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

LOUPEDECK

“Maximum Workflow” revolves around tools that help you get
to your destination faster, which is the ultimate aim for most
photographers who want to spend less time in front of the
computer and more time behind the camera, with family,
or whatever their top priority is. We’ve looked at plug-ins
and modular hardware, but now we’re going to look at a
dedicated tool for speeding up processing in Lightroom.
That tool is the Loupedeck.

Loupedeck began as project by photographer Mikko Kesti.
With a team of former Nokia engineers, they created a prototype,
and then pitched the product through Indiegogo.
They hit 488% of their required funding, meaning the product
was a runaway hit.
Packaging and Design
Now getting funding isn’t the same as being a success, but
before I even plugged in the Loupedeck, I was impressed
with the detail in the packaging: the black surround with
silver lettering on the side, plus an embossed top. It looks
sleek and like it has expensive contents (it’s not that expensive
really).

Sliding off the cover reveals a silver logo on the top of
the main box. Two sections of tape need to be sliced before
removing the lid.

Inside the box is the Loupedeck. The attached USB cable
is hidden under the section labeled Loupedeck at the top.

Lifting out the device reveals the next step: a trip to loupedeck.
com/setup to download the Loupedeck software
and set it up.

Besides the size and neat design of the tool, one thing
that struck me is that they’ve allowed the user to choose
whether the USB cable comes out from the top or the right
of the Loupedeck.
Installation
Once you’ve downloaded the software, run it. Make sure
the Loupedeck is ready to go, but don’t plug it in just yet.
If Lightroom is running you’ll get a prompt that you’ll need
to close it. Once you’ve closed it, click Continue in the Loupedeck
app.
Click Continue again. Lightroom will restart and the
installation continues.
Once installation is done, the setup page loads, where
you can set the custom options.

Customization
As well as the myriad dedicated control
buttons on the Loupedeck, there
are also three customizable ones.
The first is a dial, C1, and then two
buttons, C2 and C3. Pressing the
Fn button, you can add a secondary
layer of options, effectively giving you
two custom dials and four buttons.
Click on the item in the list on the
right to customize it. For the dial, I’m
going to use Dehaze. For Vignette,
I generally use more than just the
Amount slider, so a single dial doesn’t
work for me, but I do use Dehaze a lot
more. The other options for the dial
are Noise Reduction or Sharpness.
Next are the buttons. Personally,
I’d prefer if there were more options
for the buttons, but C2 and C3 gives
a choice of Library/Develop Toggle,
Open Browser, and Cycle Info Display.
I’ve gone for Library/Develop Toggle
for C2, and Cycle Info Display for C3.
The problem with only three options
will become evident in a minute.

Secondary Controls
To set the secondary control options, click the Fn button
in the app. For the C1 dial, you get the same options as
the primary controls. I use Sharpness more than Vignette
or Noise Reduction, and I already have Dehaze set as the
primary control.
Next are the C2 and C3 buttons. Again, we’ve already
used two of the three available options, and as Open
Browser isn’t much use to me personally, I leave these at
their default. What could go into these options? Well,
some of the Transform options would be good for a start
(e.g., Auto or Guided). They could also include all of
the other Toolbar options that aren’t on dedicated buttons,
such as Grid, Loupe, Compare, and Survey. I jump
between Grid and Survey a lot when making selections, so
that would be a great option to have. This isn’t a criticism;
it’s just something I’d like to see.
Presets
If you’re a preset lover, these buttons will be a godsend. With
eight buttons available, you can make your eight favorite presets
available at the touch of a finger. More than that, by
using the Fn button, you get an additional eight presets available
at the touch of two digits.
I’ve added presets from my own LRB Serenity pack. (Yes,
I do use my own presets all the time.) Click on one of the
preset buttons to bring up the list of your preset folders. Click
the disclosure icon beside a folder name to show the presets
from that folder, and choose a preset. You’ll notice in the
image at the top of the next page, I’ve assigned a preset called
“– Reset” to P8. This is simply a preset where everything has
been zeroed out. It’s a must-have tool in my opinion.
By pressing the Fn button at the top of the panel, you
can add the additional eight presets. I’ve added some VSCO
presets here (see bottom of next page).

Using the Loupedeck
Because everything on the Loupedeck is clearly labeled,
it’s straightforward to use. As you twist a dial, Loupedeck
will open the relevant panel or tool in Lightroom
so you can see the settings. Starting at the top-middle
panel, let’s take a look at all the dials and buttons to see
what each of them do.

1. HSL and Presets: Press the Hue, Sat(uration), or
Lum(inance) button to open that particular tab in the
HSL/Color/B&W panel. The eight rotary encoders correspond
to the eight color sliders in the panel. Spin the
encoders on the Loupedeck to change the value for
each color. They spin continuously, which is perfect
because you’re always starting from the current setting
of the slider in Lightroom. Press the encoder to
reset the value to 0. Press P1–P8 to activate the preset
you’ve assigned to that button.
2. Tone and Presence: Control the tone and presence
settings in the photo from this section. Press a dial
to reset its value to zero. Like the encoders, the dials
move continuously.
3. Before/After and Export: Before/After toggles the
current view; Export opens the Export dialog.
4. White Balance: The Temperature is controlled from
the White Balance dial, while Tint is as named.
5. Color Controls: Change Vibrance and Saturation to
control the intensity of color in the photo.
6. Navigation and Zoom: Move between images
and toggle the last two zoom levels. Note there’s
also a Zoom in the Rating/Label panel on the left
for convenience.
7. Rating/Label, etc.: Press the ★/Col button to choose
between ratings and labels and apply them. The Copy
and Paste buttons will copy-and-paste all current settings.
Use the Fn button for accessing secondary controls
and the second bank of presets. (Note: You need
to hold Fn down to access them.) Use Pick to Flag a
photo. Press Fn and Pick to Reject a photo. Pressing a
second time on either one will Remove Flag.
8. Utilities: In this section you’ll find buttons for Undo
and Redo, toggling Full Screen on and off, and switching
from Color (Clr) to black-and-white (BW) quickly.
Pressing the large dial opens Crop; twisting it opens
Crop and rotates the image. The Brush button opens
the Adjustment Brush tool.
9. Customized Controls: The customizable dial (C2) and
buttons (C2 and C3) are in the center, but we’ve discussed
these above.

In Use
It can’t be understated that tactile control of the most
important settings in Lightroom speeds up workflow, even
if you’re just using it to make selections or do rough edits,
because you don’t have to manually jump to Develop. Spinning
a dial or pushing a button gets you to the settings in
one move.
Although this isn’t a review, I have to say I love the ergonomics
of the Loupedeck. Ratings are on the left, with the
arrows for moving between images on the right. You can
zoom using either hand as you work. It might seem like a
mistake to have two zoom buttons, but I found it works
really well in practice. Full Screen might be better next to the
Before/After button, but it’s still fine where it is.
The best thing is that you’re looking at the screen and
not your settings as you work. Yes, the controls work when
you put the image in Full Screen, so all you see as you work
is your photo—no UI at all. It’s really a great way to work. If
you prefer the visual connection to your photos, this device
is the perfect tool for processing them.
While writing this article, Loupedeck updated their
app several times, so obviously they’re keen on continued
development. I did have a few quirks on my older Mac Pro
with setting the secondary presets. The app would disconnect
when choosing presets, which was a little annoying,
but it worked perfectly on my newer 5K iMac.
Another beautiful thing about the Loupedeck is that you
can use it straight out of the box. Options that use MIDI
often require a fair bit of setup, and fader-based solutions
often jump the setting value to the fader’s current location,
which is really annoying in practice. The continuous
nature of Loupedeck’s controls prevents this—kudos to
the team for going in this direction instead of faders

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.