Underexposed

Canon's Rebel T1i

(Credit: CNET)

Apple released a software update Thursday to let its Aperture 2, iPhoto '08, and iPhoto '09 photo-editing software handle raw images from three newer SLRs, Canon's Rebel T1i, Nikon's D5000, and Olympus' E-30.

Higher-end cameras offer raw image formats that provide more flexibility and quality than JPEG, but the raw file formats are proprietary, vary from one camera model to another, and require companies such as Apple and Adobe Systems to release a constant stream of updates. Microsoft relies on camera manufacturers to supply software for Windows that can interpret the raw data, which is taken directly from camera image sensors without in-camera processing.

Camera makers typically supply their own software for handling raw images, but many people prefer their own photo software.

Further detail on Apple's support is available on Apple's raw camera support page.

With its launch of iPhoto 09, Apple has begun showing some reasons why it's worth enduring the hassle of geotagging your photos.

It's generally not easy right now to label your photos with information about where you took the pictures--the process usually is done with special software to marry the photos with location data taken from a separate GPS receiver.

Phil Schiller, Apple's senior vice president of worldwide product marketing, demonstrated geotagging in iPhoto 09 at Macworld 2009.

(Credit: James Martin/CNET Networks)

Phil Schiller, Apple's senior vice president of worldwide product marketing, demonstrated what you can do with iPhoto at the Macworld 2009 keynote Tuesday.

iPhoto 09 works best with photos that already have been tagged. That's getting more common, as GPS hardware support becomes less of a rarity. For example, Nikon's Coolpix P6000 has a built-in GPS receiver, and Nikon has begun selling its GP-1 GPS receiver, which can plug into its SLR's flash mount so location data is embedded in the photo. Apple's iPhone can geotag its own photos, and camera manufacturers say GPS support in cameras has become a matter of when, not if.

But the software also can help you tag your own images. Clicking a photo flips it over, letting you type in a location, then showing the spot using a map. (Google supplies back-end mapping services). Helpfully, iPhoto then can spread that location data to other photos with similar time stamps, and they can be bundled together into a group called an event.

OK, but what can you do?
Once you have geotagged photos, what can you do with them?

For one thing, sift through them geographically using iPhotos' new Places interface. Viewing an iPhoto event can show an associated collection of pushpins on a map, and clicking each pin shows the photo.

For another, you can search for photos based on where you took them, not on whatever filing system you might use. iPhoto can handle geographic hierarchies, so if you labeled a photo with "Eiffel Tower," it'll find it with a search for "France" or "Paris."

I have proof from an expert that the iPhone interface really is better. Who's the expert? My 3-year-old son.

Over the years, I've seen countless newbies struggle to use the latest gadget, computer, or software. I like new technology, but it's been work hauling myself up learning curves.

But I'm convinced that after years stuck with only modest tweaks to the WIMP interface--windows, icons, menus, pointing device--real change is upon us. That's chiefly because the pointing devices now can be your own fingers.

Levi types random words on the iPhone's notepad application.

(Credit: Stephen Shankland/CNET News)

Within moments of his first crack at an iPhone, my son, Levi, had figured out how to flip from one photo to another by flicking his finger across the screen. He understood with no coaching how to steer the simulated steel ball around the holes in the Labyrinth game by tilting the phone. He loves to type nonsense words on the notepad application using the virtual keyboard, deleting them once they've been read. In the three months since I got the iPhone 3G, Levi has learned to take photos, browse them, change the phone's wallpaper, and, unfortunately, turn off Wi-Fi and switch on airplane mode.

My proudest moment came when Levi issued his first tweet, borrowing my account: "Eesfrrgjlphdvlksxnjjktwsdvnjmmkbvvnn." Though it was largely a matter of chance, of course, he could do it because he likes the cute bluebird icon of the Twitterific application, and touching it with his finger triggers entertaining interactions.

And I was intrigued when Levi tried unsuccessfully to use the phone's accelerometer to play JellyCar, trying to spur the car by tipping the iPhone so the car would "roll" downhill faster. Note to JellyCar developers: your user interface needs work.

Levi's first tweet

(Credit: CNET News)

As a parent, of course, it's tempting to assume that Levi's accomplishments are the result of his astounding intelligence. But of course much of the credit has to go to Apple and others who've advanced the state of the interface art.

"Human beings are a lot more programmed to manipulate things with our hands and fingers," said Dan Saffer, a founder of Kicker Studio and author of Designing Gestural Interfaces. "I was at a party with a Microsoft Surface table. There was an infant playing with it, not even a year old, pushing photos around and squealing. It's amazing how much it makes sophisticated computing power accessible to a hugely wide segment of the population."

Keyboards and mice aren't being replaced--they offer speed and precision for typing words, entering data, navigating documents, and issuing commands. But they are becoming just one of a host of mechanisms.

Touch screens, available on some Hewlett-Packard computers, are a big part of the revolution, letting people interact more directly rather than relying on a mouse, joystick, or other indirect pointing device. Multitouch sensors, which can detect multiple fingers simultaneously, add more sophistication, such as the ability to shrink a photo by making a pinching gesture on a trackpad. Newer Apple laptops offer more extensive use of multitouch, though at this stage only through the trackpad rather than a touch screen.

Levi took this picture of his feet with my iPhone while he was sitting in his car seat.

(Credit: Levi)

Computing devices also are getting ears and eyes. Speech recognition is available in rough form to power phone search on various phones with services from Yahoo, Google, Microsoft, and Vlingo. FluidTunes lets you control your iTunes library by waving your hands in front of a Mac's video camera.

Intuitive, physical interfaces aren't just for kids. I was stunned to see my technophobic mother-in-law gleefully bowling with a Wii last year. Sure, she couldn't have installed Nintendo's still-popular gaming device if we'd paid her, but using it was as easy as tossing a pebble in a pond.

"There are Wii bowling tournaments now for elders. It takes a sport they love, but there's no weight of the ball anymore. They can play it in a wheelchair. It's a huge hit at nursing homes," Saffer said.

It's not just that devices are easier to use when you can touch the interface, he said. It's that it's easier to learn by watching others use them.

"One interesting thing about touch screens is there's this whole realm of observation you don't have with standard computer setups, where the icons are smaller, and it's hard to tell what people are doing by watching," he said. "You can learn how to use an iPhone by watching people flip through it for a second. You can get it in a way you can't with a standard phone, where you're watching people push buttons to get through menus."

Of course, immersion helps, too. Levi's parents spend altogether too much time punching at keyboards and staring at screens, so he's got plenty of examples to emulate his elders. As a camera buff, I'm delighted when Levi pretends to take pictures--he made a toy camera out of Lego once.

A view of Microsoft's Surface device at the Sheraton Gateway Hotel shows a list of entertainment options for hotel guests.

(Credit: Stefanie Olsen/CNET News)

But I vacillate between pleasure that he's learning how to use technology and fear that he'll grow up ignorant of the non-electronic world. I'm prone to inordinate "screen time," a term heavily freighted with negative baggage in our household, and Levi's childhood will be far more digitally immersed than mine.

And perhaps worse, there's the prospect of losing my status as resident guru. There are plenty of more technically proficient people in my orbit, but none of them live in my house, and Levi doesn't ask any of them to read his typed nonsense words.

Most families come to some sort of reckoning when their son beats their dad in basketball. Ours will come when my wife asks Levi for technical support.

Canon's 5D Mark II full-frame SLR

(Credit: Canon)

Apple has added support for raw photo files from Canon's vaunted if imperfect 5D Mark II to its Aperture 2 and iPhoto 08 software less than a week after rival Adobe did so with Lightroom.

The Digital Camera Raw Compatibility Update 2.4 also supports Canon's high-end compact, the PowerShot G10, and the Pentax K2000/K-m (presumably the white version, too), according to Apple. It requires Mac OS X 10.4.11 or Mac OS X 10.5.3 or later.

Also supported is Leaf's higher-end digital photography hardware, the AFi-II 6, AFi-II 7, Aptus-II 6, and Aptus-II 7, and Leica's M8.2 camera.

In addition, the update "also addresses issues related to specific cameras and overall stability," Apple said.

(Via The Mac Observer.)

Apple's photography software now can accommodate raw images from some newer digital cameras through the release of Digital Camera Raw Compatibility Update 2.3.

Specifically, the update to iPhoto '08 and Aperture 2 means that the photography software can deal with raw images from three prominent new digital SLR (single-lens reflex) cameras: Canon's midrange EOS 50D, Nikon's video-enabled midrange D90, and Sony's ambitious 24-megapixel full-frame Alpha DSLR-A900.

Also supported is Nikon's high-end compact camera, the Coolpix P6000.

Raw images are taken directly from higher-end cameras with no in-camera processing into a JPEG. That means photographers get more flexibility when it comes to exposure, white balance, sharpening, and other options, but also that photos require manual processing.

For software companies, supporting raw formats requires either that they have to figure out a host of proprietary raw formats, because each camera model has its own, or rely on the manufacturers themselves to support release codecs supporting the cameras. Adobe Systems and Apple take the former route; Microsoft takes the latter.

To check if your camera is supported, see Apple's list of raw-format camera support. Adobe's raw-support list is a little longer, including support for Pentax's newest entry-level model, the K2000, the esoteric Fujifilm FinePix IS Pro, and Olympus' latest ultrazoom, the SP-565 UZ.

With Adobe Systems' release of version 2 of its Photoshop Lightroom on Monday night, the company no doubt hopes customers will be drawn by a number of new features in the software for sorting, cataloging, and editing photos.

But the company believes an external factor will also help the software: the booming sales of high-end SLR cameras. These high-end models are helping usher in many of digital photography's biggest changes, and Adobe is trying to intercept the trend with Lightroom.

From 2007 to 2008, digital SLR shipments increased a dramatic 41 percent to 7.5 million units, according to market researcher IDC. And though plenty of those cameras went to gadget-happy doctors or to snapshooters who won't exploit the cameras' full features, plenty of others went to the photography enthusiasts at whom Lightroom is aimed.

Lightroom 2.0 is geared for editing flexible but complicated 'raw' images taken directly from higher-end cameras' image sensors. (Click image to enlarge.)

(Credit: Stephen Shankland/CNET News)

"Prices are coming down, so more people with entry-level SLRs are experimenting," said Tom Hogarty, the Adobe senior product manager in charge of Lightroom. "If you pick up the camera for the sake of creating an artistic thing and not just recording a family event, you've really taken the plunge into serious photography. Anyone at that level is an ideal Lightroom customer."

One significant feature common to SLRs is the ability to shoot "raw" photos--the images taken directly from the image sensors without the camera baking in its own assumptions about what's right. ... Read more

Microsoft likes digital photography enthusiasts as customers, and on Thursday plans to release a free new utility designed to keep them wedded to Windows.

Pro Photo Tools is geared for photography professionals and enthusiasts, and its first notable feature is the ability to geotag photos, or add geographic information showing where the picture was taken. Geotagging is an onerous chore with today's technology, but camera makers are working to build it into cameras, and it can pay off down the road.

Microsoft's Pro Photo Tools lets photographers geotag their photos and show where they are on a map.

(Credit: Stephen Shankland/CNET Networks)

That's because geotagging, done well, enables people to find photos by searching for the word "Paris" rather than sifting through folders with obscure filenames like IMG_5829.jpg or squinting at hundreds of image thumbnails. Until the still-distant day when computers can recognize your Aunt Polly or the Grand Canyon, geotagging holds potential as a way for people to get a handle on ever-growing digital photo collections.

"People are doing a lot more geotagging, but it's still somewhat cumbersome," said Josh Weisberg, Microsoft's director of digital imaging evangelism. "We want to make it mainstream."

Geotagging is just the opening salvo, though. Pro Photo Tools can be extended with new features; Microsoft is working on some and is considering whether to allow other companies also join in, Weisberg said.

"We've talked about making it extensible to third parties, but...It's a big question. I haven't decided yet whether we're going to do it," Weisberg said.

Looking at the digital photography software market, it's easy to imagine Adobe Systems is a competitor. But it looks to me like this is actually positioned more against Apple whose computers are popular among "creative professionals" and come with iPhoto editing software.

Weisberg shied away from competitive analysis, but agreed that Pro Photo Tools is designed to help make Windows more compelling. "It's focused on making the platform better for photographers," Weisberg said.

He also views Pro Photo Tools as a strong statement about what Microsoft can accomplish by building off its existing Windows infrastructure. "One hundred days ago, I wrote a memo," launching the project. "One hundred days later, we have a product. That's not typical Microsoft."

Pro Photo Tools' origin
The software is an outgrowth of the Microsoft Photo Info software the company released in 2007 to help photographers label some images with metadata such as copyright notices, captions, and titles, but it's expanded considerably.

The software can process data from a handheld GPS unit that shows where a photographer roamed, adding the latitude and longitude data to photos depending on when they were taken. That's how existing geotagging software typically works, but Pro Photo Tools has some more distinguishing features, too.

For one thing, it also lets photographers assign locations to photos by placing pushpins on an online map. For another, it adds rough geographic coordinates based just on a region name, such as "Boston." It can work with many of the proprietary "raw" image formats that higher-end digital cameras produce. And perhaps most significant, it uses Microsoft's Windows Live Local interface to add text fields such as region, city, and street to the photo.

I tried a pre-production version of the software and found it rough around the edges but a refreshingly thorough attempt to tackle the geotagging challenge.

One of my favorite features is a slider that let me correct for discrepancies between the camera time and my GPS unit's time.

Pro Photo Tools has a slider that lets people correct mismatches between the time recorded by a camera and GPS unit. Thumbnails of images pop up that can be matched with actual locations.

(Credit: Microsoft)

I had some problems on Windows XP with the software showing being unable to show larger versions of the photos and some other problems writing geodata to Canon's CR2 raw files. Weisberg said both problems have been fixed, and it worked fine with Nikon's NEF format.

To run the software on Windows XP, users must have installed the Windows Imaging Component, the image-handling engine built for Vista but also available for Windows XP. WIC is likely to become more mainstream soon on XP: it's built into Service Pack 3.

One nice feature of WIC is that raw-image processing engines called codecs can be plugged in. Unlike Adobe and Apple, Microsoft relies on camera makers to supply the codecs for their formats. That means the company is wedded to them for support, but the major manufacturers all have released codecs, and relying on the manufacturer means Microsoft doesn't have to worry as much that writing data to raw files will corrupt them.

One annoyance for me was the lack of a free codec to handle Adobe's Digital Negative (DNG) format. A company called ArdFry Imaging offers one for $29.95, but that seemed like a lot to pay for a plug-in for a free tool.

Happily, Adobe plans to fill in the DNG codec gap.

"We'll be releasing a DNG codec shortly," said Lightroom leader Tom Hogarty in an e-mail. That will help out other Microsoft software such as Windows Photo Gallery that uses WIC to show image thumbnails and print photos.

One shortcoming, though, comes with Sony's codec, which doesn't let people write metadata such as keywords or geotags to its raw files.

Pro Photo Tools' future
Weisberg wouldn't detail much about what new modules are next for Pro Photo Tools beyond a few smaller features such as batch renaming to let photographers rename photos in bulk or a "painter" tool to let location tags or other metadata quickly be copied from one image and pasted to another.

But new features are en route. Microsoft plans another announcement at the Photokina show in September in Germany.

Microsoft wants Pro Photo Tools to be a work in progress--a frequently updated utility that evolves rapidly. "It's the evolving software model," Weisberg said.

What does the software portend for its overall digital imaging strategy? Weisberg is cagey, and given that Microsoft axed its Digital Image Suite product a year after it acquired iView Multimedia and its software to manage digital photos and other digital files, reading the tea leaves can be difficult.

Microsoft doesn't see Pro Photo Tools as competing either with the Expression Media product from iView Multimedia or with Microsoft's basic browsing and editing software, the Windows Photo Gallery package built into Vista or its more elaborate alternative, Windows Live Photo Gallery.

"Photo Gallery is focused on the consumer experience. We're looking at things more interesting to prosumers that would be complementary to Photo Gallery," Weisberg said. "We're also looking at Expression Media on the high end and walking a fine line between the two.

Tiffen's color-filter plug-in for Aperture in action.

(Credit: Apple)

Apple on Monday released its software developer kit to let programmers write plug-ins for Aperture, the company's high-end image editing and cataloging software.

OK, I recognize it's not the world-changing, paradigm-shifting, heart-stopping iPhone SDK, but it's still important for the "creative professional" market to which Apple has catered for years.

This tool is designed to let others extend the abilities of Aperture, a move that adds some spice to its competition with Adobe Systems' Photoshop Lightroom. Adobe has scads of third-party companies that create plug-ins for regular Photoshop, but Lightroom still lacks the equivalent for important editing functions. However, many have extended Lightroom's abilities with export functions, image-processing presets, and even a geotagging tool.

Among those creating plug-ins for Aperture are Tiffen, Digital Film Tools, Nik Software, Image Trends, and PictureCode, Apple said.

Programmers can download the SDK from the Apple Developer Connection Web site. Some plug-ins are available for download. Find more information at the Aperture Plugged-In Community site.

The good news is that there's some competition again for software to edit and catalog raw images, the detailed and flexible file formats from higher-end cameras. The bad news is that anybody buying the software has a harder choice to make.

With the new Aperture now available and Lightroom just celebrating its first birthday, I thought it opportune to survey readers. What would you buy? What would you advise somebody else?

Please vote in the poll here, and share your reasoning in the Talkback section below to enlighten others.

Photographers would be best to think carefully about which software to purchase, and not just because of the necessary investments of time and money. Unlike applications such as Photoshop, which can easily be substituted or used in conjunction with other software, Lightroom and Aperture are equipped to extend their tentacles to manage your library of images.

In essence, that means the software can be a gatekeeper to your data--not the original images, but the editing settings, titles, captions, tags, and organizational structure. For me, having a rich, searchable catalog is definitely worth it, but tread carefully before you commit, because it'll be difficult to extricate yourself.

Apple was first to enter the higher-end photo software market with Aperture in 2005, but the software languished at the same time Adobe Systems released and rapidly updated Photoshop Lightroom over 2007. But now Apple is back in the game with Aperture 2.0, which reproduces some features in Lightroom, boosts performance, and has a price tag $100 less than Lightroom's $300.

Pros and cons
Both packages are solid overall, but there are some features I preferred with one or the other. Here's how I see things stacking up--be warned, though, that I've used Lightroom for countless hours but by comparison only dabbled with Aperture 2.0.

Let's start with the interface. I like Lightroom's pull-out panels--as many as four--that can be deployed or tucked away as needed. Most of the time I only have zero, one, or two showing.

But I think Aperture makes smart design decisions with a few interface options. Its movable panel isn't very obtrusive, and now in 2.0 you can toggle it easily between editing, tagging, and file management modes. For me, editing and adding metadata such as titles, captions, and tags are much closer operations than the big divide between Lightroom's develop and library modules would suggest, and I don't like switching back and forth between editing and tagging.

Adobe Photoshop Lightroom is used to edit and catalog photos, chiefly the raw images that come from higher-end digital cameras.

(Credit: Adobe Systems)

Speaking of metadata, though, one option I like better with Lightroom is the ability to assign five colors to photos (but where's the keyboard shortcut for purple?). The one- to five-star ratings that both packages offer is dandy, but I use colors to classify photos in other ways.

It looks to me like Aperture has a better search interface, especially for complicated operations that combine multiple parameters such as keywords, date ranges, and the handy photos-I-actually-edited filter. I've sometimes gotten bogged down swimming through Lightroom search. And I love the smart folders feature, which automatically updates a folder that's been set to watch for a particular attribute. For example, with Lightroom, I would love for the software to automatically add a photo with a specific recurring tag to a particular collection.

On to editing. For sophistication, I'd give the edge to Adobe, though to be fair I haven't looked in detail at important aspects of Aperture, namely noise reduction and edge sharpening. I sometimes find those wanting in Lightroom.

I like Lightroom's targeted adjustment tool (TAT), which lets you adjust the tone curve as well as color saturation and luminance by clicking on the relevant portion of the image directly and dragging the mouse up and down. And Adobe was smart to actually employ user testing to determine which colors are individually adjustable--orange has more psychological importance than most software, including Aperture, gives it. And I'm a big fan of tone-curve adjustments, though I sometimes wish Lightroom divided the curve up into five or six subranges instead of four.

One unknown is the plug-in future of both applications. Right now Lightroom has a software development kit for export options, and there's work of unknown scope to come. Apple said it's future SDK will permit editing plug-ins, too, which Adobe says is a difficult challenge. On the other hand, Adobe's already got some editing plug-ins of a sort, with the ability to import custom settings for all manner of adjustment options.

Apple's Aperture is used to edit and catalog photos.

(Credit: Apple)

One major edge Lightroom has had is much earlier support of the raw image files of new cameras. Apple said it was held back by an overhaul of its raw-processing engine and that things should now go more swiftly, but it'll take real work to win back the hearts of disgruntled Nikon D300 owners. In the meantime, Apple now can make use of Adobe Systems' Digital Negative (DNG) format as an intermediate step to handle raw files Adobe supports and Apple doesn't.

Something Aperture does better is vignetting, the darkened corners that once were a lens deficiency but now have caught on (altogether too widely in my opinion) as an effect to focus attention on the center of an image. Lightroom can fix lens vignetting or add it to a full image, but if you want to apply the effect to a cropped version of the photo, only Aperture offers that mechanism.

Correcting lens problems is a real issue, though, and Lightroom has a chromatic aberration correction I find very useful. It lets you fix some of the magenta, red, yellow, and blue fringes that show up in high-contrast areas, especially near the corners of images, and it also can alleviate the purple fringing overall. Aperture lacks this.

Performance is better with Aperture 2.0 (it was faster on the dual-core iMac I played with than Aperture 1.5 was on a quad-core Mac Pro I used for Aperture 1.5), and a particularly nice feature is the ability to work in a preview mode that employs only JPEGs--either the images built into the raw image or an Aperture-rendered version. You can't edit with it, but it's good enough at least for the first pass through a photo shoot to delete the duds and add tags and titles.

Looking beyond editing, my expertise thins out because I don't do much in the way of exporting photos to Web galleries or printing at home. But I will note one Aperture advantage: Apple expanded its book-export options with 2.0, and Lightroom has no answer so far. That's a drag for wedding photographers and amateurs (like me) who want to whip up a quick birthday present for the grandparents.

Of course, one of the biggest advantages Lightroom has is a Windows version, and that alone is likely to ensure its market dominance over Apple. And where Apple has a lot going on with iPods and iPhones, image editing is Adobe's bread and butter. Should those externalities be factors, too? Weigh in.