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Chris Gampat The Phoblographer Panasonic LX100 first impressions product images (4 of 6)ISO 4001-100 sec at f - 4.5

Adobe just dropped a small update for Lightroom and, more importantly, a fat, new version of Camera RAW with support for up to 24 new cameras. The Camera RAW 8.7 brings support for a slew of new cameras including some very important new models such as the Canon EOS 7D Mk II, Fujifilm X100T, Nikon D750, Panasonic LX100, Samsung NX1, and Sony A5100.

Adobe Camera RAW 8.7 also adds a whole new bag of lenses like the Zeiss Otus 85 f1.4 ZE and a ton of Voigtlander M-mount glass. The list of newly supported gear is too long to transcribe here, so be sure to read the full list after the jump.

Like the big Camera RAW update, support for all this new gear also comes with Lightroom version 5.7. The latest version update also brings a few new features. For starters, you’ll be able to view your friends and family’s comments and favorites on any version of Lightroom whether it be the desktop client, mobile, or the web. Importing from Aperture has also become an integrated migration tool.

The Lightroom 5.7 and new version of Adobe Camera RAW are out now, so be sure to check your Creative Cloud updates. Alternatively you can download the new version of Camera RAW here.

Via Adobe

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The Photographer_Joubert_Loots

Creating the Photograph is an original series where we interview photographers about a photo that they shot and how it was achieved. The results are some knowledge passed on to you. Want to be featured? Email chrisgampat[at]thephoblographer[dot]com.

We found Joubert Loots via the recent EyeEm Awards. The image above featuring levitation was entered in as one of the finalists for the Illusionist category. Joubert’s EyeEm and Instagram accounts are filled with inspirational images–and not all of them are of the surreal/conceptual style that we see above. He is mostly a documentary street photographer but like most photographers, he tried his hand at other things in order to be experimental and grow.

Joubert’s image involves working in Lightroom and Photoshop–and it also involves using very rudimentary camera gear.

Here’s his story.

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Creative Cloud Libraries in Photoshop CC

At Adobe Max today, Adobe is announcing even further integration between their products in the Creative Cloud. They’re called Creative Libraries and Extract. They’re both designed to help you to create even more projects between Photoshop, Premiere Pro CC, and Illustrator. The emphasis is on both mobile and desktop support. With that said, there is a lot of built in touch support–like on Windows 8 and Surface Pro 3.

What photographers will really care about though has to do with Photoshop CC and Lightroom Mobile. According to the Adobe Press release:

“In the Photoshop family, Photoshop Sketch lets creatives draw with new built-in expressive brushes and enables an integrated workflow with Photoshop CC and Illustrator CC. Updates to Photoshop Mix extend precise mobile compositing capabilities and now includes enhanced integration with Photoshop CC, as well as a new iPhone version. A new Lightroom Mobile app builds on integrated desktop and mobile workflows and includes features to allow clients, friends or family to select favorites and leave comments for photos shared online; and GPS information from iPhone photos now syncs with Lightroom desktop.”

More or less, this sounds a bit like Lightroom is becoming a tool that is extending more onto the web to take on services like Smugmug or other services that let clients see images beforehand. Except in this case, they’re seeing them from the workflow app (or program) itself. Of course, this is all still for iOS devices and those of us that given our swords to Google will have to wait.

More details are after the jump.

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Chris Gampat The Phoblographer The Brenzier Effect tutorial portraits (1 of 3)ISO 16001-80 sec at f - 1.4

Otherwise known as the Brenizer Effect but colloquially called panoramic portraits–this is the act of taking multiple images of a static subject and stitching them together in Photoshop. The result is something that looks like it was shot on a medium format lens and sensor/film plane due to the wide field of view but very shallow depth of field.

Doing them is fairly simple–though there are considerations that you’re going to need to remember along with having a lot of patience while your software of choice processes through an image like this.

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Chris Gampat Adam Koblers images (2 of 3)ISO 16001-80 sec at f - 1.4

It’s a known fact to many that I shoot many times per week. While working on an upcoming tutorial for the site on panoramic portraits, I merged a bunch of images together for said tutorial. The exposure stayed constant and nothing about the lighting really changed. However, when looking at the final image that Photoshop Elements gave me, I saw this weird rendering. It looks a bit like cubism and a bit like many photos were printed and literally stitched together. Granted, Picasso’s cubism often involved portraits where one part of a face was in a spot where it shouldn’t be.

In color, it looked awful–but then when converting the processed image to black and white, it looked awesome.

So why did this happen? Udi Tirosh from DIYPhotography figured that since I shot this with a Sigma 85mm f1.4 on a 5D Mk II that vignetting happened due to my shooting wide open. So he believes that the vignetting made the exposures irregular when Photoshop tried to merge the images together. Because of this, I got the weird cubed effect. The fact that I was shooting in a dark atmosphere also adds to the reason why this came out looking like this.

Either way, I personally like it for artistic reasons.

Battlefield - The Light Always Wins

All images by Nina Y. Used with permission

Many things can’t always be done in camera, but with lots of imagination, story boarding and understanding of the creative vision that you have you can create some very magical photo manipulations. Take Nina Y for example: she says that she finds her inspiration in many things–but attributes a lot of it to fairy tales. “My daughter absolutely loves Disney fairy tales! With her, I have fallen back in love with the beauty of these cartoons, and Disney’s presentations of original stories.” says Nina. “I try to recreate them in my own way, while keeping them more suitable for older folk by adding a bit of funny sarcasm.” Nina continues to state that much of her inspiration comes from happiness, poetry, music, and autumn forests–but states further that everything in life in one way or another can serve as an inspiration.

Nina’s photo manipulations hold a dark surrealism to us, but behind them are humor, quirkiness and sarcasm. She, like many other artists, considers this to be a reflection of herself.

To create the images, Nina works with either her own stock materials, purchased stock or does collaborations with models around the world. Adobe Photoshop and a Wacom Bamboo Tablet are her tools of choice. “I set myself high standards, which I strive to follow with all my heart. On that note, my photo-montage pieces can often require a great amount of work.” says Nina. In fact, she tells us that in the last few months she spent a large amount of time planning a piece because it’s so elaborate.

“Once stock material is chosen, I like to change a lot of things in order to get the desired finished result, and so more often than not, I like to create my own vision of the main subject, something that could not be achieved by just photographing the Model and often, something almost entirely different and otherworldly.”

More of her images are after the jump.

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