
Merge>Panorama); a Guided Upright mode in the Transform
panel; and the new Reference View in the Develop
module (View>Open in Reference View).
On top of getting new features as they’re released,
and access to the next new version of Lightroom when
it’s released, CC subscribers get integration between their
computer-based (Windows/Mac desktop/laptop) Lightroom
catalog and the Lightroom Mobile app on their
mobile devices. It’s your Adobe ID used for your CC subscription
that links your Lightroom catalog to the “cloud.”

Computer vs. Mobile
This is where things start to get confusing from a language
perspective. Mobile, in the Lightroom context, applies only
to phones and tablets running iOS or Android operating
systems. So, if you have an Android tablet or phone, or an
iPhone or iPad, you can go to the respective app store on
each platform and download and install the Lightroom
Mobile app to your device. Lightroom Mobile contains
functionality for organizing your photos (flags, ratings,
collections), editing your photos (about 90% of the
Develop module and growing), sharing your photos (think
exporting), and even a built-in camera that can capture
in DNG.
Lightroom Mobile is free, and you don’t actually need a
CC subscription to use it; however, you do need a CC subscription
to be able to sync the mobile app with your Lightroom
catalog and to take advantage of the local adjustment
features in the app.
When referring to the version of Lightroom on your computer,
you’ll most often hear it referred to as “Lightroom
Desktop” to differentiate it from the mobile app, regardless of
whether you’re using a desktop or laptop computer, so don’t
be confused by that. Since desktop computer use is waning,
I can’t imagine that Lightroom Desktop will be what it’s
called 10 years from now, but until then, it does help to have
a unique name.
As with Windows vs. Mac, there are some differences
in functionality between the iOS and Android versions of
the mobile app. I won’t bother spelling them all out now,
because of how frequently the mobile app gets updated,
and by the time you read this it will be different. That said,
historically the new features tend to hit the iOS devices first
and then the Android devices soon after. The best place to
go for details about each release is the Lightroom Journal
blog run by the Lightroom team.
Where Does the Tablet Computer Fit In?
The Microsoft Surface Book is probably the most common
touch-enabled device that merges the laptop and tablet technology
into one, but the Wacom MobileStudio Pro fits into
this category as well. I’ve been impressed with the Surface,

but I picked up a MobileStudio Pro because
I’m used to the Wacom tablet experience.
When it comes to Lightroom versions,
though, these are both Windows computers,
and as such you can install Lightroom
6 or CC on them. Because they’re rightfully
referred to as “tablets” and they’re pretty
mobile, I’ve seen some confusion about
whether they can run Lightroom Mobile
(no, they can’t).
A contributing factor to the confusion
is that these devices can operate in a special
Touch Workspace that’s designed to
make it easier to use with your fingers. There are some cool
aspects to the Touch Workspace, especially if you don’t have
an attached keyboard, but you can still run the regular nontouch
(normal) Lightroom interface, too.
Lightroom Magazine
On the Surface, when you detach the screen from the
base, it presents the option to automatically switch into
Touch, but there’s also an icon at the top-left of the Filmstrip
that lets you switch workspaces manually. On the
MobileStudio Pro, you can only switch it manually.

The Touch Workspace itself looks very much like the
Lightroom Mobile workspace, where the buttons are larger,
the touch gestures are similar, and the editing experience is
nearly identical.
With all those visual similarities, I can see why there’s
confusion. I still spend most of my editing time in the regular
Lightroom workspace, but I appreciate that Adobe is
trying new ways to leverage touch functionality in regular
computers. I’d really love to see Apple come out with a
touch-enabled computer.
Conclusion
To sum up, the key differences to be concerned with pertain
to the operating system of your device and whether or not
you’re paying for the CC subscription or perpetual license.
Terms like laptop, desktop, mobile, and tablet don’t always
fit the device in question, and can make for confusing conversations.
As technology hurdles forward and new devices
emerge, I’m sure our language will evolve as well. I’m excited
to see what that future will bring.

LIGHTROOM MOBILE TRICKS THAT WILL CHANGE YOUR LIFE

The Lightroom Mobile app helps you shoot, retouch, and
post photos—all on your phone, which is pretty amazing! So
here are my top five tips to help you use the app to its full
potential! Keep in mind that some of these tricks will only
work if you’re a Creative Cloud member, which allows you
access to some advanced features and the ability to sync collections
from the Lightroom desktop to the Lightroom app
on your mobile device. [For some essential concepts and
techniques for Lightroom Mobile, check out page 62.—Ed]

Tip #1: Shoot with Your
Lightroom Camera
Shooting with the Lightroom Camera
is a great way to take your phone photography
to the next level, and here’s
why: You can select your ISO, shutter
speed, exposure, and even capture
your photo as a DNG (if you have
iOS 10 and some android phones)!
A RAW file means more data and
more fun!
To shoot with the Lightroom
Camera, click on the camera icon at
the lower right in the Lightroom app.

Just below the shutter button,
select the Professional mode; otherwise,
there’s no difference from using
your regular phone camera.
Now that you’re a professional,
you’ll have access to the ISO, shutter
speed, and exposure! Simply click
on the ISO icon, and use the slider to
select your ISO. Try to set it as low as
possible; I usually go for 25.

Then you can play around with the speed.
You’ll need a tripod if you pick a speed
slower than 1/40 because your shot might
become blurry. (Here I was in a hotel, so this
isn’t the perfect situation to take a photo, but
if you have some light, it works great. I had to
boost the ISO. You can adjust your speed and
ISO depending on the light situation.)
This is the main reason you should shoot
with your Lightroom camera: on the left side
of your screen, you have the choice of JPG or
DNG File Format—please choose DNG! You
won’t regret it; it really makes a big different
if you want to retouch your photos!
Below are some examples of photos that I
shot with my iPhone 7 so you can get an idea
of how great it is to shoot RAW with your
Lightroom Camera!

Tip #2: Retouch Your
Photo Directly in
Lightroom Mobile
Once you have your RAW file, you can use
the same workflow that you use at home on
the Lightroom desktop. You can open up the
shadows, bring down the highlights, boost
the white point, lower the black point, apply
radial filters and linear gradients, etc.
This is very practical for getting immediate
results, plus you can save the files to your
camera roll and share them right away on
social media!
Tip #3: Use Lightroom
Collections to Show
and Share Your Work
The great thing about Lightroom Mobile is
you can see all your collections that you’ve
synced in Lightroom desktop, so if you want
to show your work to someone on your
mobile device, you just have to click on a collection
and all your photos are right there.

You can also share your collection with
anyone; Lightroom Mobile will create a web
link for you that you can send to anyone.
That way, they can see an entire collection
or a single photo. They can even view your
photos as a slide show. I use this feature a lot
to submit my photos to galleries or to show
them to friends. To share a selection, first
go into that collection, tap the Share icon
(square with an arrow) near the top right,
and then tap Share Collection. And in the
dialog that appears, tap Share.
Now you can send the link via email, text,
etc., and the other person will have access to
a very professional web interface with your
photo collection. No need to create or use a
template—it’s so easy to use!

Tip #4: Retouch Your
Photos Online Using
Lightroom.Adobe.com
When using lightroom.adobe.com (creative
cloud members only), you can access
all of your collections synced with Lightroom
Mobile, and the really great thing is that even
if you’re logged in on another computer, you
can still retouch your photos. They will update
everywhere: on your Lightroom desktop and
Mobile. It’s perfect to use with a client or a
friend because you can retouch a photo right
away with his computer, even if he doesn’t
have Lightroom. If the colors don’t look nice
on his computer, you can fix it right there,
and it will synchronize with the collection.
To edit a photo, click on its collection,
click on the photo, and then click Edit this
Photo in the top left corner. When you’re
done, click Save & Exit at the top left.
On your main desktop, you can find your
collections from your mobile under a folder
called From Lr mobile.

Tip #5: Find Your Photo
in Seconds!
I always try to apply keywords when
I import photos, but I forget from
time to time. But this isn’t an issue for
me anymore because Adobe developed
a very useful tool called Adobe
Sensei, which allows you to search
your photos without keywords!
Currently, this is only available as a
Technology Preview on lightroom
.adobe.com. To turn it on, click
on the Lr icon at the top left, and
select Technology Previews. In the
window that appears, click on the
checkbox for Search, and then click
Apply Changes. You’ll see a Search
field appear at the top. Now you
can type a word such as “sunset”
in the Search field, and even if you
didn’t keyword your sunset photos,
it will still find them!
It’s so amazing to be able to find
your photos without keywords, and
it works great! You can even look for
colors such as “red” or “blue hour.”
Well, I hope these five tips for Lightroom
Mobile are useful. Now you
can’t say that you didn’t have your
camera, because you always have
your Lightroom Camera to capture
great moments!

SHIMMERING LIGHT EFFECT

A few years ago I was looking to create a cover image for a
new book and came up with the idea of a model in semiprofile,
surrounded by a cool shimmering light. This is a look
I’d used on a number of PR beauty photo shoots that had
proved popular with a lot of clients. Essentially, I wanted to
apply a cool white balance to a studio portrait photo of a
model and overlay the image with a rippled lighting effect.

For the studio lighting setup, the main light came from a
large softbox just above the camera. I also had a couple of
lights to either side, bouncing off large white boards to provide
the wraparound backlighting (these backlights were set
one stop higher than the main front light). I captured the
photographs in RAW mode, so it didn’t really matter how
the capture white balance was set, as I was able to apply the
desired white balance in Lightroom.
What I generally do on these types of shoots is to first
take a few test shots using my assistant and work on the
test image in Lightroom to get white balance and tone slider
settings looking good. Once I’m happy with the Lightroom
Develop settings, I save these as a new Develop preset. If
I’m shooting with the camera tethered to the computer,
I can select the saved Lightroom preset setting and apply
it to the photos as they’re imported into Lightroom. On
this particular shoot, therefore, the photographs initially
appeared imported in Lightroom using the settings shown
in Step Two below, although, if time allowed, I could have
created a Lightroom preset that incorporated all the Lightroom
adjustments in Step Six.
With clients who are eager to see what appears on the
screen as you shoot, it helps to have the photos as finished
as possible and get the client’s approval to carry on
shooting. As the photos are imported, you’ll initially see the
default previews, but these are quickly updated as the files
appear in the Library Grid view.
The lighting effect image (see Step Eight) was created
from a separate photo I took in the studio of a gobo projector
spotlight pointed at a wall with the gobo filter defocused.
These projector lights usually suffer from horrendous
lateral chromatic aberration, so when processing this particular
shot in Lightroom, I desaturated the image to remove
the color fringing.
Step One: Starting in the Develop module Basic panel, I
adjusted the Exposure slider, dragging it to the right to lighten
the image. I fine-tuned the Contrast, Whites, and Blacks
sliders to set the tone contrast. I added a little bit of Clarity
and applied a negative amount of Vibrance to desaturate.
Step Two: I then went to the White Balance menu, where
I applied a custom white balance to make the image cooler
in color appearance. I did this by dragging the Temp slider to
the left. I also dragged the Tint slider to the left to make the
photo less magenta.

Step Three: Next, I went to
the Tone Curve panel, where I
adjusted the tone region sliders
to create the tone curve shape
seen here. (Note: If you don’t
see the sliders below the curve,
click on the little icon at the bottom
right of the Tone Curve
panel.) I also selected the Crop
Overlay tool (R) and dragged the
bottom handle upward to trim
the bottom of the image.

Step Four: At this stage I liked
the overall cool color mood of the
image, but I specifically wanted
to mute the skin tone colors to
make them appear more subdued.
To do this, I clicked on
the Saturation tab in the HSL/
Color/B&W panel and dragged
the Orange, Yellow, Purple, and
Magenta sliders to the left.

Step Five: I then went to the
Detail panel to apply an appropriate
amount of sharpening for
this portrait subject. Generally,
I find the optimum Radius setting
for such images to be
between 1.1 and 1.3. I increased
the Amount setting slightly,
reduced the Detail, and set the
Masking slider to 70. Adding
more Masking helps protect the
smooth skin tone areas from
being sharpened.

Step Six: In the Effects panel,
I used the Post-Crop Vignetting
controls to add a lightening
vignette to the corners of the
image. Normally I use these
controls using either the Highlight
Priority or Color Priority
modes in the Style drop-down
menu. In this instance, however,
I chose to use the legacy
Paint Overlay mode because
I quite liked the hazy effect it
applied to the corners.

Step Seven: From Lightroom
I selected Photo>Edit in>Edit in
Adobe Photoshop CC. In Photoshop
I started to retouch the
image, building up successive
layers. First, I added a spotting
layer above the Background
layer to remove the light spill on
the model’s right cheek. Next,
I added a face-retouching layer.
Then I added layers to remove
the fine loose hairs and the
leg in the bottom-right corner.
And, at the top of the Layers
stack, I added a Curves adjustment
layer to add more contrast
to the model’s eye. I placed all
of these layers in a layer group
called “Retouching.”

Step Eight: Finally, I opened the
photograph I had taken of the
defocused projected gobo filter
and placed this at the top of the
Photoshop layer stack. I then set
the layer blend mode (near the
top left of the Layers panel) to
Screen at 100% Opacity and
added a pixel layer mask (click
on the Add Layer Mask icon
[circle in a square] at the bottom
of the Layers panel). With the
mask active, I switched to the
Brush tool (B) and painted with
black to hide the ripple effects
over the face and body. I also
painted with gray to semi-reveal
the rippled lighting effect on
parts of the model’s body.

Post-Crop Vignetting Effects
The Post-Crop Vignetting controls can be found in the
Effects panel. These can be used to lighten or darken
the edges of a photo based on the applied crop setting.
Therefore, as you crop an image, the post-crop
vignette effect updates accordingly. It’s most useful for
darkening the corners, which can often help make a
central subject stand out more by drawing the viewer’s
eye into the center of the image.
The Paint Overlay effect blends either a black or
white color into the edges of the frame, depending on
which direction you drag the Amount slider. The semiopaque
nature of this post-crop vignette mode can be
useful if you wish to add a dreamy kind of vignette
effect. The other two blend options are more suited
for general use, where the darkening or lightening
vignette effect is achieved by adjusting the Exposure.
The Highlight Priority mode tends to produce more
dramatic results because it applies the post-crop vignette
prior to the Basic panel Exposure adjustments and has
the benefit of allowing better highlight recovery in
burnt-out areas. This mode of post-crop vignette adjustment,
however, can sometimes lead to color shifts in
the darkened areas.
The Color Priority
effect, meanwhile,
applies a post-crop
vignette after the
Basic panel Exposure
adjustments,
but before the tone
adjustment stage.
This minimizes color
shifts in the darkened
areas but, as
a consequence, it’s unable to perform any highlight
recovery in areas that may be burnt out.
The Highlights slider can further modify the effect,
but is only active when applying a negative Amount.
Increasing the Highlights setting lets you boost the
contrast in the vignetted areas. The effect is really only
noticeable in subjects that feature bright highlights,
lightening them to take them closer to their original
exposure value. Overall, I find the Highlights

slider has
the greatest impact when editing a Color Priority postcrop
vignette. In the last example to the right, I applied
a negative Color Priority post-crop vignette combined
with a +40 Highlights adjustment. n