Adobe released Lightroom 3.0 on June 8th, after eight months of public beta testing.
I simply kept using LR 2.7 during the beta testing period as the beta version didn’t allow you to easily import LR 2.x databases, and I didn’t want to run any risk with my existing catalog data. So, even though official releases can still have some bugs, I upgraded to LR 3.0 as soon as the final version was available.
For an overview of what’s new in Lightroom 3.0, see for example Adobe’s own site.
Lightroom 3.0 installs itself alongside the LR 2.x version. When the software is first run, a new LR v3 catalog (=metadata database) is generated alongside the old version 2 catalog. This means you can go back to the old version if necessary. For my catalog containing 25000 images (and over 100,000 keywords), the conversion took about 15 minutes.
Lens correction modules
Lightroom 3 has the option to correct vignetting, lens distortion and lateral chromatic aberration for
- Canon (26 lenses and 2 point-and-shoots),
- Nikon (7 lenses and 1 point-and-shoot),
- Sigma (2 APC-C lenses and 3 full-frame lenses)
- Sony (Sony DT 18-200mm only), and
- Tamron (Tamron DI 28-75mm only)
This can be seen as a simple equivalent to DxO’s Optics Pro lens correction modules: the program automatically corrects these defects based on calibration data provided by Adobe (in some cases with support from the lens maker). I still hope that Adobe will acquire DxO’s technology – but this seems less likely now that Lightroom 3.0 does the low-hanging fruit part of what DxO does.
There are Canon lenses supported at present (2 of my 3 lenses; 100mm f/2.8 macro missing):
The first lens is incidentally the Canon PowerShot G10/G11 point-and-shoot camera, but can also be used for the Canon PowerShot S90. The number of supported lenses will likely continue to grow: modules can be provided by Adobe, third parties, or even by end-users (Adobe provides software for this).
Support for managing video files
My directory tree containing all my pictures also contain a few dozen short HD video fragments made using my Canon 5D Mark II. It is a good idea to run “Synchronize Folder…” on the file system because this allows Lightroom 3.0 to find and import these videos. In my case, it also picked up some JPGs that my daughter had made with her camera and had manually placed in the directory tree. The support for videos is currently pretty basic: you can see a thumbnail, can view it using an external application (e.g. Windows Media Player), can add keywords, and can (obviously) export the file – which in this case just means copying the file as-is.
This isn’t much, but should be enough for now to prevent the following scenario that was easily possible with Lightroom 2 with a newer model camera:
- you take hundreds of pictures (JPG or Raw) with your DSL, but also a video (.MOV)
- you use Lightroom 2.x to import the pictures from your flash card. It warns that there are some movie files, but it doesn’t do anything with them.
- you are eager to see your pictures, so you start running Lightroom (adding keywords, deleting the weak images, etc.).
- you put your flash card back in the camera and… reformat the flash card: the video files are now lost.
Lightroom 3, in contrast, imports both the pictures and any file format that it recognizes as videos (I have seen .mov, .mp4, .avi work).
The 2003 versus the 2010 “process”
Adobe’s original image improvement “flow” or “process” was getting a bit out of date (it hasn’t fundamentally changed since Lightroom was introduced in 2003). So the Lightroom engineers needed a way to improve this without causing old photo’s to suddenly start looking slightly different. Thus by default, Lightroom 3 still uses the “2003 process” for existing images in catalogs and uses a new “2010 process” for anything that is newly imported. You have full control over which of process you want – these are just the defaults. The main improvement in the 2010 process is supposedly the handling of high-ISO images.
Below is a 100% crop of a raw image taken with a Canon 5D Mk II using a 24-104mm f/4L IS USM lens. The lens is good, but not great, so we can see some lens artifacts when we zoom in all the way.
Image EXIF data: ISO 200 with Highlight Tone Protection enabled (essentially underexposed!), 32mm, f/6.7, 1/250, tripod, raw @ 21 MPixels. In addition, the original image was by 1 stop too dark (probably due to spot metering). The HTP and the underexposure together mean that the dark parts of the image exhibit chroma noise – even at 200 ISO. Warning: the differences between the images is very small. I will point them out, but if you want to compare them, you can download the files and compare them in a slideshow-like tool.
In this image (remember that you are seeing only 1.1% of the surface area of the full image – the full image is 10× wider and 10× higher), look for:
- the purple fringe at border between sleeve and Leigh’s arm. This is chromatic aberration. It is not too visible here because we are not too far from the center of the image and the image quality would have been visibly worse at 24mm.
- the purple color noise in the lady’s gray sweater and my blue sweater. Surprising in a 200 ISO image, but this is again because of the HTP setting and accidental underexposure.
- the moiré in the striped pink blouse. A resolution of 21 MPixel may sound more than high enough, but it is actually not too high by modern standards: it corresponds to the same pixel pitch as an 8 MPixel APS-C camera.
This image is very similar to the previous one. But look for:
- There is less/no purple fringe at border between sleeve and arm. The lens correction module for the 24-105mm lens has automatically fixed this.
- When you compare this image to the one without lens correction, you see slightly different cropping on the left side. Check out the pearl necklace. This is due to the circa 1% distortion: you lose a few pixels.
This image is again quite similar to the previous two – but things to look for:
- there seems to be less purple color noise in the lady’s gray sweater and my blue sweater.
Adobe obviously intends the 2010 process to outperform the 2003 process. In this case, the 2003 process does a better job (argggh; the first comment by a reader incidentally seems to confirm this). Adobe demonstrates the differences between the two processes mainly using high-ISO images.
The same file processed using DxO Optics Pro version 6.2. DxO specializes in noise reduction and correction of lens aberations. Using default settings, I would say it has gotten rid of the chroma noise, but at the cost of detail in the sweaters. This essentially means that when your image is too noisy, you use spatial low-pass filtering to reduce the noise – at some loss of detail. You can tune all these settings in both Lightroom and DxO, so you may be able to fix this by moving away from the default settings – after all it is a critical trade-off. Note also that the aliasing in the pink blouse is less than in the Lightroom images, suggesting more effective de-mosaicing filtering.
Lens correction benefits
The cropped image used above does show too much lens correction. So let’s look at another image shot using a Canon EF 24-105mm f/4L lens. This image with lots of straight lines and indirect lighting incidentally shows a hall where Belgian coal miners used to shower after their shift.
If you compare the two images, you see clearly that the lens has quite some distortion at 24mm (and with a full frame sensor). The Photozone.de website even calls this 4.3% distortion “massive“. A direct comparison also shows that the light fall-off of 1.5 stops in the corners (this is at f/7.1; it would have been more at f/4).
The cycan and magenta fringes are clearly visible (both around the roof and between the tiles) and are largely corrected using the lens correction module. In the crop, both images are distortion corrected for practical reasons. It is worth noting that although all of this is pretty advanced stuff, you only need to click on a checkbox to activate lens correction.
The iPhone 3G and 3GS are both supported with respect to the camera inside these phones. On the one hand these are popular camera’s and undoubtedly have medium quality optics. Possibly Adobe added this as a bonus for people with fancy cameras who also use iPhones. Anyone using the iPhone as a main camera probably doesn’t care too much about image quality.
I am also pretty sure that the Canon PowerShot S90 is also supported. In fact, the Adobe software silently did distortion correction for this model without informing the user or giving users the option to enable or disable the feature. This was a design decision by Canon: correct residual lens aberrations in Canon software and where possible also in major 3rd party software.
Tethering your camera
Connecting your camera via a USB cable to a laptop or desktop is easy and can be useful. Every picture you take is sent over the USB cable and shows up in Lightroom pretty much immediately. The picture that shows up in Lightroom can automatically be given some keyword or preset or get the same adjustments as the previous image.
You can either trigger the camera’s shutter using the camera’s shutter button(s), or trigger the shutter from the computer (using a mouse or keyboard). You can also see important camera settings like ISO/aperture/shutter_speed/white_balance, but you cannot adjust these from the computer. I didn’t manage to start a video this way, but that may not be terribly useful anyway.
So the tethering works (at least with a hand full of recent cameras) and is easy to use. But don’t expect the ability to really control the camera from your armchair.
Oddities and bugs
- Lens correction and image resizing. The lens correction module fixes distortion, resulting in a warped picture that is then automatically cropped back to a rectangle. You lose some pixels at the edges. The resulting image size in pixels is, however, identical to the original image size. I guess that choice is ok for casual users, but how about demanding users?Another way to explain what I mean: if you straighten the image using Lightroom (e.g. rotate it by 1 degree), you get a different image size and different aspect ratio. Distortion correction is somewhat comparable, but behaves differently.
- File count in the keyword hierarchy. I have a keyword hierarchy that includes Locations > Europe (1) > Belgium (32) > Brussels (61) > Manneke Pis (3). The numbers indicate the number of pictures. In Lightroom 2.x the number following Europe would show the total number of images classified as Europe, including images that had only Belgium as keyword. This is clearly no longer the case. I probably only have 1 image that is labeled Europe that is not attributed to any specific country. I can click to get all Europe images (11017), but how do I get the odd one? If I cannot find it easily, why show me the number?
- Tethered shooting. Turning off the camera while it was still connected to the computer for tethered shooting, gave a weird colored animation on the LCD on the back of the Canon 5D Mark II: essentially the camera thought it still needed to store a file. The animation looked like it might be designed for the WiFi adapter (which I don’t have) because something similar happens when the camera starts messing with FTP and HTTP protocols to push files to a nearby server.
- Editing video capture time. Lightroom 3 doesn’t claim to be able to edit the capture time of videos, but this is a bit of an inconvenience. I had previously (LR 2.x) adjusted the times of a set of images to match the local timezone in which they were shot. Now I wanted to do the same for the videos in LR 3.0. It can’t. So now my videos show up in the wrong locations when the files are sorted based on capture time. I guess the capture time can be edited: the time is stored somewhere in/with the file itself. And if absolutely necessary, you could edit just the capture time as stored in the database (and risk losing the change if you resynchronize metadata).
- Lens correction and freedom of choice. By default, lens correction will use the lens the image was taken with. Surprisingly, Lightroom 3 also lets you use the correction models for other lenses. Even lenses from other brands and for lenses that don’t have the focal length you are using. This is nice for playing around with (“what if I select a fish-eye”) or to use a similar modular if the one you need is not available. But there is no warning if you select a “wrong” module: it gets stored in your catalog.
- Deletion. When a single image is viewed within a directory, and the image is deleted, Lightroom loses track of where you were within the directory. This applies for both Development view and Library view. This behavior is different than Lightroom 2, and a bit of a nuisance.