After thorough Beta testing by the photographic community, Adobe today announced the release of Lightroom 3.

Lightroom 3, like the prior versions of the software, groups tools into five areas: Library, Develop, Slideshow, Print, and Web. The Library is where you organize your images. Develop is where the exposure changes are made, cropping is done, sharpening and noise reduction occurs, grain is added, etc. Slideshow, Print and Web are the areas that you’d work on Slideshows, Printing and Web sharing respectively.

This latest version of the image management/editing/RAW file processing software offers a brand new image processing engine, increased processing speeds and a host of improvements and new features.

Adobe rebuilt the engines that drive Lightroom from the ground up, to keep pace with the growing resolution and file size of today’s popular digital cameras, and the growth of photographers’ image libraries.

Because a new image processing engine is incorporated into Lightroom 3, when working on images that were originally processed in Lightroom 1 or 2, you’ll be given the option of using the previous version’s processing engine, or updating to the image processing engine in Lightroom 3. The choice is given to the user because slight changes can occur when updating from one version to the next, so now you don’t need to worry about the images you’ve worked on in the past and perfected.

Improvements include:

• Improved noise reduction and sharpening.

• Enhanced post crop vignetting.

• An improved import feature.

• Lens and perspective correction. Adobe also created a Lens Profile Creator that you can use to create profiles for the specific lenses you own.

• An expanded offering of custom print layouts.

• Addition of new Develop presets.

New features include:

• The ability to shoot tethered to a camera and import images directly into Lightroom. (26 Canon and Nikon models have been approved as being compatible with the launch of Lightroom 3. Additional models, as well as cameras from other manufacturers are expected to be added to that list as testing is completed. An updated list will be posted at Go.adobe.com/kb/ts_cpsid_84221_en-us.

• Cataloging of video files in addition to still images. Video files will show an icon of a video camera in the bottom left corner.

• The ability to add natural looking grain to images.

• The creation of slideshows synced to music that can be output as movie files compressed for the web, at HD quality and everywhere in between.

• Flexible watermarking.

• Direct access to image sharing websites and mobile devices. An included Flickr plug-in lets you upload directly to that website. Developers will be able to create such direct access for other websites and services.

Minimum system requirements for Lightroom 3 are: Mac – Intel-based Mac, OS X 10.5 or 10.6, 2 Gigs of RAM, 1 Gig of hard disk space, CD-ROM drive, and 1024 x 768 monitor resolution; Windows – Intel Pentium 4, OS Windows 7, Vista Home Premium, Business, Ultimate, or Enterprise (certified for 32-bit and 64-bit editions) or Microsoft XP with Service Pack 2, 2 Gigs RAM, 1 Gig available hard disk space, CD-ROM drive, and 1024 x 768 monitor resolution. Lightroom 3 is a 64-bit application by default for the Mac, and can be used as a 32-bit application if users so choose. For Windows, the 64-bit version will only be installed on Windows 7 or Vista 64-bit operating systems, all other operating systems will install the 32-bit version by default.

My 2 ¢

As a Lightroom user since version 1.0, the decision to upgrade to the latest version of Lightroom is a no brainer. Why stay in the past when you can improve your workflow and utilize the many new features of the software. And at a cost of only $99 to upgrade, its quite affordable to do so.

If you’re debating whether or not to add Lightoom to your workflow, the list of features alone should sway the decision. The full program MSRP is $299.

Lightroom is a powerful part of my workflow. When you’re shooting hundreds or thousands of images per job, you don’t want to be editing through images by opening each file individually. While Adobe Bridge offers the ability to perform some tasks, Lightroom 3 features not only image management but image editing tools as well.

Using Lightroom 3 in conjunction with Photoshop CS5 is my ideal workflow. I import all images I shoot into Lightroom, edit through them for the files I want to work with, make exposure changes, crop/straighten images, and export the files in the size(s) I need. (The export feature alone is worth the price of the software to me! Especially when I have to save multiple sizes of the same images.) Major retouching or compositing is then done in Photoshop.

Adobe is shipping Lightroom 3 starting today.

For more information, go to www.adobe.com.

♦ We’ve begun testing out Lightroom 3 and will be posting a full review within a week! —Ed.

Last week I went to a trade show. And I didn’t even bother to get out of my pajamas. Ok… I did get dressed, but I could have stayed in my P.J.s with bed head and no makeup, and no one would have been the wiser.

How you ask? I attended the Focus on Wedding and Portrait Photography virtual trade show organized by PDN magazine (www.pdnonline.com; www.photoplusexpo.com). The tradeshow was “live” May 24 and 25, but will be archived for the next two months.

On the left is a screengrab of one of the three exhibit halls, on the right is a screengrab of the lobby of the PDN Virtual Trade Show.

Just like normal trade shows in the physical world, this virtual show had a lobby, three exhibit halls and an auditorium where seminars were given. Just like actual trade shows, you could have your badge swiped to receive additional information. You could even put digital information (PDFs) in your exhibit bag, and download them later.

The Focus on Wedding and Portrait Photography virtual trade show focused on weddings and portraits. The range of seminars included those dedicated to posing and lighting, business and marketing, and Photoshop techniques.

I love the idea of a virtual trade show. While I enjoy attending actual trade shows because of the face-to-face networking and true interactivity of presentations, there is definitely a place for virtual events. Especially when you can’t get away from work or afford travel expenses. For a virtual event, just fill out the registration form and attend. What’s great about virtual events is that the seminars begin for each attendee when they enter the auditorium. For example, enter most of the seminars late at a virtual event, and you aren’t conspicuously searching for a seat and missing part of the presentation. When these virtual events are archived (this show is being archived for two months) you can take in all of the presentations at your leisure.

After many of the seminars at the Focus on Wedding and Portrait Photography event, there were live chats with the presenters. Just type your questions and the presenter types his/her response.

How popular are virtual events? They are being attended in increasing numbers and gaining in popularity, according to Champion Exposition Services. Seven out of 10 respondents in their ‘survey on the use and adoption of digital tools by the association market’ are actively producing or considering a future virtual event. And these associations aren’t replacing actual shows with virtual events but adding them into their marketing mix.

I found the more interactive booths where video launched automatically, were the more interesting ones over those that only had PDF files that you’d download and read later.

On the left is a screengrab of Doug Gordon's exhibitor booth, on the right is a screengrab of the video that automatically launches when you visit the booth. This was one of the more interactive booths of the virtual trade show.

You could even connect with fellow attendees, via email or chat.

For the most part, the attendees, exhibitors and presenters I spoke with came away a positive experience from PDN‘s virtual trade show. One benefit for exhibitors: a virtual event replaces hours or even days of booth set up and tear down with mere minutes of work. Exhibitors noted they were able to connect with new customers, presenters enjoyed the experience, and attendees liked the concept and experience.

Pet photographer Margaret Bryant (www.bryantdogphotography.com) attended this event as well as a previous PDN virtual trade show. Although she didn’t use the chat feature, she did like that attendees were given the opportunity to chat with presenters and exhibitors. “I think [a virtual show] is probably more valuable for those who can’t attend a physical trade show. To me, it is in addition to a physical trade show, not a substitution. I’m a tactile person so I like to touch merchandise at the trade show. I also like the face-to-face contact. But I do think there is a place for virtual trade shows,” Bryant says.

This virtual show was the first attended by photographer Stephanie Natale, (www.natalephotography.com). Natale ‘walked the trade show’ and even signed up with one of the exhibitors. “I think it is a great idea,” she says, adding, “I’d attend another one for sure.”

Darla Achey, marketing communications specialist, Mitsubishi Digital Electronics, (www.mitsubishi-imaging.com) said this was her first virtual trade show. Mitsubishi was an exhibitor and seminar sponsor. “I love the concept,” she says. In addition to new leads, Achey explains, “This was a great opportunity, that was cost effective, and helped us build brand recognition for our photo products.” She adds, “It’s a great way to reach people who might not otherwise be able to get away for a trade show.”

The PDN virtual event was also the first such experience for photographer and presenter Judy Host (www.judyhost.com). She feels the concept has worldwide appeal. “I would love to participate again. There is something to be said about having your program pre-recorded and being able to respond to questions via email afterwards. I don’t think it will ever replace a “real experience” but it sure does give access to those who wouldn’t normally have it.” Host sees virtual events as a great educational tool. “There are so many people out there that want the education that we provide and just can’t afford to travel and/or give up their time. This brings the training into their homes and makes it convenient for them to learn. As an educator, it just doesn’t get any better than that,” she adds.

So the next time an invitation to a virtual trade show lands in your e-mail inbox, why not attend. You won’t have to travel further than your own computer—and you just might learn something new!

The RZ33 has an ISO range of 50-800, with a 12 f/stop dynamic range. The camera produces a .mos RAW file, with 16 bits/channel. It is an HDR-type Mosaic RAW file, with uncompressed or lossless compression. The largest file that the RZ33 is capable of producing is a 190 megabyte 16 bit TIFF.

Other features of the camera include flash sync at all speeds from 8 seconds to 1/400 of a second (plus T-setting for up to 32 seconds) through the use of leaf-shutters built into the RZ system lenses; precise rack and pinion bellows focusing on all RZ lenses without mounting adapters; and a 6x7cm LCD touchscreen interface. And because the RZ offers vertical-horizontal rotation, you don’t need to turn the camera while shooting.

You can view images remotely on an Apple iPhone, iPod Touch or iPad (in tethered mode, Wi-Fi required).

The RZ33 kit is ideal for photographers who already own RZ system cameras; it is compatible with all 19 RZ system lenses and most accessories. Optional accessories include: film backs, interchangeable viewfinders, (the waist-level finder is included); interchangeable focusing screens, (the Matte Focusing Screen is standard); the Power Winder 2, which cocks the shutter and resets the mirror automatically, for exposures at about one frame per second. It can also be remote controlled with radio or IR transmitters; extension tubes; and more. You can also use RZ67 system accessories with the new RZ33.

“The new RZ33 brings all the ease-of-use advantages of the tried and true RZ camera system to large-sensor digital photography while making tremendous use of the existing line of world-renowned Mamiya RZ optics and accessories,” says Mamiya Product Marketing Manager Mike Edwards.

The new Mamiya RZ33 digital camera kit, including the RZIID camera body, 33MP focusing screen, Mamiya cable-free digital integration plate, Mamiya DM33 digital back and battery, battery charger, FW800 cable, Capture One and Leaf Capture software, will be available in the U.S. for $17,990 and will begin shipping in July 2010.

Go to www.mamiya.com for more information.

— Diane Berkenfeld

Digital Anarchy today released a new skin retouching program for still images, Beauty Box Photo. A Photoshop plug-in, Beauty Box Photo is compatible with Photoshop CS5 and earlier versions. The software is a follow-up to the company’s popular video retouching tool for After Effects CS5.

Beauty Box Photo skin retouching software automatically identifies skin tones and creates an intelligent mask that limits the smoothing effect to skin areas while keeping facial details sharp. You can use the software for batch processing too, which really helps speed up your workflow.

In Use Review

I had the opportunity to review a beta version of Digital Anarchy’s Beauty Box Photo, using it with Photoshop CS4, and love the software. It has the power of high priced programs, yet the GUI or graphic user interface is simple to navigate and easy to use.

One of the great features of Beauty Box Photo is that it provides subtle yet visible retouching. Whether you use the automatic retouching or manually tweak the settings, the skin smoothing is subtle, so your portrait subjects look normal—skin does not look plastic or over-retouched. Pore structures and wrinkles are visible but softened.

(l. to r.) Screenshot showing 100% view before, and after. Photo ⓒ Diane Berkenfeld.

I found that the automatic mask did a wonderful job of masking the skin tone, not just on a face, but shoulders, arms—all visible skin in a photograph. You can very easily tweak the mask too, if necessary. Once you have the mask, you can fine tune the skin smoothing to your liking.

(l. to r.) Final portrait, and screenshot of the Beauty Box Photo mask. Photo ⓒ Diane Berkenfeld.

The software lets you take up to three snapshots of different amounts of smoothing, and you can toggle between each of them to choose which looks the best, and then apply that one. I personally would have liked to see a before/after button instead—although to the software’s credit, it lets you see up to three different settings which is more than a simple before/after or split screen would provide.

When it comes to retouching, sometimes less is better, meaning that Beauty Box does what it says it does—providing powerful skin smoothing without going overboard. And it is not overwhelming to use, like some software programs can be. This is great for the non-techie photographer or beginner digital imager.

The software is also very intuitive. I tested it out with a portrait of a 6 month old, a 4 year old and a 30-something. Each time the automatic settings provided a pretty good starting point. Less smoothing for the kids and more for the 30-something. Although I did tweak the settings, most folks would probably be happy with the program completely running on auto.

(l. to r.) Close-up view of the original non-retouched image (file open in Photoshop), and after (image in Beauty Box Photo's dialog window), using the automatic settings of Beauty Box Photo. Note the smoothing of the baby's blotchy red skin on his cheek. Photo ⓒ Diane Berkenfeld.

I definitely see Beauty Box as an addition to my retouching workflow. It makes it really easy to smooth skin for a pleasing look while leaving the skin looking realistic.

The photographs of the baby and child were for an actual job I was working on. I originally used a Photoshop action on the portraits, which while smoothing the skin also added a soft-focus glow that really was overboard for these images. The Beauty Box Photo skin smoothing was perfect—just enough to smooth out blotchy skin without overkill.

Beauty Box Photo works in Photoshop versions 7.0–CS5 and Photoshop Elements versions 6–9; on the Macintosh, running on OS 10.4, 10.5 and 10.6; and on Windows, the software supports Windows XP Home, Windows XP Pro, Vista 32-bit, Vista 64-bit and Windows 7. In the next few months, Digital Anarchy will have a version compatible with Apple Aperture, and in the future (date tbd) with Adobe Lightroom.

Beauty Box is regularly priced at USD $99. The product is on sale for $79 through June 21, 2010.

For more information, to try out demo filters and view samples, go to www.digitalanarchy.com.

The Toronto School of Photography will be hosting a 2-day workshop taught by Award-winning photographer and instructor Gary Small on June 17 & 18.

The School of Photography in Toronto, Canada will be offering a two-day workshop in June, to educate photographers – both beginner and advanced – with the new features and functions of Photoshop CS5. The workshop will be led by professional photographer and educator, and Picture-soup.com‘s own Photoshopman a.k.a. Gary Small.

Attendees will be able to bring their laptops and work on images using Photoshop CS5 during the workshop for a hands-on experience.

Topics to be Covered include:

→ Mini Bridge

→ Bridge Improvements

→ Content-Aware Fill

→ Content-Aware Healing Brush

→ Puppet Warp

→ Mixer Brush

→ Painting Features

→ Customizable Bristle Tips

→ New Refine Edge Command

→ Crop Tool Improvements

→ Photoshop CS 5 Extended: Repousse 3-D feature

→ Improvements in Camera Raw (ACR 6.0)

→ New Lens correction with lens profiles for most cameras

→ HDR Pro

→ Layers Improvements

→ Working with a Wacom Tablet

Visit the website at www.schoolofphotography.ca/school/Seminar/semin.html for more information and to register.

— Diane Berkenfeld

I am a woman with a camera—a professional photographer.

When shooting personal projects or working on location, I don’t always want to carry a camera bag, nor do I always want to have a gear belt full of pouches that resembles Batman or Robin’s utility belts. Thanks to fellow photographer Marla Holden, I won’t have to do that anymore. That’s because Marla decided to design a photo vest for women.

The vests fit a woman’s shape, unlike the baggy, oversized photojournalist’s vests that have been available for men for years. Marla’s company, Foto Fashionista, offers female photographers a more fashionable choice for carrying necessities while shooting, the My Foto Vest, in four styles: Nantucket Stripe, Casual Friday Khaki, Saturday Blue Jeans, and Midnight Denim. The vests are made of comfortable cotton materials, and are machine washable. They’re available in small, medium, large and x-large.

One of the great features of My Foto Vest is that the back is made of a stretchable lace, so it breathes. A zipper lets you wear the vest closed or open. On the inside of the vest, you’ll find pockets that are made of a stretchy neoprene-like material. The right side features five pockets, one for a pen, and four more to hold accessories. The left side has two pockets for accessories, with three smaller pockets to hold media cards higher up near your shoulder.

Pockets are stretchable. The My Foto Vest is comfortable to wear even when you've got the pockets full and the vest zippered closed.

Photo accessories, such as a light meter, flash, lens caps, filters, white balance devices (i.e. Spydercube), extra batteries, and more will easily fit in the pockets. So will a cellphone, keys, ID and money, or a small wallet. I like that when wearing a Foto Fashionista vest, I don’t have to stuff everything in my pant’s pockets. This is important, because, except for denim jeans, not all pants have pockets that are large enough, or shaped correctly to safely hold much of anything. I would like to be able to fit a lens in the vest, and wasn’t able to with the lenses than I own. The material that makes up the pockets is stretchy, but I couldn’t get the lenses to pass through the seams at the top of the pockets—which also speaks to the durability of the vests’ construction.

I like the ability to keep my full media cards on me. I don’t normally put shot cards in my gear bag in the event that it disappears on a shoot. My camera gear is replaceable, but the photographs I’ve taken aren’t.

Overall, I found the vest could replace a small purse, which I would find helpful on its own. If I was going out shooting with only one lens, I would definitely wear the vest instead of carrying a small camera bag. Being able to easily and comfortably carry accessories I use all the time is great. Because I shoot events, I would definitely like to see a more formal looking vest in black. Marla has said she’s working on a formal design for photographers to wear while shooting events, and I can’t wait to try it out.

MSRP of the My Foto Vest is $139.99. For more information, go to www.fotofashionista.com.

The Sigma 70-300mm f/4-5.6 DG OS telephoto zoom lens is the second lens from Sigma that I’ve tested out, and have to say it is a nice piece of glass. The lens, which incorporates an Optical Stabilizer, is compatible with Nikon, Canon, Sony/Minolta, and Pentax mount bodies.

Minimum focusing distance is 59.1-inches, and the lens uses a 62mm filter. The lens offers a 34.3 degree angle of view at the wide 70mm end and 8.2 degrees of view zoomed in at 300mm. Aperture range is f/4-5.6 through f/22. For a lens with such a wide zoom range, it’s not extremely heavy, weighing in at only 610 grams. The lens has a nine blade diaphragm, and although it isn’t an f/2.8 lens, it does offer a nice out of focus blur at f/4.

Designed for use with DSLRs that incorporate full frame image sensors, the lens can also be used with camera bodies that use the smaller APS-C sized sensors. When used on a camera with an APS-C sensor, the lens effectively becomes a 100-450mm lens.

According to Sigma, for the Sony and Pentax mount lenses, you can use the optical stabilizer even if the camera body has a built-in anti-shake function.

The 70-300mm f/4-5.6 DG OS lens uses Special Low Dispersion glass elements. The Super Multi-Layer Coating reduces flare and ghosting, providing high contrast throughout the entire focal range.

While shooting an outdoor concert by the band Finally Balanced, I zoomed in to 300mm, on the drummers gear.

Bringing the image into Adobe Lightroom, and zooming in, you can clearly make out the lettering on the medallion on the drum.

I’ve been using the lens on a Canon EOS 5D Mark II body, and found it to be quick to focus, producing sharp images. Canon’s 5D Mark II has a full frame image sensor, so the lens was accurate at the 70-300mm zoom range. The images from this lens were as sharp as I’ve seen with Canon brand lenses.

As I mentioned in the review of the Sigma 10-20mm wide-angle zoom, posted on Picture-soup.com last summer, there are folks who don’t think third-party lenses are as good as those made by the camera maker. From my experience using Sigma lenses I think they’re definitely worth the money. The money you save by buying a Sigma lens doesn’t come with degradation in quality.

Singer/guitarist Dave Christian, of the band Finally Balanced. At its widest aperture of f/4, the lens provides a nice blur to the background.

These images were taken during a family portrait shoot. They were converted to B&W in Lightroom, and saved as a four-up for printing.

MSRP of the lens is $599.00. For more information, check out the website at www.sigmaphoto.com.

To read the Picture-soup.com review of the Sigma 10-20mm f/3-5 EX DC HSM lens, click here.

Sony's Alpha NEX-5

The Alpha NEX-5 and NEX-3 provide the quality of a DSLR in a compact body. Because this type of cameras don’t utilize a mirror prism, their physical size can be much smaller than the ordinary DSLR.

Both Sony models utilize a newly developed 14.2 MP Exmor APS HD CMOS sensor. The sensor is 60% larger than the micro four-thirds camera sensors.

What makes the new Alpha NEX-5 and NEX-3 cameras so cool is that the APS-C sensor continually adjusts focus and exposure while recording video—the first of its kind. The NEX-5 offers Full HD movie capture at (1080i AVCHD and 720p MP4) with Full HD 60i recording. The NEX-3 shoots 720p HD video, saving them as MP4 files.

Features of the cameras include built-in stereo microphones, Sony’s BIONZ processor, and high speed burst of full-res images at up to 7 frames per second. The cameras are also the first to incorporate the Sweep Panorama feature that allows your images to show up to 226° horizontal or 151° vertical field of view. With a firmware update available mid-summer, the cameras will also be able to shoot 3D Sweep Panorama images with a single lens.

Sony Alpha NEX-3

Both camera models feature a 3-inch LCD, that tilt up or down for added flexibility.

Three new E-mount lenses are being introduced with the NEX-5 and NEX-3: the 16mm f/2.8 prime lens, an 18-55mm f/3.5-5.6 OSS standard zoom and an 18-200mm f/3.5-6.3 OSS zoom.

The cameras come with a super-compact clip-on flash. They also feature dual media card compatibility, accepting both Memory Stick PRO Duo (and Memory Stick PRO-HG Duo) and SD cards, (including SDHC and SDXC formats).

An optional mount adapter—LA-EA1—makes  all 30 of the Alpha family lenses usable on the camera bodies, as well as older legacy A-mount lenses (manually focusing only). Other optional accessories include an ultra wide converter that gives a 12mm view and a Fisheye converter; an optical viewfinder, and stereo microphone. The flash, optical viewfinder and mic all connect to the cameras by the accessory shoe at the top of the camera body.

Sony is shipping the NEX-5A digital in silver and black and NEX-3A digital in silver, black and red as a kit with the 16mm lens (MSRP $650 and $550 respectively); and as a kit with the 18-55mm lens (MSRP $700 and $600 respectively). The camera bodies, accessories and 16mm and 18-55mm lenses will be available in July. The 18-200mm lens will be available in the fall.

(l. to r.) NEX-3 in red, silver NEX-3 with accessory stereo mic, the rear tilting LCD is a feature of both models, the NEX-5 and NEX-3.

For more information, go to www.sony.com.

— Diane Berkenfeld

With the imminent demise of a well-known photo management application I’ve endorsed since the days I embraced digital photography, it became clear I had to find a replacement. Photo Mechanic by Camera Bits in all appearances seems to be my replacement. At the present time, it is not a cataloguing solution—Camera Bits says that may change soon—but overall it’s a very user-friendly application that I use for all of my DAM workflow.

Photo Mechanic is Mac/PC compatible. System requirements are: MAC: Mac OS X 10.6.x, 10.5.8, or 10.4.11. PowerPC G4, G5 or Intel; PC: Microsoft Windows 7, Vista, or XP with Service Pack 1 – 3. Intel Pentium 3 1.2GHz, AMD Athlon 1200 or higher.

Let me go over a few available options that give strength to the Photo Mechanic program:

Download/Ingestion

Images can be imported directly into Photo Mechanic via their ingestion program, or you can open images already stored in an existing archive/folder. When using Photo Mechanic’s ingestion tool, you are given batch controls of your images, such as: adding a metadata template, renaming, and back-up.

One function I appreciate is that during ingestion you can back-up your files to a second location simultaneously. (Screen Shot 1 A) By the way, provided you have multiple card readers, you can ingest more than one card at a time. If you are an impatient person like I am, another ingest feature is that you can open a contact sheet and start viewing your images as they download.

The metadata is where Photo Mechanic really has the opportunity to strut its stuff. This is one of the things that makes it a favorite among photojournalists and stock photographers. You can easily and quickly embed metadata in your files starting here. By setting up the Stationary Pad (Screen Shot 1 B) you can create a template that will load your reoccurring data into all of your files with the press of one button. By using the IPTC editor you can go in later and fine tune specifics. You can save as many templates as is required.

Soapbox moment. If you aren’t adding metadata to your files, you should read up on the Orphan Works (http://en.wikipedia.org/wiki/Orphan_works) bill and rethink that.

Interface

Now that your files have been ingested, let’s look at the interface. Personally I find the GUI user friendly. You can customize the window via preferences (Screen Shot 2, below).

Viewing & Sorting Images

From this main window, you can view your images as a contact sheet and by double clicking on a thumbnail, you’re brought to a larger preview, which I will explain further later. You can open new contact sheets by clicking the “+” sign (Screen Shot 3 A), adding images from either a desktop folder or directly from your card reader, if you didn’t use the ingest process. After tagging your edits with either a 5-star rating or color code (Screen Shot 3 B), you can sort them together (Screen Shot 3 C) by: color class, star rating, capture time, modification time, filename, etc. In addition, you can use the button to the right of arrangement to sort by your “selected, tagged, untagged” choices (Screen Shot 3 D).

By clicking on the icon to the left of the search field, you are given the option for the File Uploader menu (Screen Shot 3 E). This menu gives you the easy ability to upload image files directly to your account on PhotoShelter, Flickr, and SmugMug, among others. You can send original files, jpeg copies, apply a watermark, and resize all within this menu.

Right-click a thumbnail and it gives you the following handy options: Image Info (camera info), Color Class (label), Apply IPTC Stationary (another opportunity to add metadata), Edit Photo (using the image editor of your choice), Rename Photo, Copy Photo, Delete Photo, Save Photo As…, Send Photo via Email, FTP as…, Upload…, Reveal in Finder.

In addition to some of the features listed above, you also have the ability to export HTML web pages, burn images to disc, print contact sheets, and create slideshows.

Editing

Photo Mechanic makes editing through hundreds or thousands of images a breeze. One of the great things about editing within Photo Mechanic is that it will generate a jpg preview of each RAW file, so loading of the images is super quick. I’ve often been editing as the ingestion is still happening, which takes me no time at all.

When you double click on a thumbnail, it brings you to an enlarged version of your image. From this window, you have the following preferences available to you in the top menu: front/back arrows, rotate image, IPTC stationary pad (are you sensing this is important yet?), file copy options, delete, and screen view options (screen shot 4 A, below).

To the right of the screen you have your file info which contains your camera data. By clicking on the + and – signs in the top right, you can edit what information you would like to see here. You have a crop tool, a zoom button (allowing you to enlarge your image by 800%) and lastly, a histogram.

From within this window, it is very easy to navigate forward and back using the arrow buttons on your keyboard and tag each image with either a star rating or color code and speed through the folder. When finished, head back to the main GUI and arrange your tagged edit as you see fit.

From there it’s an easy right click to copy your files to another folder, ftp or email them.

IPTC Stationary Pad

I’ve mentioned it before, but let’s take a closer look at the IPTC Stationary Pad. You’ve now seen the various places this window can be accessed. See the window (screen shot 5, above) for more details. As I mentioned you can create templates for your metadata and simply apply them to a batch of images, or individual images with one button. There is a function called IPTC Snapshot which allows you the ability to copy and paste a set of metadata between files. You can access the snapshot via the lightning bolt graphic in the lower left corner; right-click function, via the edit menu or via the enlarged preview window’s upper menu “i” button.

In addition, via the image menu, you can find a keywords panel where you can build a list of keywords that you use often.

In conclusion, the main things to keep in mind before purchasing this program, is that if you are looking for a program that works as a cataloguing option, this is not for you. This is also not an image editing program. Because of these omissions, I may hesitate to purchase this program by itself, however, for the price, you can’t go wrong if you are looking for a way to ingest and manage your images quickly and efficiently.

I am very fond of Photo Mechanic’s ability to copy files to two locations during ingestion as well as the speed with which the previews come up, enabling me to start editing while I am still ingesting files. Renaming files, being able to email and FTP files are also functions I used quite readily as well.

One thing I dislike (other than it’s lack of cataloging abilities) is that there is no “undo” button. I have at times applied ratings or labels only to find that there is no quick way to undo a mistake. I also find, for me, that there are too many ways to achieve the same goal. For instance, the many places you can reach the IPTC Stationary Pad; it could have been simplified just a little bit more.

Lastly, for support, the Camera Bits forum is full of information and one can often get pretty speedy replies from the developers themselves. That’s a nice personal touch to experience in this day and age.

MSRP for Camera Bits Photo Mechanic, version 4.6.3 for Mac/PC is $150. You can demo the software free for 20 days. For more information, check out www.camerabits.com.

♦ Upon graduating with a BFA in photography from Pratt Institute, Kristin went on to become the studio manager for the esteemed Magnum photojournalist, Elliot Erwitt. Under the tutelage of Elliott, Kristin acquired a more capacious understanding of the history of photography and of the unique and diverse contributions of those who define the field. Her work with Elliott also provided a forum from which to create and develop her own artistic style.

In 2002 Kristin founded Photomuse (www.photomuse.com), a fine art/documentary style wedding company. Kristin is an award-winning member of the Wedding Photojournalist Association (WPJA), a professional organization composed of photojournalists and wedding photographers from around the world as well as the Artistic Guild of Wedding Photography (AGWPJA) and the International Society of Professional Wedding Photographers (ISPWP).

I recently had the opportunity to try out the Canon Pixma Pro9500 Mark II inkjet printer. I was looking forward to seeing how the printer would perform and increase my workflow productivity.

To give you a little background on myself, the first true experiences I had in the photo world began with my Canon AE-1. The ability to have complete control over your picture from start to the final print became a quick addiction. I loved my Canon. Through the digital years, I dabbled with various other makes and used your standard printers. Was this Canon going to be a “love affair rekindled?” Could be.

Printer Specs and Features

When the printer first arrived, it was very overwhelming. Lets just say you need to find ample desktop space. The printer is 26.0″(W) x 7.6″(H) x 13.9″(D). It can handle output up to 13×19-inches. My first challenge was finding the printer a workspace. With the front and rear trays open, the printer will need around a 30”x40” area. The 1.6mm steel body adds to the overwhelming appeal and speaks “rough and tough.”

After taking the printer out of the box, I just needed to install the 10 single ink cartridges: Matte Black, Photo Black, Gray, Cyan, Magenta, Yellow, Photo Cyan, Photo Magenta, Red, and Green. The driver now installed on a Dell Inspiron 530 Intel Core 2 Quad PC, it was finally time to print. Or in my case, select the images to test print.

The Pixma Pro9500 Mark II printer utilizes a 4800×2400 dpi FINE print head, two separate paper paths, and a new printer driver. The printer is compatible with Mac OX X v.10.2.8 to 10.5.x and PCs running Windows XP/2000/Vista/7. The printer connects to computers via USB 2.0 and direct printer ports—no FireWire and no Ethernet. The printer can output 16-bit files.

The 10-color PIXMA Pro9500 Mark II printer uses Canon’s professional Lucia brand pigment-based inks. The printer was designed to output great B&W prints as well as color. Its ink system includes gray, black and matte black cartridges for printing of monochrome photographs on both fine art paper and glossy photo paper.

The printer comes with both Windows & MAC OS X: Easy-PhotoPrint Pro, Easy-PhotoPrint EX, CD-LabelPrint and Adobe Photoshop Elements 6, however most professional photographers are likely to print from whichever version of Photoshop they are using. Using the included software allows you to print directly from Photoshop and also print RAW images. These options allowed me numerous options to choose from with my inventory of prints.

Test Use

Ali. Photograph ⓒ Carrie Konopacki.

My goal was to find the most luminous, vibrant color photos and the black and white images with high levels of contrast, shadows and depth of field. And also throw in some sepia. For my printer tests, I used a variety of media, including: Canon Inkjet art & photo paper,  Fine Art paper “Museum Etching”, Fine Art paper “ Photo Rag”, Fine Art Paper, Premium Matte, Photo Paper Plus Semi Gloss, Hahnemühle Matte FineArt, Kodak Premium Photo Paper (Matte), and Kodak Photo Paper (Gloss).

Arizona Cacti. Photograph ⓒ Carrie Konopacki.

For my first print, I chose the Museum Etching media to print an image of a Cacti from a 2009 trip I took following Imaging USA. Once my enhancements were made to the image, it was time to print.

For me, the most difficult process to figure out was how to successfully operate the front feeder for the heavier and larger sized papers. After a few miss attempts and unsuccessful interpretation of the online owners manual, by sheer frustration, it became clear.

Bumblebee on Flower. Photograph ⓒ Carrie Konopacki.

I truly thought the printer had come with a malfunction. Mind you, not having used other Canon large or wide-format printers before, it took me some time to figure out exactly how the paper feed worked.

When I reviewed the online owners manual, which does give you a walk-through, with pictures and descriptive directions, I was able to figure out what to do. The front output tray needed to be placed into the feed position and paper manually fed into position from the back. Once you figure this portion out, everything else is pretty self-explanatory.

While Printing

Now that the printer was all set up, sending images to print was my next task. The printer handled anything I threw at it without any real complaints. You can even print regular documents on the printer, which I did in a pinch.

My only concern is that printing of photographs was slow.

Photo of Jake Konopacki by Herff Jones.

Using the Kodak glossy media I printed some school pictures, 2 (5×7)’s, 8 wallets, and 4 (3×5)’s in about 3 minutes. The quality was great. And the colors were representative to the true.

I was using Photoshop CS3, although I did try using Canon’s printer software to see how it would render my images. For the school images, I used the print package that was a part of the Canon Solutions menu options. Because the printer would be used by prosumers as well as pro photographers—and to see how well it printed—I didn’t use ICC profiles. The colors were spot on with the Jake’s school photos.

I did use the print screen option to make sure the picture I wanted had more of a vibrant color, with certain images.

The printer offers ICC capability, and can print both 8 bit and 16 bit images. The Pixma Pro9500, the predecessor to the Mark II was only able to print 8 bit image files.

The printer was remarkably quiet even without being in “Quiet Mode”, had great color and B&W image reproduction and was user friendly. There is also an easy one-click help button from the On-Screen Manual, which will help you diagnosis and resolve issues and/or questions.

With regards to the various papers that I used in testing the printer, I liked various ones for different prints. The goals is to make sure you like the final look on the paper you wanted, hence with the school picture, I knew the people I was handing them out to would be accustomed to glossy prints, so I used glossy media. For my cactus picture, I wanted to “soften” the look so I went with the Museum etching.

Overall, the Canon Pixma Pro9500 Mark II is a great 13-inch printer with excellent Black & White printing capabilities. The wide color range make your color prints pieces of artwork. Ink usage was within expectations of desired print quality and quantity. In addition, the quietness of the printer allows you to continue to work in the same room you are printing in with minimum distraction. I would definitely recommend this printer for those in the market.

For more information about the Canon Pixma Pro9500 Mark II printer go to the website www.usa.canon.com.

♦ Carrie Konopacki’s passion and expertise in photography began at the age of 16 when she took a job as a receptionist at Olan Mills Portrait Studios. From there she began a 15-year adventure as a photography professional. First as a photographer for Olan Mills, then in college, where she planned to become a photojournalist. Learning the roots behind her passion for photography, Carrie received a Bachelor’s degree in Journalism. She has done freelance commercial photography as well as family portraiture. Most recently Carrie worked for Studio Photography magazine.