Photoshop Elements 12 is ironically the missing link for those looking to move their images from iPhoto into Lightroom. This tutorial demonstrates the entire process.
We are frequently asked “Why doesn’t Lightroom recognize my camera’s raw photos?” or “Why can’t I open my camera’s raw photos in Camera Raw?” Jeffrey Tranberry has an excellent blog post titled Why doesn’t my version of Photoshop or Lightroom support my camera? that addresses this very issue.
Both your digital images and your Adobe Photoshop Lightroom Catalog files can be moved from one drive to another drive. Moving your photos, or your Lightroom Catalog, from one disk to another is not a hard process. The big question though is what arrangement of these puzzle pieces best suits your needs?
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You must know how to select multiple files using your mouse and keyboard to get the most out of Adobe Photoshop Lightroom. In today’s video tutorial for beginners, I am going to demonstrate all of Adobe Photoshop Lightroom’s selection secrets! There are even some advanced tricks in here that can really boost your productivity as your Lightroom catalog grows larger and larger.
Most digital SLR cameras allow the photographer to choose a color space for images captured in the Jpeg file format. Photographer’s with these cameras face two color space choices—sRGB and Adobe RGB. This article will help you figure out which color space to choose and explain how this effects digital camera raw files.
Most photographer’s know that marking their images as copyrighted intellectual property is important. We know that we need to put this symbol, and our name, into each and every digital photograph’s metadata, but most of us do not know how to create the copyrighted property mark while typing away inside of Adobe Photoshop Lightroom. Have no fear! This video tutorial explores three easy ways to create the copyright symbol while using Adobe Photoshop Lightroom.
I am fond of a backup utility called Carbon Copy Cloner on my Mac. This wonderful donationware utility plays a critical role in my backup plans. This tutorial explains how I use this software to protect my photographs from total destruction should one of my hard drives fail.
This article is a follow-up to a recent post on how Adobe Photoshop and Adobe Photoshop Lightroom differ. This time, we will explore the differences between the Adobe Bridge and Adobe Photoshop Lightroom.
Do I need to buy both Adobe Photoshop Lightroom and Adobe Photoshop CS4? Digital photographers ask me this question all the time. It’s a good question and one that deserves more than just a simple yes or no answer. Each program has it’s own strengths, and although the two programs share some common features, they are not competitors.
Scott Kelby, president of the National Association of Photoshop Professionals, posted an article recently that might help Lightroom beginners. If you are new to Lightroom, I encourage you to read his “10 Things I Would Tell New Lightroom Users” in addition to browsing all of the articles in our Getting Started Tutorials section.
I don’t agree with all ten, though. Read on to find out where I disagree.
Keeping your installation of Lightroom and Photoshop up-to-date is important…and not too complicated. Check out this article for more details on how to download and install both Lightroom and Camera Raw updates.
It’s hard to argue that using Lightroom to manage and edit large collections of images is much faster than “the old way,” but we’re always looking for that way to squeeze out just a little more speed.
Here are my top ten tips for optimizing Lightroom for speed.
Reader Question: Why does Lightroom tell me that my raw files are damaged but they work just fine in the Adobe Bridge?
Reader Question: “When I insert my flash card into my card reader, and try to use Adobe Photoshop Lightroom to import my new files, I get a message that tells me that they are damaged. I tried opening the same files using the Adobe Bridge and they worked just fine. What is happening?”
If you are experiencing this problem please read this post. It might solve your problems!
The digital camera’s sensor does not see the world the way our eyes do. With our eyes, brightness and tonal variation are linear, but for the camera this scale is logarithmic. Basically, this means that the camera can record lots of tonal variation at the brightest end of the spectrum but it captures very little tonal variation at the darker end.