If you are interested in shaping the future of the software, please fill out this brief survey. In a few short minutes, you can share your opinions and help us plan the next exciting version of Exposure.

For Exposure X5, we added features like 3D color masking, chromatic aberration correction, and support for DCP profiles in response to survey feedback, so it’s worth participating!

Thanks for helping us continue to make improvements on our software. Your feedback has helped us shape Exposure into the best way for creative photographers to realize their artistic vision.

The post Exposure User Survey appeared first on Exposure Software.

© Patrice Mestari

A catalog is a database that tracks all of your edits and organizing changes. The first generation of photo editors made catalogs central to their design. People associate certain features with a catalog, such as keywords, collections, and virtual copies. But catalogs aren’t necessary to support those features – Exposure has them all and its catalog free-design gives you several benefits.

1. Skip the import step

In catalog-based photo editors, you need to perform an import step before you can work with your photos. In Exposure, you just navigate to your photos and start working.

Bringing in photos to your computer for the first time is easy, thanks to Exposure’s fast and flexible tool for copying from a camera card. You can immediately begin to process your images, even while they are being copied.

2. Easy transfer of files to another computer

In Exposure, edits are stored in small metadata files in the same folder as your raw images. When you copy or move a folder, the edits go with it. To copy between machines, just use a network or USB drive to copy the files. On the new machine, open them in Exposure and your edits will be there already.

This makes syncing your edits while traveling or shooting on the road very easy.

In a catalog-based system, you’d need to export on the first computer, copy the exported files to the new machine, and then import.

3. Easy file sharing with other people

Another advantage to Exposure storing edits alongside photos is that you can easily share your photo projects with another Exposure user with a syncing service like Dropbox or OneDrive.

When you edit a shared file, the changes are saved in the metadata file and synced to the person you are sharing with. On their computer, Exposure notices that the photo has been edited and updates the view to show the latest changes. This enables very fast collaboration.

Here are some scenarios where this helpful:

• Two photographers working on a wedding together
• Working with a retouching service
• A marketing team working on photo projects using a central file server

4. Backups that are easy and safe

Backups are easy to do in Exposure. Just back up the folder containing your files, and your Exposure edits are saved along with the photos they go with. In catalog-based editors, you have to remember to back up both your photos and catalog, which are in separate locations.

Conclusion

Exposure’s advanced design provides all the organizing features you need, while making it easier to move your files to other machines, collaborate, and back them up. It’s a smarter way to work, and is part of what makes Exposure the fastest way to bring your creative vision to life.

The post Why Exposure is Catalog-Free appeared first on Exposure Software.

Exposure X doesn’t have a catalog file. That makes many things easy, such as rapidly browsing photos. You don’t need to import photos into Exposure X. Just visit a folder and get to work. Exposure X can quickly organize photos like Photo Mechanic or Bridge, but it can also non-destructively edit them like Lightroom. You get the capabilities you need, while still having a simple photo organizer.

Exposure X stores the edits for each photo in the same folder where it lives. That makes it easy to take the folder on the road or back it up. Just move or copy the whole folder and you’ll have the photos along with their edits, star ratings, flags, etc. You can even use a cloud storage service like Dropbox to work on the same photos from multiple computers.

The post Exposure X Sneak Peek: Catalog Free appeared first on Exposure Software.

Our recent top 10 article displayed what the Facebook users group members think about the shots shared. We–Joe and I–also went through the shots together, argued a little bit, and then awarded last quarter’s winner. Check out da rules, if you have concerns or questions.

Since we are the judges, listen up if you want to win. Maybe you should mail us chocolates or protein powder. May help your odds a little bit. ;-) Just kidding–but seriously, protein.

In this photography critique, we take a deeper look at some of the shots. This is what the discussion is like when we sit and stare at the entries each month. Take it as a behind-the-scenes look into life as a marketing alien.

Any of the suggestions below are 100% creative comments. We are not picking on anyone, not busting anyone’s chops, and we’re certainly not saying that we’re the best out there. We are a couple of photographers who really love the medium, and we do our best to keep our eyes in analysis mode, as we do in this photography critique. Below are some comments about a few of the fave entries.

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Jimmy:

Composition is good–it’s a little heavy on the left where the blob of dark leaves spills into the image. The blobs are bulky when compared to the couple–the subject–so it feels unbalanced. I’d crop the left of the image off a bit like the shot below.

Where are the blacks in this shot? The groom must be wearing one of those hot, trendy grey suits. ;-) If he were darker, I think it would balance the shot more.

May want to reverse the polarity of the couple. Traditionally brides stand on the left of the altar–meaning they’re reversed, here. If the bride were higher, the couple would be looking at each other more level and their heads may be framed by the trees on the horizon.

Details–the little white thingy on the lower right is a little distracting. I’d nix that.

In the background, the values on the trees look posterized. This could be due to aggressive adjustments, or it could be just part of the shot. It reads a little bit like it was done by mistake, so I would make a tweak to tone it up or down a notch.

Joe:

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Jimmy:

This shot is the shiznit! Love the colors. The juxtaposition of the aqua and brown is captivating to me. It reminds me of a Rothko painting. Pure and simple.

Composition works well. Golden spiral catches a lot of the attributes of the shot. The dark void on the left hugs the wide curve perfectly.

I would take the splash of orange/pink on the right of the chop out, if possible. Maybe a little desaturation would do the trick over there. I’m more of a purist, so I’d explore this as an option for finishing. Let the composition be weighted on the left with the brown color, but don’t put it in anywhere else. Maybe remove the little splashes on the lower right edge, too. Might read a little stronger.

This is the kind of shot I’d hang in my house. Nice work.

Joe:

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Jimmy:

Really good composition, here. I drew in a few of leading lines on the shot to illustrate what I like about it. See how the triangle forces the eye around and back through the shot? The coloring supports the phenomena as well. The dark hair, dress, and shoes make a triangle of their own. Good stuff.

I would like to see the points of the triangle happen within the frame of the shot, the vignette helps a bit to indicate the position, but it’s not quite strong enough to anchor it, for me. Needs a little strengthening, or maybe a wider crop.

Joe:

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Jimmy:

This is a really cool shot–but the model could be wearing a trashcan and it would be pretty. Let’s be honest. ;-)

I’ve always been told that cropping the hands off at the wrist is traditionally considered a no-no. The elbow at the edge of the frame isn’t a big deal for me, though–I’ve heard mentions of that being a blunder before. Did want to make a small point about the front arm. It looks like it’s pressed against her body, which can make it appear wider than it is. This model is super skinny, so she can get away with it, but it shapes the arm more like a sausage instead of giving her deltoid shape. I vote that you put some air in there next time.

The rear hand is a little weird where it crosses the chin, but it’s not a big deal because of the glove. If it were the same tone of skin, I would imagine that it would blend together with the chin. Not super thrilled about the elbow behind her. It’s a little bit boob-shaped. I would have liked to see more of her necklace, too. Maybe it could have been integrated in with the rear arm? The highlight on the bracelet is a little bright, so it competes with her eyes. Might want to tone that down a touch.

Joe:

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Jimmy:

Love the pose. It’s sexy, but not trashy. The supporting arm creates a triangle, and her under-turned legs strengthen and return the energy. Very nice. I think we could get away with a little cropping on the right. Her head isn’t quite center. Adjusting the crop would bring her eyes into line at one of the thirds, which would help balance out the shot. The table feels a little long, too.

Bright spots! There’s a highlight on something in the background near her stomach and another on the left–the gold colored switchplate. I’d dial them down a touch, but that’s about all I’d do.

Joe:

The post Photography Critique: An Alien Analysis appeared first on Exposure Software.

Emin’s story began in architecture school. While there, he fell in love with photography and the darkroom. He learned photography backwards–first the darkroom, then the camera. This new media captivated him from the first roll of film he shot.

Emin has spent 22 years as a photographer; roughly half of this time was spent shooting film, the other half, digital.

He’s self-taught, learning through hands-on experience in the field using various cameras. He’s shot fashion in over 10 countries. His work can be seen in both fashion magazines and campaigns such as Italian Vogue, Prim, WestEast magazine, PDN, Dwell, and Picture. He’s also a regular contributor to Clear.

In 2001 he founded Clear Magazine. This move started with his artistic vision. He wanted more control over the content he submitted for publication. It was a bold move, and it’s working. Since it’s conception, the magazine has won multiple design awards such as the prestigious Gold Ink award in ’04, ’05, and again in ’09.

Emin admits that being his own publisher is a lot of work. He said, “If I knew how much work it would take, I probably wouldn’t of done it, but I love the artist parts of my job.”

Most print magazine sales have declined as tablet sales have risen, but ClearMag is doing better than ever. Along with the printed editions, Emin and his app development company Dfiant Media have made Clear Magazine an industry leader. It’s the most interactive magazine in the world on the iPad, taking art, luxury, and fashion into high tech.

Emin is an Exposure advocate. He said, “I used to experiment with films and processes like pushing, pulling, and tinting. Now, the initial thought process of film selection and pre-visualization is gone. That is, up until I found Alien Skin’s Exposure.

For the last 11 years, I spent my creative photography time correcting color and fighting for mediocre results. The digital color space, conversions, and proofing processes were extremely tedious. For what I do, Exposure is magic! I can’t believe how easy the results come together in final image creation. What’s more important is that historic film types and processes will now live beyond scarcity or extinction.

Now Exposure is my first step in post production. I’m excited to see what the Alien Skin team comes up with next… hopefully a program for video!”

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More references: Emin’s Wiki, Emin’s Photography Website, ClearMag.com, or Download Clear Magazine iPad App

Check out some of Emin’s work below.

The post Emin Kadi and Clear Magazine appeared first on Exposure Software.

Cheryl was kind enough to provide us with a tutorial on how to make the design below. There are a lot of tips in here that anyone could use.  You can view the tutorial here.

The post Eye Candy 7 with Cheryl Mabry appeared first on Exposure Software.

Check out this video about the Lightning effect in Eye Candy and learn how to make lightning shots like this yourself.

You can download and use Eye Candy 7 in trial mode if you don’t own it already.

The post Realistic Lightning Effects appeared first on Exposure Software.

Gordon Watkinson beautifully captured the timelessness of these iconic buildings. That’s not all. The beautiful aesthetics of these marvels were augmented with Exposure and Blow Up. I’m proud to say that Gordon is a big Alien Skin advocate. Thanks Gordon!

Gordon’s Bauhaus twenty-21 exhibit goes on display at Auburn University’s Jule Collins Museum of Fine Art from January, 24 – May, 4. After a lengthy tour of Europe, the exhibit is now touring the U.S. Take a look at the schedule below to see when it will be near you.

The exhibit is organized by Foto+Synthesis. Foto+Synthesis is a traveling exhibition service that focuses on work by contemporary artists who use photography as their primary medium.

Exhibit Dates:

January 24 – May 4, 2013 | Jule Collins Museum of Fine Art, Auburn University / Auburn, AL

May 23 – September 1, 2013   | Arkansas Arts Center / Little Rock, AR

September 19, 2013 – January 5, 2014 | Art Museum of the University of Memphis / Memphis, TN

January 23 – May 4, 2014 | Price Tower Arts Center / Bartlesville, OK

September 18, 2014 – January 4, 2015 | Prichard Art Gallery, University of Idaho / Moscow, ID

January 22 – May 3, 2015 | Palm Springs Art Museum / Palm Springs, CA

The post Bauhaus twenty-21: An Ongoing Legacy by Gordon Watkinson appeared first on Exposure Software.

The post Eye Candy Reflections Video appeared first on Exposure Software.

James Dempsey reviewed Eye Candy 7 in exactly the way I would, through pictures instead of words. You can read the article at The Graphic Mac.

Thanks, James!

The post The Graphic Mac: 8 Reasons I LOVE Eye Candy 7 appeared first on Exposure Software.

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Working with technology has many challenges. For example, try to switch between the iPad and the computer on a single piece. It was tough for me to learn how to convert my work into printable files large enough for print sales and art exhibits. There were just too many confusing questions to ask before deciding to print.

Now I have a secret weapon, Blow Up from Alien Skin Software. Blow Up makes resizing a breeze.

Here is a small image of one of my paintings made with an iPad and Photoshop. When I do this, I focus on a few different things when resizing with Blow Up.

Final Painting Before Resizing

First I make sure the hard edges are tack-sharp. This helps features like eyes read clearer and at farther distances. The Sharpen Edges slider was made for this. Also, the paint should look crisp, not smoothed.

300% Enlargement

300% Enlargement

Next I’ll take a close look at the detail of the paper grain, for paintings it’s extremely important. Blow Up can simulate film grain with the Add Grain slider. This makes smooth areas look more detailed and natural.

300% Enlargement

The Blow Up presets do the majority of the work. I occasionally make tweaks, but rarely need to. Blow Up takes the hassle out of printing so I can concentrate on my painting.

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I call this painting style PhotoSymphonies. It all starts with a photo, goes through iPad apps, and continues into Photoshop. Right now my PhotoSymphonies tutorials are on sale. Visit my Digital Paint Shop for more information and  freebies to download. If you want a “Boxer Babe” print it’s on Fine Art America. For more information, more lessons, and more fun find me on Facebook, on PIXIQ, and on my blog.

The post Blow something up with Marilyn Sholin appeared first on Exposure Software.