Adobe today released the final Photoshop Lightroom 2.4 and Camera Raw 5.4 updates, available for immediate download at www.adobe.com/downloads/updates/. Both updates bring additional raw file support to 31 camera and camera back models including the Canon EOS 500D, Nikon D5000 and 18 Hasselblad models. A full list of the newly supported camera and camera back models is below.

In addition, Adobe released an update to its Digital Negative specification (DNG), the public archival format for digital camera raw data. DNG addresses the lack of an open standard for raw files created by individual camera models, helping to ensure that photographers will be able to access their files in the future.

DNG 1.3 now includes opcodes, a defined list of operations and their parameters for performing complex activities in the raw file conversion process. These activities include corrections and enhancements that are beneficial when performed prior to the demosaic process but are difficult due to a camera’s limited processing power. They also include corrections and enhancements that can only be performed after the demosaic process such as lens correction. By utilizing opcodes, photographers can maintain the advantages of raw mosaic data, giving them increased opportunity to improve their photographs with the maximum amount of image data preserved. The DNG SDK has also been updated to reflect the changes to the specification.

Pricing and Availability

The Adobe Photoshop Lightroom 2.4 update is available as a free download for existing Lightroom 2 customers and Camera Raw 5.4 is available as a free download for existing customers of Photoshop CS4, Photoshop Elements 7, Premiere Elements 7 and Photoshop Elements 6 for Mac. For more information and to download the updates visit: www.adobe.com/downloads/updates/. Details on the updated DNG Specification and SDK are available on www.adobe.com/dng.

Additional Supported Camera and Camera Back Models

Canon EOS 500D (Digital Rebel T1i /Kiss X3 Digital)

Canon PowerShot SX1 IS

Epson R-D1x

Hasselblad (3FR files only) CF-22, CF-22MS, CF-39, CF-39MS, CFH-22, CFH-39, CFV, 503CWD, H2D-22, H2D-39, H3D-22, H3D-31, H3D-39, H3DII-22, H3DII-31, H3DII-39, H3DII-39MS, H3DII-50

Kodak EasyShare Z980

Nikon D5000

Olympus E-450

Olympus E-620

Panasonic Lumix DMC-GH1

Pentax K-7

Sigma DP2

Sony A230

Sony A330

Sony A380

This movie extract is from  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop.

One of the top requests for Camera Raw and Lightroom has been to include perspective corrections, so that users can apply perspective corrections to raw images. It so happens there is already a method in Camera Raw and Photoshop that will allow you to correct the perspective of a raw photograph while keeping the image in its original raw file state. This isn’t exactly a hidden feature in Camera Raw, but this movie does demonstrate a workaround for correcting perspective of raw files while keeping them fully editable in Camera Raw. Here’s how it can be done.

Please note this video is in Quicktime format. A player can be downloaded from apple.com.

This movie extract is a smaller version of the one found on the DVD disc that comes with  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop, jointly authored by Martin Evening and Jeff Schewe. The book is published by Focal Press and contains 400 pages of tutorials and tips on how to achieve the best results out of Camera Raw and Photoshop. You can also find out more about the book by visiting the Photoshop for Photographers website where you can preview more of the content that will be appearing in this book.

Dead Pixels are annoying little dark bits you’ll see on your screen when a bunch of teeny tiny subpixels are permanently off. It might be a broken transistor or just a pixel that’s stuck on black. Or if you’re messing around with Google Earth, it might be an 82-centimeter by 82-centimeter square of burnt grass.

Read the full story…

Click here to view movie

This movie extract is from  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop.

You know how the camera always seems to add 10 lbs.? You can shave those extra pounds away using Photoshop. This demo shows two methods of making people look thinner. And, if you do it with subtlety, you’ll never know that is was Photoshop that took those extra pounds off–and your clients will think you are a genius!

Please note this video is in Quicktime format. A player can be downloaded from apple.com.

This movie extract can be found on the DVD disc that comes with  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop, jointly authored by Martin Evening and Jeff Schewe. The book is published by Focal Press and contains 400 pages of tutorials and tips on how to achieve the best results out of Camera Raw and Photoshop. You can also find out more about the book by visiting the Photoshop for Photographers website where you can preview more of the content that will be appearing in this book.

This movie extract is from  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop.

Here is an interesting challenge that I was presented with recently. I shot the model shown above for an advertising job and was asked by the client to make sure that the skin tone and nails looked flawless. After they had seen the initial retouch work they also asked if I could clean up the hair outline. At first it looked like this would be impossible to achieve. After all, how on earth can one use the clone stamp or healing brush to tidy up the fine hair strands against a background which consisted of a busy wallpaper pattern? As it turned out, the solution to this problem was staring me in the face!

Please note this video is in Quicktime format. A player can be downloaded from apple.com.

This movie extract is a smaller version of the one found on the DVD disc that comes with  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop (now on sale), jointly authored by Martin Evening and Jeff Schewe. The book is published by Focal Press and contains 400 pages of tutorials and tips on how to achieve the best results out of Camera Raw and Photoshop. You can also find out more about the book by visiting the Photoshop for Photographers website where you can preview more of the content that will be appearing in this book.

Andrew Rodney and JP Caponigro and I are doing another mini-Print Academy for Epson. After PSW I’m off to hook up with Seth Resnick and Michael Reichmann in Miami Beach for some tutorial taping….more about that later!

Yep, there are already a lot of ways to convert a color image to grayscale in Photoshop or Camera Raw. But all of them except this technique mean your image is converted as a global correction. Using color channels as grayscale layers means you can use layer masks to alter the grayscale conversion and allows you to optimize for the best possible result. The technique allows shows how to re-convert your grayscale image back to a color image for the purposes of color toning.

Please note this video is in Quicktime format. A player can be downloaded from apple.com.

This movie extract can be found on the DVD disc that comes with  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop, jointly authored by Martin Evening and Jeff Schewe. The book is published by Focal Press and contains 400 pages of tutorials and tips on how to achieve the best results out of Camera Raw and Photoshop. You can also find out more about the book by visiting the Photoshop for Photographers website where you can preview more of the content that will be appearing in this book.

Click to view movie

Have you ever found yourself in the position where you are trying to photograph a building, but can’t get a clear view of the subject because of lamp posts or other objects that are in the foreground? In this short movie clip I show how with a little forward planing it is possible to remove offending objects from the foreground without needing to use either the clone stamp or healing brush. Essentially, you can use the new improved auto-alignment command in Photoshop to sucessfuly merge two exposures shot from different angles.

Please note this video is in Quicktime format. A player can be downloaded from apple.com.

This movie extract can be found on the DVD disc that comes with  Adobe Photoshop CS4 for Photographers: The Ultimate Workshop (now on sale, as of 6th March 2009), jointly authored by Martin Evening and Jeff Schewe. The book is published by Focal Press and contains 400 pages of tutorials and tips on how to achieve the best results out of Camera Raw and Photoshop. You can also find out more about the book by visiting the Photoshop for Photographers website where you can preview more of the content that will be appearing in this book.

The Lightroom 2.3 and Camera Raw 5.3 updates, originally posted as release candidates for community testing on Jan. 23, provide raw file support for the newly-released Nikon D3X and Olympus E-30 cameras. The Lightroom 2.3 update also provides support for eight additional languages including Dutch, Italian, Portuguese (Brazilian), Spanish, Swedish, Korean, Chinese (simplified) and Chinese (traditional). Additionally, it addresses several issues including a solution to a memory leak that affected some customers of the Lightroom 2.2 release. 

Pricing and Availability

The Adobe Photoshop Lightroom 2.3 update is available as a free download for existing Lightroom 2 customers and the Photoshop Camera Raw 5.3 plug-in is available as a free download for existing customers of Photoshop CS4, Photoshop Elements 7, Premiere Elements 7 and Photoshop Elements 6 for Mac. Both updates can be downloaded at www.adobe.com/downloads/updates/.

This is a story about how Jeff Schewe and Martin Evening got together in Chicago last year to shoot a set of pictures especially for our new joint book ‘Adobe Photoshop CS4 for Photographers: The Ultimate Workshop‘.

The title is kind of self-explanatory. This is a brand new book in the Photoshop for Photographers series (published by Focal Press) and forms a masterclass type experience with two leading Photoshop experts. It’s a book aimed at intermediate to advanced-level users and assumes that the reader is already pretty familiar with the Photoshop interface and basic tools and there is therefore no need to have to explain the basics all over again plus color management etc. You can already find all that information in the main Adobe Photoshop CS4 for Photographers book. This new title contains 400 pages of Photoshop techniques shown in step-by-step tutorial form.

We like to think that what will set this book apart from most other books is that we both have a lot of professional shooting experience int he studio and on location. Many of the photographs that are used in the tutorials were specially shot with the book in mind and we can sometimes go into more detail about the shooting techniques used with side panel images that also show the lighting setups. Over the next few months we’ll also be publishing a series of Movie tutorials from the DVD. These will feature techniques that are described in the book. So watch out for these coming soon on Photoshop-news.com.

Appropriately enough we began with an early morning shoot to photograph the Chicago city skyline at sunrise. We loaded up the car and headed off to a pier on the south side.

For Jeff,  a multi-shot Starbucks coffee is essential to get the day rolling (especially after getting up at the crack of dawn).

Here is a shot of me lining up a series of shots with a view to creating a single  Photomerge panorama of the cityscape view.

We were also joined by a keen photographer who was shooting the traditional way using a 5×4 plate camera with dead cow material to record his pictures.

That’s either a disapproving look or me trying to deal with brand new digital technology that doesn’t always behave itself either (especially when it’s early in the morning).

Here is one of the panorama shots that we ended up producing. We initially thought this might be a good picture to demonstrate the content aware scaling tool with, except the content aware scaling didn’t really suit working with a photo such as this (hey, it had only been available for us to play with for a few weeks at this point – we have to learn too).

Later during that week I made this panorama at night from more or less the same spot. Even this shot didn’t make it into the ‘Ultimate Workshop’ book, but at 10,000 x 4,000 pixels its a useful image to demo the fast GPU scrolling and panning in Photoshop CS4.

A little later that morning we headed into the center of Chicago, where I photographed this building tower that was nearing completion.

This was a useful image with which to demo how to use the Vanishing Point tool in Photoshop. Here is the end result image that appears in the book.

Time to move on to the next location. Boy, it soon get’s hot in July in Chicago.

Jeff thought it would be fun to get a high viewpoint capture of the building seen in the background, seen from the inside lane of the road that passes on the other side. Question was, who’d take the shots and who’d drive the car. Jeff did try to see if he would fit through the roof (I wish I had photos of him trying ME). So  it was down to me to capture the shot.

It really wasn’t such a wise idea in the end and yet again we had to accept that this particular idea wasn’t going to work. Well, at least we tried and you can’t expect every idea to yield results, but the day wasn’t over yet.

Later that day we returned to the center to take a series of photos of the Anish Kapoor sculpture in Millennium park, popularly known as ‘The Bean’ (you’ll see a similar giant sculpture outside the Rockerfeller Center in New York). Now, we did photograph this scene earlier in the morning when there were no people about, but we also wanted to show how you can do this the hard way when there are lots of tourists passing through a busy location like this.

Jeff and I set up a Canon EOS 1Ds MkIII camera on a tripod and between them shot more than 100 exposures over a period of an hour.

Here is the end result in which we blended the 100+ photos together using the Median Stack blending mode. Interestingly, we were spotted by a young Dutch photographer who was intrigued by our technique. We explained the basic steps and were quite amazed to be emailed a photo later where he had managed to achieve a pretty similar result from no more than a handful of hand-held exposures.

Millennium Park is a great location and we particularly wanted to get a shot of the Pritzker Pavillion. The shot below was used to later demo adding the Lens Flare filter.

And so, back to Jeff’s Studio in West Willow Street. One of the shots Jeff wanted to do was to photograph a complicated subject such as the electric fan shown here and use a silhouette exposure as a simple shortcut for making a mask. You’ll notice that we used a Phase One back for all the following studio shots with Capture One software running on a Mac laptop.

Jeff needed to light the background so that he could fire these lights only to capture the silhouette exposure.

This shows a shot taken without the background lights switched on.

And here is the final image in which Jeff shows how to use the mask created by the silhouette exposure to blend with a completely new backdrop image.

One thing we discovered early on is that medium format digital backs can get awfully dusty. Fortunately, Doug Sperling from ProGear was on hand to clean the sensor for us.

Another shot we wanted to create was one of a glass of water with droplets on it to give the impression that the water was really cold

Fake ice cubes were used in the glass and Jeff then sprayed the glass using a mixture of glycerine and water to add the water droplets.

There is quite an art to getting these to look right

Here is the finished result and in the book you’ll be able to read how to create a combination of a custom brush setting plus layer effect style to add realistic looking water drops to this picture.

Another shot we had on the list was to do a food shot which we would shoot using a normal stopped down exposure, but then show how to apply a selective focus effect to the image using the Lens Blur filter in Photoshop. Here is the lighting setup used.

And a closeup view of the table top setting before we added all the ingredients.

Becky (Jeff’s wife) and I did the shopping and I prepared the noodles and stir fry dish.

Meanwhile, Jeff made some final adjustments to the lighting setup…

And Becky helped dress the set and apply the finishing touches.

Here is the final image that appears in the book, showing the shallow focus effect.

Jeff did some pretty unmentionable things to the food to get the steam effect you see in this shot. Basically it was inedible by the time he was done. Fortunately there was enough untouched ingredients left over for us to enjoy a well-deserved light lunch.

This next setup was designed so as to capture  a series of bracketed focus shots. Jeff carefully lit the diamond ring you can just about make out in front of the camera lens. Note how the body was positioned on a Sinar monorail mount so that focusing could be done by moving the whole camera backward or forward).

Originally we meant this to be used to demo the ability to Auto blend layers and acheieve maximum depth of field. Indeed that technique was applied successfully here, but in the end Martin used this shot to demo how to create a custom sparkle brush shape and add sparkle reflections to the image.

Lastly, we come to the Wine pour shot. This one was Jeff’s baby, as Jeff really wanted to do a photo of wine being poured into a glass and create a composite of the best wine pour exposures. In the set shown here, Jeff had a wine bottle with the bottom removed clamped in position and with a suitable wine glass also clamped below.

The trick here was to use an infrared trigger setup to detect where the wine started to break the beam and then experiment with a few pours of water at first and adjust the time delay to trigger the flash at the correct point to capture the optimum wine splash in the glass. By also varying the delay setting it was possible to accurately capture a good range of wine pour steps from when the wine had just left the bottle to a late-stage pour.

After a few tests Jeff was ready to start shooting. Once real wine was used the wine glass had to be replaced and the dribbles dried off from the neck of the bottle.

Here is a snap taken of the laptop showing one of the individual wine pours that Jeff captured.

And here below is the final image that appears in the book. This is a composite photograph that is a blend of several of the best shots. The wine used in the photography wasn’t the expensive stuff. Jeff consulted with his photographer friend and wine connoisseur Greg Gorman to adjust the wine colour to make it look like a typical Pinot Noir.

That rounds up the story of how we both shot some of the photographs that will appear in the forthcoming Adobe Photoshop CS4 for Photographers: The Ultimate Workshop, 400 pages, published by Focal Press. The book is due to be released in March and should be on sale very soon in the US and later in other countries. We can say that with some confidence because the books have already been printed and were bound this Monday. You can also find out more about the book by visiting the Photoshop for Photographers website where you can preview more of the content that will be appearing in this book.

The Adobe® Photoshop® CS4 11.0.1 update addresses a number of issues discovered after Adobe Photoshop CS4 and Photoshop CS4 Extended (11.0) software were released. 

The most significant fixes in the Photoshop CS4 11.0.1 update include the following:

• A number of issues that could cause slow performance have been addressed. 
• Pen barrel rotation with Wacom tablets now works correctly. 
• Photoshop now correctly recognizes 3D textures edited by a plug-in. 
• The quality of the results of Auto-Blend Layers (Stack Images) has been improved. 
• A problem that could result in a crash when pasting formatted text has been fixed. 
• A crash that could result from a corrupt font no longer occurs.

ADDITIONAL NOTES
This updater will update only the retail version of Photoshop CS4 and not any prerelease (beta) versions. To confirm that the updater has run successfully, launch Photoshop and verify that the version number on the splash screen shows 11.0.1 and not 11.0. If it does not show 11.0.1, you may not have a retail version of Photoshop CS4. Contact your local Adobe retailer or visit the Adobe website to purchase one.

The Photoshop 11.0.1 update is available as a free download for existing Photoshop CS4 customers at http://www.adobe.com/downloads/updates/ or through the Adobe updater via the application itself. 

Direct links to the downloads are:
Macintosh
Windows

“Content Aware Scaling is really easy to use. The only limitation is the speed of your computer and the amount of RAM you have,” said Martin Evening, author of the forthcoming Adobe Photoshop CS4 for Photographers: The Ultimate Workshop and recent inductee to the Photoshop Hall of Fame. “Content Aware Scaling works by the tool first analysing the image looking for patches of low frequency (featureless) detail and builds an effective jigsaw of roughly-shaped vertical and horizontal slices. When you stretch or compress a photograph, most of the compression or stretching is applied to the slices that contain the low frequency detail. There is also built-in detection for circle shapes, so that you can for example, compress a car, but without squashing the shape of the wheels. Plus, there is a skin tone feature which allows you to stretch or compress portrait images more effectively.” The tool can be very useful particularly for certain types of jobs. There is obviously a gimmick factor to this feature and it’s certainly fun to play with and apply extreme stretching or compression to photographs. That of course may well worry some photographers who are perhaps rightly concerned about art directors or designers fooling around with their images. However, I don’t think this is a completely new situation in digital image retouching and as always it’s important for the photographer to assert their moral rights for a picture not to receive what is referred to by copyright law as ‘derogatory’ treatment. From my point of view I work for agencies where I’m in control of the retouching. I can certainly see it as a useful tool where you need to take a standard photo and adjust the aspect ratio to suit several different layout formats. So where the image creator is in charge of the retouching I think it’s a very useful tool to have.”

The Content-Aware Scale feature is arguably one of the more interesting, and some might say, controversial new features in Photoshop CS4. As you can see here, you can use content-aware scaling to radically adjust the aspect ratio of some photographs, but without squashing or stretching important subject matter within the picture. Yes, this may be a contentious tool if used inappropriately and without permission of the copyright holder, but we feel it may prove very useful to photographers who work in design and advertising. For example, most ad and design layouts are required to fit several different aspect ratios such as posters, magazine layouts and web banners. This tool allows you to easily modify a single photograph to fit various aspect ratio layouts.

Read full article…

For the Photoshop geek that has to have everything, this was just released from meninos in Brazil! Photoshop panels as photo magnets. See the page here. The company web site is here. The photo boards are available for Photoshop, Illustrator and Flash. As you can see, the product is based on Photoshop CS3-no word on a CS4 update.

Hum, we wonder what Adobe Legal will have to do about this? :~)

Security firm Intego said this week that it has discovered a second version of the Trojan hiding within a pirated version of iLife ‘09. The new variant is being distributed via BitTorrentwithin Adobe Photoshop CS4 for the Mac. 

According to Intego, the new Trojan is named OSX.Trojan.iServices.B. The PhotoShop installer being distributed is clean, Intego said; however, the accompanying serial-number generator contains the Trojan.

Read full article

Winners in 11 categories each receive a prize package valued at $2,500 provided by award sponsors – Adobe, NAPP, Layers magazine, Kelby Training, Peachpit, and Mpix. Plus, their winning image will be showcased in a future issue of Photoshop User magazine.

Best of Show winner Ciro Marchetti receives a dream assignment to Barcelona, Spain for him and an assistant of his choice to create a future cover for Photoshop User magazine, the official publication of NAPP. Round trip airfare, hotel accommodations, hotel transfers, and daily expenses for five days are provided by NAPP.

About NAPP

The National Association of Photoshop Professionals (NAPP) is an accredited, dynamic trade association and the world’s leading resource for Adobe® Photoshop® training, news, and education. An award-winning team of Photoshop experts, authors, consultants, and trainers lead the association keeping its members on the cutting edge of Adobe Photoshop techniques and technology. With more than 72,000 members in 106 countries, NAPP is the largest graphics and digital imaging association worldwide. It is part of Kelby Media Group. For more information, visit http://www.photoshopuser.com.

Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated.

2,200+ miles on board the ship and 13,000+ miles on planes and we’re finally back from Antarctica. I shot a little over 12K captures for just under 250 gigs of images. I set a new personal record of 70 gigs in one 24 hour period (which is pretty easy when you have 24 hours of sun!).

And yes, Seth went swimming again…

So, it’ll take a while to do even a first edit. In the meantime I’m on the road again this weekend for the Epson Print Academy in Seattle and then next weekend in San Francisco.

We’re getting the band back together and going on the road (well, the Drake Passage is more like it). The “gang” of JP Caponigro, Steve Johnson, Seth Resnick and myself are joining Michael Reichmann for another Antarctic Adventure. Seth and I leave Tues. the 6th although we don’t get to Ushuaia until the nite of the 7th. There the four amigos will have a couple of days to hang and shoot before the rest of the group get down on the 9th. Our ship leaves Ushuaia the evening of the 10th.

Here’s Michael decked out with too many cameras from the first trip.

I’m going to make really sure I keep my distance from seals–so I’ll be using my new 300mm F2.8 Canon lens for close ups! The ship’s doc Scott reported that on his last trip yet another passenger was bitten by a seal–this time the expedition leader–so maybe the seals are unhappy with all the tourists coming through their turf. But this trip we won’t be seeing fur seals (at least I doubt it) as we are doing the Antarctic Circle trip and going South to at least 66º 33′ 39″. Scott also reported that on his last trip, the inclinometer hit 40º for the ship’s roll, so Seth and I have our magic seasickness remedy all planned out–the “patch” and lot’s of wine!

We’ll see f Seth does the “polar plunge” again (he has on the previous two trips) and once again, I plan on being his personal photographer for the event (there’s simply now firiggin’ way I would get in THAT water).

Christopher Sanderson will once again be coming along to document our crazy adventure and Thomas Knoll will once again be joining us (we plan on working on Thomas for new features of Camera Raw and Lightroom). Kevin Raber from Phase One will have a couple of P65+ backs to play with so expect plenty of really large, high rez shots to be produced.

If you want to see the results of our first trip, check out ANTARCTICA EXPEDITION in the PSN Feature Stories. Since we still won’t have net access on board the ship, there’s really no way to post anything while on the trip, but I’ll be sure to let you know when we return–sometime around the 25th of Jan.

The image above is one of the images from the new book Adobe Photoshop CS4 for Photographers: The Ultimate Workshop which is due to be released in March 2009.

Coauthored with good friend and colleague Martin Evening, we’ve taken the unusual approach of actually shooting interesting stuff specifically for the book–kinda like it was a real assignment. We think it’s a bit of a departure in Photoshop books that talks at length about many of the photographic as well as Photoshop aspects that go into creating neat images.

So, you might think I can now take a rest? Well, for a day or so (I still have to do my Xmas shopping) but shortly after the beginning of the new year, It’s off to Antarctica for trip three with the crew of Michael Reichmann, JP Canponigro, Stephan Johnson, Seth Resnick and Chris Sanderson to record the trip for posterity…so it looks like most of the month of January is shot too. Then it’s back on the road for the Epson Print Academy in Seattle on January 31st.

Oh well, it’s all great fun (don’t you know) even if it a bit draining. So, here’s to the end of 2008 and the start of 2009 and wishing you all the best for the holidays…

Folks, if you’ve been wondering about the lack of posts on PhotoshopNews.com, I’ve been heads-down working on the update to Real World Camera Raw with Adobe Photoshop CS4. I’m happy to repots, it’s done, well almost. I’m done except for reviewing the last chapter (due to me this morning) and then Peachpit has to get the index done. But it’s almost ready to send off to the printers and should be printed and released in December.

That’s what I’ve been doing and why PhotoshopNews has gone a bit silent (which was real hard to let happen because, well Photoshop CS4 and Camera Raw 5 is pretty big news). There’s going to be another upcoming release of Camera Raw soon (which I can’t really talk about) that has some, uh, new stuff (that I can’t really talk about) but that’s why we didn’t have RWCRCS4 ready to ship when CS4 shipped.

But that doesn’t mean I can come up for air…ya see, I still have another book to finish along with Martin Evening. Adobe Photoshop CS4 for Photographers: The Ultimate Workshop which is due to be released on March 2009.

So, I’ve been a busy boy and still have a lot of work to do. Add to this is the fact we’ve gotten the band back together and are going out on the road doing the Epson Print Academy (we’ve already done Atlanta last week and Washington DC last Sunday). I suspect the number of posts on PhotoshopNews.com will continue to be a bit sparse through the end of the year…oh, and did I mention that the other band is getting back together too? Yep, Michael Reichmann, JP Caponigro, Steve Johnson and Seth Resnick and I  are going back down for a photo expedition to Antarctica again in early January, 2009 for 14 days of shooting and teaching. Hum, remind me why I opted to do PhotoshopNews.com again?

I’ll post what I can, when I can…I’ll also try to get some guest bloggers to help out but you’ll just have to forgive me for over extending my time and activities a bit…

:~)