[Photography] 8 Core Lightroom Retouching Techniques to Enhance Your Photos

The post 8 Core Lightroom Retouching Techniques to Enhance Your Photos appeared first on Digital Photography School. It was authored by Darina Kopcok.

Adobe Lightroom is the preferred RAW editor for many photographers. It’s user friendly, yet has many powerful features to help you get the most out of your photos. Here are the core Lightroom retouching techniques to get more out of your photographs.

1. Start with your histogram

The histogram is the first step in retouching using Lightroom. It mathematically represents the tonal range of a given photograph. The tonal range considers all the tones between the darkest part and the lightest part of your image.

The histogram maps out the brightness area in the photo in grayscale. Black is situated on the left side of the histogram, while white is on the right. You can find all the shades of grey in between. Every shade has a scale of brightness values. For a standard JPG image, there are 256 different recorded values of brightness, “0” being pure black and “255” pure white.

Learning how to read your histogram is important because it will tell you whether your photo is properly exposed or not. If you have pixels touching the very ends of your histogram, your photo is either underexposed or overexposed

Unfortunately, you can’t recover these missing details with Lightroom retouching techniques.

2. Choose the correct Color Profile

Before you start the retouching process, you should decide on a color profile, as it will make a significant difference in the color and contrast in your photo.

You can find the Color Profiles in the Basic panel. You can choose from Adobe profiles or from color profiles from your camera.

3. Get a base with the Tone Curve

Before making exposure adjustments in the Basic panel, it’s a good idea to get a base with the Tone Curve.

The Tone Curve is a graphical representation of the tones found throughout your image. By making tweaks to the curve, you can influence the look of the shadows and highlights.

I recommend starting by lifting the curve at the midpoint when in the Point Curve. This will boost the midtones and contrast, which looks attractive in most images.

Pull the curve down in the bottom quarter of the curve to deepen the shadows. These simple tweaks can make your image immediately look more dynamic.

Mid-tone lift in Tone Curve.

If you’re new to the Tone Curve, you might be more comfortable starting with the sliders in the Region Curve. This won’t give you as much control as the Point Curve but will help you make significant changes to the aesthetic of your image.

Once you’ve made other edits to your image, you can come back to the Tone Curve for further tweaks.

Retouching is a process of building and assessing, so you’ll most likely have to jump around from one panel in Lightroom to another until you get a look that you’re satisfied with.

Tone Curve for apricots image.

4. Tweak the Basic Panel

the Basic panel

The next step is to correct your White Balance.

Keep in mind that White Balance can be set in-camera to be 100% accurate, or can be used creatively if you’re not striving for a correct white. For example, if your style is warmer in tone, you can push your white balance above 6000+ to give it a golden look.

I kept my image on the cooler side because I wanted to bring out the blue and emphasize the complementary color choice to make my apricots pop.

Once you’ve made the best white balance, make any necessary edits to the Highlights, Shadows, and Whites and Blacks in the Basic Panel.

If your image doesn’t look correctly exposed in these areas, you can then adjust the exposure. However, I don’t recommend starting there. It’ll boost the exposure in all those areas, which may not be what the image needs.

5. Layer Contrast and add Vibrance in the Presence Panel

When retouching in Lightroom, I recommend using the Vibrance slider instead of Saturation.

Vibrance lifts the mid-tones. Saturation boosts all the color in the image, which can make it look unnatural and clownish. If you do choose to use the Saturation slider, watch how it affects your picture as you move the slider. A maximum of +10 is usually more than enough.

Be sure to add a bit of Clarity, which will boost the contrast in the image. The best retouching is often the result of layering various effects at low numbers, rather than adding a high amount of any one tool, such as Contrast.

To create contrast, you can use a combination of Contrast, Clarity, Texture, and the Tone Curve. Even a touch of Dehaze works great for a lot of images.

6. Adjust color in the HSL Panel

Color has a huge impact on your image. Color is an aspect of composition and crucial to the aesthetic of your photography. The HSL panel in Lightroom is where you will do the most color treatment.

Unless your aesthetic is quite warm, you might want to bring the orange saturation down a bit in your photos. It tends to look too strong. Also, pay attention to the Luminance sliders and use them instead of Saturation to control brightness, as they control the brightness of individual colors.

Before and After Lightroom Retouching – Shot at F9 on 50mm at 1/200 1SO 100

7. Try Split Toning in the highlights and shadows

Split Toning is a Lightroom tool that you can use to great effect when it comes to Lightroom retouching techniques. Split Toning adds color toning to the highlights and shadows individually, based on luminance.

However, note that a little goes a long way.

To add split toning, hold down the Alt/Option key while you move the sliders for Highlights and Shadows. This will allow you to see the variations for each color and pre-visualize how it will look applied to the image.

Dial-in as much saturation as you feel appropriate for the image. This is usually a low number. A small amount is often all you need to make your images more dynamic.

Split-toning is sometimes overlooked or used with too heavy of a hand, but with a subtle approach, it’s a very effective Lightroom retouching technique.

8. Enhance with local adjustments

Local adjustments are applied to a localized area in an image rather than globally. They only affect the part of the image selected. This allows you to fine tune your photo and have more control over your final result. You can use them to correct problem areas or to create a certain effect.

The local adjustment tools are:

• the Graduated Filter

The Graduated Filter is for filtered effects and creating evenness throughout the image.

• the Radial Filter

The Radial Filter helps you easily isolate subjects for retouching.

• the Adjustment Brush

Layer your local adjustments to create targeted and powerful results.

The Adjustment Brush helps you create masks for localized retouching by brushing them on.

• the Spot Removal tool

The Spot Removal tool gets rid of blemishes or small objects in the image. The Adjustment Brush is for creating free-form masks, while the Radial Filter is used to isolate subjects.

Range masks have been added to three of the local adjustment tools to allow you to target color and luminance.

The key to enhancing your images with local adjustments is to use a combination of the tools for subtle adjustments, as well as adjusting the opacity or feathering of the tool to create subtle transitions.

Using local adjustments is one of the most powerful Lightroom retouching techniques.

Conclusion

You’ll get the best result in Lightroom by layering the different tools. For example, don’t just use the Contrast slider to add contrast and call it a day. Layer the contrast with small adjustments to the Tone Curve, Dehaze, and Clarity for a subtle and effective look.

Every photographer develops a workflow that works effectively for them. Hopefully, these core Lightroom retouching techniques will help you fine-tune your editing process.

If you have any other Lightroom retouching techniques you’d like to share, please do so in the comments section.

The post 8 Core Lightroom Retouching Techniques to Enhance Your Photos appeared first on Digital Photography School. It was authored by Darina Kopcok.

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[Photography] Heaps of Fun Creative Photography Ideas to Keep Your Photography-Juices Flowing

The post Heaps of Fun Creative Photography Ideas to Keep Your Photography-Juices Flowing appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week, I thought I would compile a few videos of creative photography ideas that will get your photography juices flowing.

These videos are from Jordi Koalitic, who shares some of his unique, fun ideas.

Some of these you can do in your own home or out and about. Check them out, try them out, and share some of your photos with us in the comments section!

Still looking for more creative ideas?

Then you may also like:

• 10 Great At-Home Creative Photography Ideas
• Creative Photography Exercises to do at Home (video)
• 10 Creative DIY Photo IDEAS when Stuck at Home (video)
• Creative Abstract Photography with Food Coloring and Milk
• Creative Water Photography – A Step-by-Step Guide to Making Water Monsters
• Creative Photography Exercises: Setting Limitations to Achieve Better Photography
• How to Use a Pinhole Body Cap for Awesome, Creative Photography

The post Heaps of Fun Creative Photography Ideas to Keep Your Photography-Juices Flowing appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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[Photography] Weekly Photography Challenge – Trees

The post Weekly Photography Challenge – Trees appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s weekly photography challenge – TREES!

These images of trees I shot while out on walks, and they were just taken with my smartphone. I gave them a warmer tone when editing. © Caz Nowaczyk

If you are still stuck indoors, photograph from your windows, or step out into the garden (if you are lucky enough to have one). Alternatively, go back through your archives and do some brand new edits on your photos, like false-color infrared or black and white.

Use backlight, sunsets, sunrises, intentional camera movement or close-ups of foliage.

The choice is yours! I look forward to seeing what you share

Check out some of the articles below that give you tips on this week’s challenge.

You may decide to look closer at trees like I did with these two shots of these Gum Trees. Again, these were shot with a smartphone. Sometimes the best camera is the one you have with you! © Caz Nowaczyk

Sunset at Merimbula by Caz Nowaczyk. The tree is only a part of this composition, but it helps to frame the sunset.

Sunset over Pambula River Mouth, NSW, Australia by Caz Nowaczyk. Again, simply taken with my smartphone, with no editing at all, but I still like the feel of this image.

Tips for photographing TREES

8 Creative Ways to Photograph Trees

4 Tips for Taking Better Photographs of Trees

Using Backlight in Nature Photography

5 Tips for Gorgeous Nature Photography Lighting

5 Tips for Capturing Nature Across Different Seasons

5 Tips for Taking Beautiful Photos of Nature

How to Take Creative Landscape Shots using Intentional Camera Movement

Simulating False-Color Infrared Photography in Photoshop

Create Powerful Black and White Photos with the Photoshop Gradient Map

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPStrees2020 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Trees appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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[Photography] Black and White are Rarely Black or White

The post Black and White are Rarely Black or White appeared first on Digital Photography School. It was authored by Herb Paynter.

There are very few absolutes in this life. Most issues we face fall into more “gray areas” than the purely polar dictionary definitions of actual black and white. We use these terms rather cavalierly when expressing personal opinions even when real-life situations are anything but! This is also true in a number of photography-related issues. Since photography is the topic de jour, I’ll turn the conversation in that direction. I’ll explain to you how black and white are rarely black or white.

Total black and white can lose important detail. Occasionally this is appropriate for drama, but in general, even the darkest areas of an image should contain contrasting tones. f/9, 1/250, ISO 200, 70.0-200.0 mm f/2.8.

The hard facts

Black is the total absence of light, as in a cave at midnight with your eyes closed. Nada, nothing, total emptiness. Nothing is quite as disorienting or scary as total blackness. Blackness is un-relational and unforgiving. Even our sense of balance is affected by our inability to orient ourselves to our environment. What we can’t see, we can’t relate to.

Opening up the darkest channel (unfortunately labeled “Black” in most software) can reveal a depth that otherwise gets buried in the D-max of the photographic medium.

White is at the other end of the light measurement scale, defined as a direct unobstructed blast of light from the Sun at noon. Blinding, blazing, searing, scorching light.

True white light would actually blow the rods out of our eyes and leave us (at least temporarily) blinded. Perhaps it is good that we don’t try to function either physically or psychologically in either of these two extremes.

Dark and light vs black and white

In the photographic film and darkroom world, “D-max” and “D-min” determined the total light range of photographic prints and transparencies. Actual black and white light measurements simply cannot (by definition) be replicated in photographic materials.

D-max refers to the maximum light blocking capacity (density) of a particular film or print. D-max is the point of maximum development for either film or prints in a traditional (chemistry-emulsion) darkroom environment.

D-max for an inkjet printer would be the darkest black that can be achieved by a particular ink on a particular paper (yes, some different inks and papers achieve different results).

D-min would be the highest light-reflective measurement possible from a particular paper with no ink.

In either case, neither “actual” black nor total white is possible. In truth, black and white cannot be expressed in the medium of photography, though we still employ the terms.

Actual original image (left) and adjusted image (right). No kidding. RAW files deliver! f/2.8, 1/250, ISO 1600, 35-100mm, f/2.8.

Real-life vision vs digital interpretation

By contrast, we live our everyday lives in the natural world where we can experience this “actual” extreme range of natural light. We occasionally witness these extreme lighting conditions, and this reference to reality keeps our lives in clear focus.

There exists a broad range of contrast in nature’s lighting that keeps our visual cortex amused and intrigued. We experience the extremes of light and dark almost every day, and our eyes adjust to these dynamics quite naturally. But in the subdued visual expression called photography, we are restricted to using a much more muted palette, which presents our minds with a different challenge.

Our brains insist on detail to help us navigate this world, both visually and rationally. We are a relational species, and we rely on the existence of distinct details in our surroundings in order to relate and negotiate our way through those surroundings. The very same issue determines how we relate to things photographic, which brings me to my point – finally.

Every physical item that we describe as “black” must be distinguished from actual dictionary-definition “black” if it is to be seen as a dimensional object.

Detail is all about contrast

Contrast is the determining factor in detail. Without contrasting tones, there can be no detail.

Our eyes get to experience the full dynamic range of light in real life. However, in photos, our perception is very limited by the whole visual D-max/D-min thing. We must learn to use what range we have to mimic the range that we don’t… get it? Pushing the internal tones around within an image will simulate the full range of tones that we normally see (and often take for granted) in real life.

Another example of extremes. The lighting was good on the female, but the male model was underlit. Some serious internal adjustments were made in one copy of the RAW file, and a masked copy of the correction was placed into the scene. Once again, tonal reproduction is key. f/3.2, 1/250, ISO 1600, 35-100mm, f/2.8.

In a practical sense, the detail is created when a visual relationship is established. The greater the contrast between tones, the sharper the detail becomes.

In order to express detail in a dark area, there must be a distinction between black and “almost black.” Without that distinct separation, there can be no detail.

There is a cardinal rule when printing a photo on a printing press… “there are no absolute blacks and only specular (reflections) pure whites in print.” Even pure white must contain a tonal element to maintain dimension and texture – neither black nor white express detail.

Black must be implied more than stated. Even a black hat or garment must contain tones of dark gray to carry the illusion of detail.

Black is a relative term. Total black loses important detail and dimension. f/4.5, 1/50, ISO 1600, 35-100mm, f/2.8.

Delivering the impression

When a photo lacks internal contrast, it lacks detail. The tension of contrast creates both detail and definition. Of course, even detail is a relative thing. Not all images require the same dynamic appearance. If all pictures contained the same degree of (internal or overall) contrast, the monotony of sameness would probably drive us to boredom.

The point I want to make here is that in order to keep the human mind amused, engaged, and involved, we must learn to use all the tone dynamics at our disposal.

Fortunately, the human mind (and it’s willing accomplice, the visual cortex) provide us with a very forgiving and creative instrument that interprets (and believes) the limited dynamics of printed photos. When this tonal orchestration is successfully accomplished, the result can be breathtaking.

We were designed to be very creative. Start believing that and watch the magic happen.

The post Black and White are Rarely Black or White appeared first on Digital Photography School. It was authored by Herb Paynter.

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[Photography] How to Publish a Photography Zine to Promote Your Photography

The post How to Publish a Photography Zine to Promote Your Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Until a couple of years ago, I’d never considered publishing a photography book or zine. Years ago, the self-publishing options weren’t very attractive to me: they were either expensive and complicated or offered templated cookie-cutter style books that didn’t appeal.

In recent times, new publishers specialising in short-run zines have sprung into the marketplace, making it much easier for photographers to get their work into print. Inspired by other photographers producing zines, I have just published my own. Here is my guide on how to publish a photography zine to promote your photography.

What’s a zine?

A zine is a self-published booklet of images and text, often produced in limited edition print runs. The word zine (pronounced zeen) is derived from both the word magazine and also the word fanzine – unofficial publications produced by fans of a particular movement in popular culture. Zines were usually put together by hand, then photocopied and stapled.

Copies of my first film photography zine Every Summer. I also had limited edition art print postcards created to celebrate the launch.

These days the term zine is commonly used to refer to any short-run booklet of photography and/or images. There are so many creative choices that you can make when you publish a photography zine. The look and feel of the final product are up to you, and the lines between a zine and a book are often blurred.

For example, my first photography zine Every Summer is perfect bound, meaning the pages are glued together into the spine without a staple. It’s full-color, printed on uncoated paper, and the cover has a smooth laminate finish. It falls somewhere between the extremes of a do-it-yourself stapled zine and a high-end coffee table book.

So now you know what a zine is, your next question might be, why publish a photography zine? I’ve outlined a few reasons below.

Seeing your images in print is magical

One of the most frequently said things about photography in the digital age is that we’ve ended up with tens of thousands of images on devices and hard drives that are hard to access and view. There’s nothing quite like having an image in your hands – whether it’s an instant photo, a print, or your own book or zine.

Close-up of my first photography zine Every Summer. Holding it in my hands for the first time was magical.

Seeing my first photography zine in print was so much more satisfying than seeing images on a computer screen. Creating a zine also ties together the set of images as a collection, with a single narrative throughout. A zine is a perfect way to showcase your images to others.

Use a zine to promote your photography

Publishing a photography zine is a fantastic way to promote your photography. A zine could be used as an alternative to (or in addition to) your digital offerings.

I recently showed my first zine to a professional photographer friend and he said it was a really interesting concept he’d consider for promoting his wedding photography business.

In this digital age, a zine could be a way of standing out from the crowd by providing something tangible people can hold in their hands that promotes your photography.

Creating a zine as a tool for personal growth

Publishing a zine is such a rewarding project. As a photographer, there are many other skills you’ll potentially need to learn or improve to get your zine into production. Design, editing, writing, printing and marketing: these are just some of the skill sets you’ll use.

Once you create your zine, you can send it to your favorite clients, give it away to leads at events and shows, and, of course, send it as a gift to family and friends. You never know who might end up seeing it.

Blurring the lines between a zine and a book, my first self-published work “Every Summer” is perfect bound.

Creating a zine is also addictive – once you create your first, you’ll no doubt be thinking of your second. So, if you’d like to publish a photography zine, where do you start?

Zine ideas

The concept of most zines or books revolves around an idea. Your zine could be made up of images from a road trip, a wedding, your favorite city, or your neighborhood.

A zine could also show off a photographic style, a personal project, tell a story through images, or be a showcase of your best work. It can also be a combination of all of those things or none of them – it’s up to you.

My first zine is a collection of images that I took on the Isle of Wight in England. When I reviewed the images in the weeks after my holiday, I felt there was a certain magic to them, so I decided to put together a zine.

It’s also becoming increasingly common for photographers to collaborate on zines together, typically with the same subject or style in mind.

Choose your images

Choosing and editing your images is a process in itself.

It’s not necessarily about choosing all the best images but choosing images that work well together and continue a narrative throughout your publication. For example, there were some images that I loved from the Isle of Wight, but there didn’t seem to be a point in the zine where it made sense to include them, so I left them out in favor of other images.

The first 20 pages of my zine Every Summer in a contact sheet view. Choose images that work well together and continue a narrative. Also, note the double-page spread on pages 6-7.

Some people find it beneficial to print out small copies of their images and arrange them on the floor to work out an image order. I tried this approach, but I found that it just left me with a stack of paper to put in the recycling bin. I found it easier to rate images in Lightroom and then drag them onto pages in InDesign, where I could play around with the layout.

To add text or not to add text?

There are two schools of thought around adding words to a photo zine or book. The first is that the photos should do the talking and everything else is a distraction. The second is that well-thought-out text adds context to the images and makes it a more rewarding experience for the reader.

Generally, I fall into the latter school of thought.

I decided to add passages of text to my zine for one simple reason – I wanted to introduce locations by recounting anecdotes from when I visited these places on the Isle of Wight. These passages detailed what attracted me to photograph those locations.

Adding text throughout my zine gave me the opportunity to provide context to the locations I photographed on the Isle of Wight.

Either way, it’s commonplace to write an introduction at the start of your zine or book. This should introduce yourself to the reader and explain your motivation behind producing the zine and your relationship to the images.

For example, in my photography zine Every Summer, I reflected on my relationship with England, my home for over a decade, and how travel photography has influenced the style of images I take. In my introduction, I also added my contact details so readers could send me feedback about the zine.

Zine design

The design of your zine can be as simple or as complex as you like. Some online publishing companies have their own software that makes it as easy as possible for you to choose a layout, drag and drop photos, and add some text.

With other zine publishers, you can create your own design in software programs like Adobe InDesign and then upload them as a PDF for printing. Always make sure you read and understand the instructions your printer gives you about document set-up and exporting your publication – especially with regards to the quality of your images, color space, page bleed, and margins.

Of course, you can also work with the book module in Lightroom too.

Many pages in my zine follow a standard layout. This is broken up by double-page spreads and full-page photos throughout the zine.

Creating your zine in InDesign also gives you the flexibility to produce an electronic PDF version of your zine to distribute to people. You can also do that with the first option, but some online publishing companies charge an extra fee to download a PDF copy of your work. You can also create a PDF version in the Lightroom Book Module too.

Whichever road you go down, remember that simplicity is often at the heart of good design. Try and stick to a standard way of displaying your photos throughout the book, with the occasional breakout from that design for a double-page spread or full-page photograph.

Simplicity should also be front of mind when working out your choice of font. Don’t choose too many fonts to work with and always make sure they’re easy to read. For my photography zine Every Summer, I chose two fonts.

Part of the introduction to my first photography zine. I explained who I was, my motivations for putting the zine together, and my relationship to the subject matter.

For headings, I chose a retro font that captured the spirit of the 1970s. This matched the subject matter of some of my images such as the retro ice-cream van and the seaside pier at Sandown. For body text, I used a typewriter-style font that is easy to read, and also conveys some of that retro charm.

Print vs screen

Looking at images on a screen is not the same as looking at images in print. Digital images are usually in the RGB color space, which has a wider color gamut than the CMYK color space used for printing. Our screens are also back-lit, so often digital images look brighter and more saturated than images exported for print.

At some stage, your publication will be converted to the CMYK format. Some online publishers do this process automatically for you, but if you are uploading a PDF to a printer, they will typically ask you to supply a PDF in the CMYK color space. Always check with your printer on the exact settings to use.

Seeing your images in the CMYK color space for the first time can be a bit of a shock: it has a narrower gamut than RGB, which means that not all colors from the RGB color space can be displayed when printed. This means some colors may look slightly different in the printed version. For example, the vivid blues, yellows, and oranges of the ice-cream van on the front of my zine are not quite that vivid in the print version, but they’re close.

Laying out images and text for my zine in Adobe InDesign. A lot of people shy away from InDesign, but it really isn’t difficult to pick up, especially if you’re familiar with Adobe Photoshop.

Zine format and size

When you publish a photography zine, you will also need to decide on the dimensions of your zine and how many pages it will have. Remember, the more pages your zine has, the more expensive it will be to produce and potentially ship to customers.

For my first zine, I chose a square 210mm by 210mm format (just over 8 inches). I’d seen a friend’s zine using the same dimensions and it felt like a good size to me. Square pages also have an advantage: they suit portrait-orientation images, landscape-orientation images, and square images.

Another consideration is the type and weight of paper you want your zine printed on. There is usually a range of types including satin, gloss, uncoated, and even recycled. Many publishers will send you a sample of their papers for free. This sample pack will also help you decide on the weight (thickness) of different paper stocks.

Many online printers offer a wide range of choices for your publication.

Final review

When you’ve finished your layout and have a zine ready to publish, check everything as many times as you can. After you’ve completed your checks, ask a trusted friend to do the same. I made one small error with my zine and it still annoys me. As it turns out, a couple of people I sold my zine to didn’t even notice it.

If you’ve never printed anything before, you can also get in contact with your printer to ask for their advice on your publication. For example, you could ask them if the images are good enough quality to print, if the layout will work, if you’ve done the page bleed and margins correctly, and if you exported your PDF in the correct color space.

When you’re satisfied that everything is correct, it’s time to print.

If you’re a little nervous about the final product, order the smallest quantity that is financially practical. This will give you the opportunity to check you’re happy with everything before another print run.

After that, it’s time to show your zine to the world! I’ve sold my zine via my website to friends, family, listeners of my podcast, and others in the photography community. For the launch, I even had some art print postcards created featuring three images from the zine as a bonus for my customers.

Exporting my zine from Adobe InDesign. Find out what settings you should be using from your printer for the best results.

Conclusion

I hope this article has been helpful for those wishing to publish a photography zine. Self-publishing can be a lot of work, but ultimately, it’s a very rewarding process. There are so many skills related to photography that you can learn and improve, adding to the creative challenge.

Seeing your images in print for the first time in a publication that you’ve created is very special. I’ve learned so much creating my first photography zine and plan to create another in the coming months.

Whether it’s just for fun, a creative challenge, or to promote your business, learning how to publish a photography zine is a fantastic way to get your images in front of other people and reach a wider audience.

If you have any questions about the zine-making process, please let me know in the comments below.

The post How to Publish a Photography Zine to Promote Your Photography appeared first on Digital Photography School. It was authored by Matt Murray.

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[Photography] Loupedeck CT Review – Could This Be The Best Editing Tool?

The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.

If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it. 

The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.

Compatibility

The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.

Here is a list of compatible software out of the box (takes deep breath):

• Abelton live
• After Effects
• Audition
• Capture One
• Final Cut Pro
• Adobe Illustrator
• Adobe Lightroom Classic
• Adobe Photoshop
• Premiere Pro
• System (Windows & Mac)

Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.

Design and build quality

The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location. 

The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.

Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.

Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.

The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.

The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.

This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.

The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.

It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.

Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.

Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.

Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.

Installing the Loupedeck CT

Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.

The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product. 

The installation and setup is easy. But you will need to spend some time with the software to set the Loupedeck CT to your preferences.

Learning curve

The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.

With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software. 

The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.

The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.

As with the Loupdeck+, the CT makes using software easier. It does have a learning curve though, one for each software you use it with.

The Loupdeck CT in use

The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to  listen to whilst you edit. 

This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.

I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.

Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.

I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.

This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.

The centre wheel is one of the highlights of the CT. Being able to use it for things such as colour grading is so intuitive.

Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs. 

In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout. 

It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.

The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality. 

This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.

I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.

What I love

There is a lot to love about this product. The main things for me are:

• Size
• Look and build quality
• Unlimited customization options
• Multi-software usage 

What could be better 

• Integration with non-Adobe products
• No wireless option (although this may be coming)

Is it worth it?

This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.

It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.

However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost. 

The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not. 

The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.

I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.

The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.

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