This new capability will allow you to apply very targeted adjustments in Lightroom that you currently would have to apply with masks inside Photoshop.  And right on top of the panel is one you may overlook – color balance.

We’ve blogged before about the varying temperature of different light sources, and problems that can occur when you mix light sources in a single photo.  If this isn’t something you did purposely for an effect, it can be very difficult to balance the light sources.  Now you have a new tool to assist you.

When I was out in our one little snow earlier this year, I managed to create an example of two different color balances in one photo.

I was adjusting my settings on arrival at this gate and noticed how the headlights’ color cast was decidedly orange.  Since this was taken right before we went to Alaska, I never got around to processing all the photos from that shoot.  (That’s lucky because this would have gone straight into the bit bucket.)   You can easily see the clash of the orange (warm) headlights against the blue of the early morning (cool).

With the new brush, I can knock that orange right into submission, cooling it so the light looks like it fits into the scene better.  Most of your viewers would never question that the light might not match reality; it would just seem to fit better.

Here is another example where your viewers’ perceptions of what is correct might not match reality.

When I came back from Alaska this summer, I had some shots from the glaciers.  If you’ve ever seen glaciers, you’ll immediately notice their deep blue coloring.  Many people looking at this photo of gulls on an ice flow asked me about the blueness of the birds.  “Why are the birds blue? Did you tint them to match the ice?”  (Once co-workers know you dabble in the evil world of Photoshop, they’ll question everything you do – even if you didn’t use it.)

Of course, I could go into Photoshop and warm up the color balance on the gulls and mask the rest of the image.  It won’t take too much effort.  Just add a new layer; adjust the color balance; mask the base image to reveal the warmer gulls; save to file; and you’re done.  Or you can stay in Lightroom and make the changes with the new Adjustment Brush.

Doing all that is possible in a single program makes more sense.  And another big advantage to working in Lightroom is Adobe’s policy that all Lightroom adjustments are completely reversible.  If I decide I’ve gone too far with warming up the gulls, I can change it instantly with the slider or easily revert to the original.  All the original pixels are still there.

I find it funny that people who proclaim they don’t like it when I resort to Photoshop are happier with the warmer tones on the gulls (“Everyone knows seagulls don’t look that blue”).  In order to make them happy, I had to adjust the image away from the original pixels.  And now both parties know I didn’t use Photoshop. 

There are places to volunteer to shoot portraits of military families to send to their loved ones deployed overseas.

http://www.pmdaportraitsoflove.com/families.php

Each year thousands of animals are dumped off at shelters and, if no homes are found, are euthanized.  Many animal shelters have been hit hard by the economy and are struggling to get by.  The photos they post of their guests are grainy and unlikely to draw in a new owner.  There are now shelters getting photographers to donate their time and produce studio portraits of the animals allowing them to be adopted more quickly. 

http://animaltracks.today.msnbc.msn.com/_news/2012/01/30/10271873-professional-portraits-reveal-shelter-animals-true-selves#

My own personal project has been Operation Photo Rescue. http://www.operationphotorescue.org/

This non-profit group goes in where disasters have struck to try and salvage the damaged pictures.  Few of these images are great photographs, but each of them is a precious memory.  I really enjoy restoring old pictures.  It is time consuming and challenging trying to undo the ravages of water, mold, scratches, etc.  As a volunteer, you download scanned images and do your best.  The restored photos are then uploaded back to the website, printed, and returned to their owners.  http://www.operationphotorescue.org/forum/gallery/888_06_05_08_8_20_18.jpg

Last year I didn’t get to help much, but this year I will do better. Get out and give back.

Yes, you read that right, up to ISO 204800—that is practically shooting in the dark.

Now my current camera is definitely out of date. I shoot with a D300, which was outstanding 5 years ago, but when the ISO goes above 800 gets really, really grainy.  It is also only a ¾ frame, which means I don’t get the full advantage from the lenses I like to shoot best.  All this leads you to believe that I am ready to sign up for the D4 as well.  Well, not so fast—I actually am not planning on buying it because I don’t believe my photography skills will make use of it.  I never have been one to go out and purchase the latest technology just because it is the latest, and that is especially true with camera equipment. When I get to the point where the equipment gets in the way of what I want to do, it is time to get new equipment.  I have reached that point with my current camera body so, don’t get me wrong, I am going to get a new camera, and soon, but am waiting for the D800.

The D800 shares a lot of the technology found in the D4, but things like a solid, nearly watertight magnesium frame are not that big a deal for me.  I don’t shoot a lot of pro sports events so the ability to shoot a sustained 11 frames per second is interesting, but not what I need.  The low light capability is something I want, and guess what?  The D800 will have close to that. Besides with the money I save, I can also buy that 14-24 lens I still want for shooting more landscapes.

Cameras are an extremely personal choice, and there is no right answer.  It is a tool, albeit a powerful one, which helps you hopefully capture the vision you have in your head. Don’t be swayed by hype, but match your needs versus the range of capabilities the manufacturers are building.

http://photoshopworld.com/

The 3 days of classes are grouped into tracks focusing on lighting, photography, lightroom, creative design, video, the photo business and of course, Photoshop.  The workbook itself is the size of the phonebook and contains the material from every single course and session.  Since there are over 100 classes, you can’t hit them all—trust me I’ve tried.

Each year they have a theme, last year it was fashion photography, but this year in DC in an election year…it’s a new party!  Oh yes there are parties at PSW.  Just what you need after 12 hours of classes!

I can’t begin to tell you how much you will learn by attending.  My head hurts for days just trying to remember all the tips, tricks and cool techniques. To top it all off there is the Expo floor.  Industry leading vendors such as B&H, Midwest Photography Exchange, Wacom Tablets, Epson Printers, MPIX printing (they print all my images), Nikon and Adobe all have booths with great deals.  Last year the Westcott Lighting people brought in live models, and the crowds were 7 deep trying to snap the interesting costumes and makeup. 

It is not inexpensive, that is true, but it certainly delivers in value.  The longer you wait the more the cost goes up.  Come see us in DC this year, heck, come and visit.    This will be my 6^th PSW and I learn more each time.

Are you ready for the winter weather?  This is a great time for photography.  You’ll find lots of interesting scenes for your camera.   The snow covers the ground clutter and simplifies the scene.  On clear days, the sky seems crisp and saturated with color.

You need to take care to cover your camera and lens when the snow is blowing.  A common problem is the fogging of the lens from large temperature differences as you take the camera in and out of the weather.  You should give yourself some extra time to for the camera’s temperature to slowly equalize to the cold outside or the warmth of your home.  If you wrap your camera in a clean towel and insert it into a plastic bag, you can reduce condensation while the camera’s temperature is changing.  When you’re done for the day and the camera has warmed, dry everything.  Your lens will be ruined if you get moisture inside.

With all the light reflecting off the snow, your camera’s meter will react by reducing exposure to average out the scene.  This will give you gray snow, instead of the white you’re seeing.  Adjust your camera by increasing the exposure 1-2 stops.  On an SLR, you can do that in the menus.  If you have a camera with scene settings, be sure to use the snow or beach setting.  You want to keep your whites nice and clean.  Yes, you can do some work in post-processing, but proper exposure is much better than punishing pixels in software.

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This year, I’ve got a special trip planned to guarantee snow.  I’m heading back to Alaska for the snow and, hopefully, clear skies filled with the northern lights.  I’ve seen them many times, but I was in the field with the 6th Infantry Division.  They had other plans for me, and they did not include running around with a camera.  I’ll also get a chance at photographing a newborn grandson.  Guess I better take a flash with me…

There is one last thing to remember when you’re out there in the cold: batteries hate cold weather.  Make sure you keep a couple spares handy in your jacket.  You don’t want to be forced into quitting before you get all that goodness captured.

If you prepare now, you’ll be ready when the first flakes start falling.  Don’t forget to try to shoot from some unconventional angles to make some interesting shots.  It’s more fun that way.