The iPad for PhotograPhers

The iPad for PhotograPhers
The iPad
for PhotograPhers
Master the Newest Tool in Your Camera Bag
Jeff Carlson
PeaChPit Press
The iPad for Photographers:
Master the Newest Tool in Your Camera Bag
Jeff Carlson
Peachpit Press
1249 Eighth Street
Berkeley, CA 94710
510/524-2221 (fax)
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To report errors, please send a note to [email protected]
Peachpit Press is a division of Pearson Education.
Copyright © 2012 by Jeff Carlson
Project Editor: Susan Rimerman
Production Editor: Tracey Croom
Copyeditor/Proofreader: Scout Festa
Indexer: Karin Arrigoni
Composition: Jeff Carlson
Cover Design/Photo Collage: Mimi Heft
Interior Design: Mimi Heft
Notice of Rights
All rights reserved. No part of this book may be reproduced or transmitted in any form by any means,
electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of
the publisher. For information on getting permission for reprints and excerpts, contact: [email protected]
Notice of Liability
The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any
liability to any person or entity with respect to any loss or damage caused or alleged to be caused
directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it.
iPad is a registered trademark of Apple Inc., registered in the U.S. and other countries.
Many of the designations used by manufacturers and sellers to distinguish their products are claimed
as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark
claim, the designations appear as requested by the owner of the trademark. All other product names
and services identified throughout this book are used in editorial fashion only and for the benefit of
such companies with no intention of infringement of the trademark. No such use, or the use of any
trade name, is intended to convey endorsement or other affiliation with this book.
ISBN 13: 978-0-321-82018-1
ISBN 10: 0-321-82018-5
Printed and bound in the United States of America
For Steve. Thank you.
It’s fabulous to experience a whisper of an idea turn into a completed
book, but without the encouragement and assistance of many people, that
whisper could have easily dissipated into the ether. I owe a lot of gratitude,
and no doubt coffees or martinis (or both) to the following good folks.
Susan Rimerman, Ted Waitt, Cliff Colby, Nancy Aldrich-Ruenzel, Nancy
Davis, Scott Cowlin, Sara Jane Todd, and everyone else at Peachpit Press
encouraged this project and made it happen.
Mimi Heft designed the book and provided first-class templates in which
I could work. Unlike many authors, I write directly into the book’s layout
using Adobe InDesign, so working in a template that’s properly styled and
professionally designed is a privilege.
My editing and production team, led by Susan Rimerman, made all the
practicalities happen: Scout Festa made me wish I could write as fast and
as sharp as she’s able to copyedit my text; Karin Arrigoni managed the
crush at the end of the project to produce a top-rate index; and Tracey
Croom put her production talents to good use shepherding the laid-out
files and keeping my work on the up-and-up.
Chris Morse and Chris Horne gave me access to early prerelease versions
of their app Photosmith 2 so I could include it in the book.
Glenn Fleishman helped maintain my link to the outside world as virtual
officemate—and occasional in-person lunch or coffee companion—and
patiently listened to my laments and successes.
Agen G. N. Schmitz also put up with my electronic chatter, but more
importantly wrote Chapter 8.
Dana and David Bos granted permission for me to use photos I’ve shot of
their daughter, Ainsley.
Peter Loh provided invaluable photo studio equipment.
Tor Bjorklund donated the wood used in many of the studio photos.
The owners and staffs of Aster Coffee House and Herkimer Coffee here in
Seattle provided great places to work when I needed to get out of my office,
and happily took my money when I needed more coffee. Which was often.
Kim Carlson built the App Reference appendix and served as a fantastic
photographer’s assistant and propmaster, but most importantly kept me
sane and supported this project starting with my first inkling of an idea.
And Ellie Carlson continues to serve as a great model and a good sport
when I turn the camera on her. She’ll thank me when she’s older. Right?
The iPad for Photographers
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xii
ChaPter 1
the iPad on location
Shoot Raw or JPEG (or Both)? . . . . . . . . . . . . . . . . . . . . . . 4
Shoot JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Shoot Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Shoot Raw+JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
(Not) Shooting with the iPad 2’s Cameras . . . . . . . . . . . . . 10
Review Photos in the Field . . . . . . . . . . . . . . . . . . . . . . . . 12
Import Using the iPad Camera Connection Kit . . . . . . . . . 12
Import from a memory card or camera . . . . . . . . . . . . . . . . .13
What About CompactFlash (CF) Cards? . . . . . . . . . . . . . . 16
Import from an iPhone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Secretly Versatile iPad Camera Connection Kit . . . . . 18
Import Wirelessly Using Eye-Fi Direct . . . . . . . . . . . . . . . . 19
Shoot and import using Eye-Fi Direct Mode . . . . . . . . . . . .20
Import Wirelessly Using ShutterSnitch . . . . . . . . . . . . . . . . 21
Back Up Your Photos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Online Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
iCloud Photo Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Dropbox and similar services . . . . . . . . . . . . . . . . . . . . . . . . . 26
Portable Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Seagate GoFlex Satellite and Photosmith . . . . . . . . . . . . . . 28
Use the iPad as a Fill Light . . . . . . . . . . . . . . . . . . . . . . . . 29
ChaPter 2
the iPad in the studio
Control a Camera from the iPad. . . . . . . . . . . . . . . . . . . . 34
DSLR Camera Remote HD . . . . . . . . . . . . . . . . . . . . . . . . . 34
Connect the camera and iPad . . . . . . . . . . . . . . . . . . . . . . . . 34
Compose and shoot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Use Live View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Use Burst Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Use Auto Bracketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Shoot at specified intervals . . . . . . . . . . . . . . . . . . . . . . . . . .40
Record video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Capture Pilot HD with Capture One . . . . . . . . . . . . . . . . . 41
Remote Shutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Mount the iPad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Tether Tools Wallee System . . . . . . . . . . . . . . . . . . . . . . . . 43
The Stump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Extend Your Computer Desktop with Air Display . . . . . . . 45
Make a Stop-Motion or Time-Lapse Video. . . . . . . . . . . . 46
Create a Stop-Motion Video in iStopMotion . . . . . . . . . . . 46
Create a Time-Lapse Video in iStopMotion . . . . . . . . . . . 48
ChaPter 3
rate and tag Photos
Rate and Tag Using Photosmith . . . . . . . . . . . . . . . . . . . . 52
Import Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
An Important Note About Photosmith 2 . . . . . . . . . . . . . . 52
Rate Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Rate multiple photos simultaneously . . . . . . . . . . . . . . . . . . 55
Assign Keywords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Assign existing keywords . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Create new keywords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Build keyword hierarchies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Remove keywords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Edit Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Filter Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Filter by metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Filter using Smart Groups . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Change the sort order and criteria . . . . . . . . . . . . . . . . . . . . 62
Working with Rejected Photos . . . . . . . . . . . . . . . . . . . . . 62
Group Photos into Collections . . . . . . . . . . . . . . . . . . . . . 63
Sync with Photoshop Lightroom . . . . . . . . . . . . . . . . . . . . 64
Photosmith publish service . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Photosmith Plug-in Extras . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
The iPad for Photographers
Export to Photosmith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Sync to a Hard Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Dropbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Seagate GoFlex Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Back Up to Seagate GoFlex Satellite . . . . . . . . . . . . . . . . 68
Rate and Tag Using Pixelsync . . . . . . . . . . . . . . . . . . . . . . 69
Import Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Review and Rate Photos . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Assign ratings in the Light Table . . . . . . . . . . . . . . . . . . . . . . 72
Declutter the Pixelsync Detail View . . . . . . . . . . . . . . . . . . 72
Assign Keywords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
View and Edit Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Filter Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Sync with Aperture or iPhoto . . . . . . . . . . . . . . . . . . . . . . . 76
Rate and Tag Using Editing Apps. . . . . . . . . . . . . . . . . . . .77
Rate Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Add IPTC Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Create and use IPTC sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Export IPTC Information . . . . . . . . . . . . . . . . . . . . . . . . . . 79
ChaPter 4
edit Photos on the iPad
Make Photo Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . 82
Edit Photos in the Photos App . . . . . . . . . . . . . . . . . . . . . 83
Edit Photos in Snapseed . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Recompose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Adjust Tone and Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Adjust Specific Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Apply Creative Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Edit Photos in Photogene . . . . . . . . . . . . . . . . . . . . . . . . . 90
Recompose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Adjust Tone and Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Adjust brightness and contrast . . . . . . . . . . . . . . . . . . . . . . . 91
Adjust color cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Adjust white balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Adjust saturation and vibrance . . . . . . . . . . . . . . . . . . . . . . . 94
Apply Selective Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Apply Creative Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Edit Raw Files Directly. . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Retouch Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Photogene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
TouchRetouch HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
ChaPter 5
edit Video on the iPad
Work with Projects in iMovie for iOS . . . . . . . . . . . . . . . 106
Choose a Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Apply a Fade In or Fade Out to the Movie . . . . . . . . . . . 107
Open an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . 108
Add Video to a Project . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Capture Video Directly . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Import from an iPhone or iPod touch . . . . . . . . . . . . . . . 109
Add Clips from the Media Library . . . . . . . . . . . . . . . . . . 109
Edit Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Play and Skim Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Edit Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Move a clip on the timeline . . . . . . . . . . . . . . . . . . . . . . . . . 111
Trim a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Split a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Delete a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Use the Precision Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Edit Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Add a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Add a title to just a portion of a clip . . . . . . . . . . . . . . . . . . 115
Specify a Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Add and Edit Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Edit the Ken Burns Effect . . . . . . . . . . . . . . . . . . . . . . . . . 118
Disable the Ken Burns effect . . . . . . . . . . . . . . . . . . . . . . . . 119
Edit Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Change a Clip’s Volume Level . . . . . . . . . . . . . . . . . . . . . 120
The iPad for Photographers
Add Background Music . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Add automatic theme music . . . . . . . . . . . . . . . . . . . . . . . . 121
Add a background music clip . . . . . . . . . . . . . . . . . . . . . . . 121
Add a Sound Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Add a Voiceover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Share Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Share to the Camera Roll . . . . . . . . . . . . . . . . . . . . . . . . . 125
Send the Project to Another Device via iTunes . . . . . . . . 126
Export a project to iTunes . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Import the project into iMovie on another iOS device . . . 127
ChaPter 6
Build an iPad Portfolio
5 Steps to Create a Great Portfolio . . . . . . . . . . . . . . . . 130
Prepare Images for the Portfolio . . . . . . . . . . . . . . . . . . 132
Adobe Photoshop Lightroom . . . . . . . . . . . . . . . . . . . . . 133
Apple Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Create an action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Batch-process files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Adobe Photoshop Elements . . . . . . . . . . . . . . . . . . . . . . 137
Apple iPhoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Create Your Portfolio. . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Using the Built-in Photos App . . . . . . . . . . . . . . . . . . . . . 139
Create and Populate Galleries . . . . . . . . . . . . . . . . . . . . . 140
Add Photos to a Gallery . . . . . . . . . . . . . . . . . . . . . . . . . 140
Load from iPad media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Load from iTunes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Load from Dropbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Edit a Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Reorder images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Choose a gallery thumbnail . . . . . . . . . . . . . . . . . . . . . . . . . 145
Add a Logo Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Present Your Portfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Rate and Make Notes on Photos in Portfolio for iPad . . 147

Present on the iPad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Present on an External Display . . . . . . . . . . . . . . . . . . . . 148
Wired . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Wireless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
ChaPter 7
share Photos
Upload Images to Photo-Sharing Services . . . . . . . . . . . 154
Upload from Editing Apps . . . . . . . . . . . . . . . . . . . . . . . . 154
Upload from Snapseed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Upload from Photogene . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
iCloud Photo Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
To Watermark or Not? . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Upload Photos Using Services’ Apps . . . . . . . . . . . . . . . 158
Flickr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
SmugShot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
PhotoStackr for 500px . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Photoshop Express . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Email Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
Share a Single Photo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Share Multiple Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Share Photos Using Adobe Revel . . . . . . . . . . . . . . . . . . 164
Import Photos to a Carousel . . . . . . . . . . . . . . . . . . . . . . 164
Rate and Edit Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Collaborate with Others . . . . . . . . . . . . . . . . . . . . . . . . . 166
Print Photos from the iPad . . . . . . . . . . . . . . . . . . . . . . . .167
Print from Nearly Any App . . . . . . . . . . . . . . . . . . . . . . . 167
Order Prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
ChaPter 8
helpful apps for Photographers
The iPad on Location. . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
VelaClock Sun/Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
PhotoCalc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Intellicast HD and WeatherBug . . . . . . . . . . . . . . . . . . . . 174
LightTrac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
The iPad for Photographers
Geotag Photos Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Easy Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
GoodReader for iPad . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
The iPad in the Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Strobox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Timelapse Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
HelloPhoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Portable Inspiration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Visuals by Vincent Laforet . . . . . . . . . . . . . . . . . . . . . . . . 182
The Guardian Eyewitness and The Big Picture . . . . . . . . 183
500px . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
App Reference
The iPad on Location . . . . . . . . . . . . . . . . . . . 188
The iPad in the Studio . . . . . . . . . . . . . . . . . . 189
Rate and Tag Photos . . . . . . . . . . . . . . . . . . . 190
Edit Photos on the iPad . . . . . . . . . . . . . . . . . 191
Edit Video on the iPad . . . . . . . . . . . . . . . . . 192
Build an iPad Portfolio . . . . . . . . . . . . . . . . . . 192
Share Photos . . . . . . . . . . . . . . . . . . . . . . . . . 192
Helpful Apps for Photographers . . . . . . . . . . 194
Bonus chApteR the new ipad (third Generation)
After index

Photographers carry gear. It doesn’t matter whether you’re a pro with
multiple camera bodies and lenses or a casual shooter with an ever-present
point-and-shoot camera—there’s always stuff to pack along. And if you’re
traveling or away from your office or studio, part of that gear typically
includes a laptop for reviewing and backing up the photos you take. Too
often I’ve heard friends who are about to go on vacation moan that they
needed to bring a bulky computer just to handle their digital photos.
The iPad is changing all that.
Measuring less than half an inch thick and weighing about 1.3 pounds,
the iPad is a fantastic device to take in the field. With the addition of the
inexpensive iPad Camera Connection Kit, you can import photos directly
from a camera or memory card and view them on the iPad’s large color
screen, revealing details that the relatively puny LCD on the back of your
camera may obscure. More important, a rich array of photography apps
and related products is adding to the list of things the iPad can do with
those photos: rate and add keywords, perform color adjustments, retouch
blemishes, and share the results online.
Oh, and don’t forget all of the iPad’s other capabilities: browsing the Web,
accessing your email, reading ebooks, playing movies and music, and, as
they say, so much more.
Can You Really Leave the Laptop Behind?
Although the iPad can do a lot that you would have needed a laptop to
do just two years ago, there are still some important limitations that you
should keep in mind when you decide whether a laptop stays at home.
If you’re generating a significant amount of image data—over 32 gigabytes
(GB)—then storage becomes a problem. As this book goes to press, the
current highest-capacity iPad holds 64 GB. You can free up some memory
by removing apps, music, videos, and the like, but if you’re filling multiple
16 GB or 32 GB cards with photos, the iPad won’t work as a repository of
your shots. (But I detail several workarounds in Chapter 1.)
The iPad for Photographers
One solution is to buy a lot of memory cards and use them as you would
film canisters. The originals stay on the cards, while the keepers remain
on the iPad; you delete the ones you don’t want as you cull through them.
Fortunately, memory cards are inexpensive now. Unfortunately, they’re
small and easy to lose. Make sure you know where they are, label them
accurately, and keep them protected.
If you capture raw-formatted images, you won’t benefit from the same
level of editing that a dedicated application on a desktop computer can
offer. With a few exceptions, all image editing occurs on JPEG versions of
the raw files, and exports as JPEG files (see Chapter 4 for more details).
So, to answer my question, in many circumstances yes, you can leave the
laptop behind. If you’re going to trek across Africa for four weeks, that’s
likely not realistic, but for most day trips or short vacations, the iPad makes
a great companion.
Which iPad Should You Use?
If you don’t already own an iPad, here are some guidelines for choosing
one that will be a worthwhile addition to your camera bag.
For the reasons mentioned, I recommend getting the highest-capacity iPad
that’s available (and that you can afford). That gives you plenty of room
to store photos and apps; some image editors make a copy of a photo to
work with, so you could easily fill a couple of gigabytes just editing. Plus,
it’s an iPad, not just an extra hard disk, so you’ll want to store music, movies, books, and all sorts of other media.
You also need to choose whether to buy a model that connects to the
Internet via Wi-Fi only or that includes 3G cellular networking. For photographic uses, 3G isn’t as important, because you’re likely to burn up your
data allotment quickly if you transfer images to sharing sites or to online
backup sources like Dropbox. (And it’s turning out that even when a cellular provider offers “unlimited” data plans, they’re not really unlimited.)
I personally find the 3G capability useful in general iPad use, but not necessarily for photo-related uses.

In terms of which iPad model to get if you don’t own one yet, I’d argue
for the latest model. As I write this, the successor to the iPad 2 is rumored
to be just a few weeks away; it will most certainly offer better processing
performance and hopefully more storage and internal memory, all good
factors when working with photos. If you can buy an iPad 2 for a good
price, it too is a great model for photographers (obviously, it’s what I used
in writing this book). The original iPad will also work, but as apps and the
iOS advance, its processor—and especially its small amount of working
memory—is going to start showing its age.
Notes About this Book
As you read, you’ll run into examples where I’ve adopted general terms or
phrases to avoid getting distracted by details. For example, I frequently
refer to the “computer” or the “desktop” as shorthand for any traditional
computer that isn’t the iPad. Although the iPad is most certainly a computer,
I’m making the distinction between it and other computing devices, such as
laptops, towers, all-in-one machines, and other hardware that runs Mac OS X
or Windows. When those details are important to a task, I note specific
applications or computers.
I also assume you’re familiar with the way an iPad works—using gestures
such as taps and swipes, syncing with a computer, connecting to the Internet,
charging the battery, and otherwise taking care of your tablet. If you’re
brand new to the iPad, allow me a shameless plug as I encourage you to
buy my iPad Pocket Guide (also from Peachpit Press).
Don’t be surprised when you frequently run across the phrase, “As I write
this.” Both the iPad and software useful to photographers are advancing
rapidly. A great example is the app Photosmith 2, which was in its pre-beta
testing stage while I wrote Chapter 3. Products that enable you to copy
photos from the iPad to an external USB hard disk were also just starting
to hit the market. And, of course, the successor to the iPad 2 was also on
the (rapidly approaching) horizon.
To stay abreast of the changing field, be sure to visit the companion site
for this book,, where I’ll post updates and
information related to the newest tool in your camera bag.
The iPad for Photographers
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Chapter 1
The iPad
on Location
Through the years, I’ve hauled various laptops on
vacations and business trips, and although the computers have
gotten smaller and lighter over time, carrying one and its assorted
peripherals still takes up a lot of space and weight. In contrast, the
iPad’s slim size and weight makes it an ideal traveling companion.
As a photographer, you probably already carry a fair amount of
gear. Wouldn’t you like to lighten your bag further?
Instead of squinting at the LCD panel on the back of the camera,
view your shots on the iPad’s brilliant 9.7-inch screen and pick out
details in the middle of a shoot that you may miss through the
viewfinder. You can also use the iPad as a remote photo studio.
Sort, rate, and apply metadata to the images while you’re traveling, or edit and share them to your favorite social networks. And
then, when you’re back at home or in your studio, bring the photos
into your computer, ready for further editing in Lightroom or other
software. Whether “on location” is somewhere truly remote or just
your back yard, the iPad can be your new photographer’s assistant.
Shoot Raw or JPEG (or Both)?
Before stepping outside, it’s important to figure out how you want to capture the images that will end up on the iPad. The question of whether to
shoot images in raw format or JPEG format initially seems irrelevant to the
iPad—the device can import both types. But choosing one (or both) leads
to considerations that ripple through the entire iPad workflow. So let’s take
the time to look at this first. (The table below provides a quick overview of
the discussion.)
Raw image files contain the unaltered information captured by the camera’s
image sensor, which provides much more data to work with when editing in
a desktop program such as Adobe Photoshop, Adobe Photoshop Lightroom,
or Apple’s Aperture. In general, professional and intermediate cameras offer a
raw capture option.
JPEG files, on the other hand, are processed within the camera before they’re
saved. Each image is color corrected, sharpened, compressed, and adjusted in
other ways to create what the camera believes is the best image.
When brought into an image editor on the desktop, a JPEG file doesn’t
offer as much image data and therefore can’t be edited as thoroughly as
a raw file. For example, you’re more likely to successfully pull detail out
of shadow areas with a raw file than with a JPEG. All digital cameras can
capture JPEG images; for some models, JPEG is the only choice.
Read on for an overview of the options. Although I assume you want to
shoot raw if you’re able to—after all, the ultimate consideration is usually
image quality—some situations may call for you to switch formats.
to iPad
Rate &
Tag Images
Sync to
Yes, but limited image information is available. Quality
starts out compressed. Edited
versions are saved as copies.
Easy import into desktop
software or folder
Not directly in most apps.
Edits apply to the JPEG
preview. Lose the full advantage of editing raw files.
Raw files are imported
into desktop software; any
edited versions (JPEGs) are
imported separately.
uses the
most disk
treated as
one image
JPEG portion is edited, while
raw remains untouched.
JPEG is often better quality
than auto-generated preview.
Bring raw files and edited
JPEGs into desktop software; delete other JPEGs
(depending on software).
The iPad for Photographers
Shoot JPEG
If your camera doesn’t shoot in raw format, JPEG is your only option. You
might also choose to capture JPEGs when you’re deliberately shooting
snapshots that need to be processed or shared quickly, or when you want
to employ the simplest workflow (1.1).
Capture photos in JPEG format on your camera.
Import the photos into the iPad (discussed in detail later in this
Review the photos using the Photos app.
Optionally edit, rate, tag, or share pictures.
Synchronize the pictures to photo software on your computer when
you’re back at home or the office.
1.1 Workflow
for shooting in
JPEG format
Capture JPEG
Import into iPad
Export to computer
Chapter 1: The iPad on LocaTion
The main advantage of the JPEG workflow is that it’s largely friction free.
Photos occupy less storage space on the iPad, making even the lowestcapacity model (16 GB) workable for holding pictures on location. You also
deal with just one set of images, unlike with raw files (as you’ll see shortly).
The primary disadvantage is that JPEG images are compressed and corrected within the camera, so you’re not getting the fullest possible image
data. Editing images, whether on the iPad or on the desktop, further
reduces image quality, because the JPEG format applies lossy compression—image data is removed from the file whenever it’s saved. If you edit
the images on the iPad, many editing apps apply still more compression
when they output the corrected JPEG files. When you bring the photos
into the computer, you don’t have as much latitude for editing them.
I don’t mean to sound alarmist, as if shooting in JPEG is going to produce
muddled images or as if you need to go out and buy an expensive DSLR
to end up with decent photos. JPEG compression is based on how the eye
perceives images and is generally very good. It’s just that, when compared
to working with a raw file, JPEG files start you at a disadvantage.
Shoot Raw
Capturing photos in raw format adds some complexity to the iPad workflow (1.2). Although the iPad can import raw files, it can’t edit them natively
(in most cases; see Chapter 4 to learn about apps that are able to manipulate raw files directly). Instead, any editing or sharing is done on JPEG
previews supplied by the camera.
Capture photos in raw format on your camera.
Import the pictures into the iPad.
If you edit or share photos on the iPad, the work is done on the JPEG
previews. Edited versions are saved as new JPEG files, and the raw
files remain untouched.
If you rate and tag photos using the app Photosmith, the metadata is
retained when photos are exported from the iPad to the photo software on your computer (see Chapter 3).
Since any images you edited on the iPad are separate versions, they’re
added to your photo software. For images you didn’t edit, the JPEG
previews are ignored.
The iPad for Photographers
1.2 Workflow
for shooting in
raw format
Capture raw
Import into iPad
JPEG previews
Raw files
Export to computer
ignored if
not edited
Edited JPEGs
added separately
Raw files into
photo software
Chapter 1: The iPad on LocaTion
Tip One option is to consider editing on the iPad a temporary step: Edit
images to share them quickly when you know you won’t be back at the
computer for a while, and then dump those edited versions when syncing
to the computer, where you can edit the originals with better tools.
The advantage to the raw workflow is that you retain all of the image data
for later editing, giving you the most flexibility with the photos on the
desktop. Also, metadata that you add in Photosmith stays with the raw
images when imported into Lightroom, so you don’t need to undertake
another round of rating and keyword tagging.
However, a main disadvantage is that raw files occupy much more storage space, which is an issue if you’re shooting hundreds or thousands of
photos. Most editing apps work only on JPEG previews, so you can’t take
full advantage of the raw image data unless you use a dedicated raw editing app. Also, unless the iPad is acting as just temporary storage between
camera and computer, you end up with separate JPEG versions that must
also be imported (unless you dump the JPEG versions).
Shoot Raw+JPEG
For cameras that support it, a third option is to shoot in Raw+JPEG mode.
In this case, the camera writes two files: the raw file, plus a JPEG file as
specified by the camera settings instead of an automatically generated
preview file. The workflow looks something like this (1.3):
Shoot photos using the camera’s Raw+JPEG mode.
Import the photos into the iPad, which displays just one thumbnail for
each image and a “RAW+JPG” badge, although each image is made
up of a raw file and a JPEG file.
Optionally edit and/or share photos, which applies to the JPEG counterpart for each photo. Edited images are saved as new JPEG files.
Rate and tag images in Photosmith. When you do so, the Raw+JPEG
pair is treated as a single image.
Export the photos to your computer. The Raw+JPEG pair is treated as
one image, although you can choose to work on the versions separately; Aperture, for example, gives you the option to import just the
raw file, to import just the JPEG, or to import both files and specify
which is the “master” for the pair.
The iPad for Photographers
1.3 Shooting
Raw+JPEG using
one memory card
Capture raw+JPEG
Import into iPad
Raw files
Export to computer
Edited JPEGs
added separately
files into photo
Chapter 1: The iPad on LocaTion
On some high-end cameras that accept two simultaneous memory cards,
you can specify that raw files be written to one card and JPEG files to the
other. This implementation can be somewhat cleaner, treating the raw files
as “digital negatives” that exist separately from the iPad (1.4):
Capture photos in Raw+JPEG format, specifying that raw files are written to one card and JPEG files are written to the other.
Import the JPEG images into the iPad. Leave the raw files on the card
and store it in your camera bag.
Edit and/or share the JPEG files on the iPad.
Export edited versions of the JPEGs to the computer; delete the rest.
Export the raw files to your computer.
The primary advantage of shooting Raw+JPEG is that you have more
control over the JPEG files that you import into the iPad. If your intent is
to quickly preview and share photos from the iPad with a little editing here
and there, and if you can save to separate cards, you can specify a smaller
JPEG image size in your camera’s settings. That speeds up import time
and saves storage space on the iPad without affecting image quality much.
Also, the raw originals are still available for editing on your computer.
The disadvantage is that you’re taking up more storage space. If you’re
writing to separate cards and importing just the JPEG files into the iPad,
you don’t get the benefit of rating and tagging when you export the raw
images to your computer.
Looking at these various options, I prefer to shoot just raw images and bring
them into the iPad. None of my current cameras can record to dual memory
cards, so shooting Raw+JPEG doesn’t offer a compelling advantage to me.
(Not) Shooting with the iPad 2’s Cameras
The iPad 2 introduced two cameras, front and rear, which are designed to work
with the FaceTime video-conferencing app. You can also fire up the Camera app
and take photos using the iPad…but please, unless you’re really in a pinch, don’t.
The quality is surprisingly poor for capturing stills, not only in terms of resolution
(0.7 megapixels for the rear camera, and VGA 640 by 480 pixels for the front one)
but also in terms of overall image quality. I’m sure the next iPad models will boast
improved cameras—there’s really no other direction to go but up in this respect.
The iPad for Photographers
1.4 Shooting
Raw+JPEG using
two memory cards
Capture raw+JPEG
Raw files
Import into iPad
Export to computer
Delete unedited
JPEGs after
importing raw files
Edited JPEGs
added separately
Raw files into
photo software
Chapter 1: The iPad on LocaTion
Review Photos in the Field
The shift from film to digital cameras brought an enhancement that fundamentally changed the way photographers shoot. It’s second nature for
us now, but the ability to take a shot and review it on the camera’s LCD
to provide immediate feedback was a real revolution. You could tell right
away if you needed to adjust the exposure, you could check whether
everyone in the shot was looking at the camera, and you could otherwise
see what was just recorded to the memory card.
And yet. Camera screens have improved over the years, in both resolution
and size, but it’s not always easy to spot details on a 3-inch screen. The
iPad’s 9.7-inch screen, however, reveals plenty of detail, without involving
the bulk and inconvenience of a laptop.
Using an inexpensive adapter from Apple, you can import shots from a
memory card or from a camera directly and get a better view of your photos—while you’re shooting on location, not later at home when the shot is
no longer available. It’s also possible to transfer photos to the iPad wirelessly using an Eye-Fi, a Wi-Fi–equipped memory card.
In this section, I’m making the assumption that you’ve left the computer
at home and have the iPad on location—whether far-flung or just out and
about for a couple of hours. There are times when you may want to review
photos on the iPad even with a laptop available; I cover such situations in
the next chapter, “The iPad in the Studio.”
Import Using the iPad Camera
Connection Kit
Apple’s $29 iPad Camera Connection Kit is one of the few truly essential
iPad accessories; without it, I wouldn’t be able to write this book! The
kit is made up of two pieces that attach to the iPad’s dock connector: an
adapter that accepts SD memory cards, and one that accepts a standard
USB plug (1.5).
The iPad for Photographers
1.5 The two pieces of the Apple iPad Camera Connection Kit enjoying a sunset together
import from a memory card or camera
When you’re ready to transfer the photos you shot, do the following:
Remove the SD card from your camera and insert it into the SD card
adapter. Or, connect the USB cable that came with the camera (typically a USB-to-mini-USB cable) between the USB adapter and the
camera’s USB port.
Wake the iPad if it’s not already on.
Insert the adapter into the iPad’s dock connector. If you’re connecting
via USB, you may also need to power on the camera or switch it into
its review or playback mode. The Photos app automatically launches
and displays thumbnails of the memory card’s contents (1.6, next page).
Chapter 1: The iPad on LocaTion
1.6 The contents
of a memory card
When importing Raw+JPEG images, the format is marked on their
thumbnails (1.7). You can’t choose whether to import JPEG or raw independently, though.
If you wish to bring in all of the photos, tap the Import All button.
Otherwise, tap the thumbnails of just the photos you want; a blue
checkmark icon indicates a photo is selected. Unfortunately, there’s
no option to view a larger version of the shots at this point. There’s
also no easy way to select a range of thumbnails other than tapping
each one. iOS 4 actually included a great shortcut: touch and hold one
photo, and then drag to select others without lifting your finger. That
capability disappeared in iOS 5; I’m hoping it’s a glitch and that the
shortcut returns in a future software update.
Tap the Import button (1.8). You still have the opportunity to ignore
your selections and import everything by tapping the Import All button. Or, tap Import Selected to copy the ones you chose in the last
step. The photos begin copying to the iPad’s memory; a green checkmark icon tells you the photo has been imported.
The iPad for Photographers
1.7 Raw+JPEG files are clearly identified.
1.8 Import only the photos you want.
Tip It can take a while to import a full memory card, but you don’t have to
put the iPad down. Photos continue to copy in the background, even if you
switch to another app.
After the photos are copied, you’re asked if you want to delete the
imported files from the memory card. I recommend tapping the Keep
button and then erasing the card using the camera’s controls.
The images appear in your Photo Library in two new, automatically created albums: Last Import and All Imported.
At this point, you can remove the adapter—no need to eject it, as you
would on a computer. The Photos app switches to the Last Import
album, where you can review the imported photos.
When the Photos app scans an inserted memory card, it identifies shots
you’ve already imported with a green checkmark. For example, suppose
you’re shooting with the same card that you used yesterday because
there’s still plenty of free space left on it. If you tap the Import All button,
you’re asked if you want to re-import all of the photos—in which case you
end up with multiple copies—or to skip the duplicates.
Tip As you can see from the screenshots, the import process also gives
you the option of deleting images from the memory card. This feature is
great if you want to keep using a card for shooting but don’t want to save
obviously poor photos. For example, I don’t need to retain dozens of test
and setup shots while I’m trying to dial in the right settings and lighting
positions. Tap to select the photos you wish to remove, and then tap the
Delete button.
Chapter 1: The iPad on LocaTion
What About CompactFlash (CF) Cards?
You can connect the USB adapter to your camera, but of course that ties up your
camera while the photos are downloading. Instead, plug the card into a CompactFlash USB reader and connect that via the USB adapter. However, there’s
a catch: It doesn’t work with all readers. The iPad imposes a limit of 20 mA to
the amount of power an accessory can draw. If the card reader requires more, it
won’t work (unless the reader is connected to a powered hub, and the hub is
connected to the iPad; but a powered hub won’t help you if you’re on location
without an electricity source). I can’t recommend any particular models, since the
market changes frequently, but a search for CompactFlash adapters for iPad will
reveal models that other photographers have used successfully.
import from an iPhone
While I was having coffee with a friend, he asked, “So, are you going
to get the cool new camera?” I must have looked puzzled, because he
followed up with a grin and, “You know, the camera that also has some
smartphone features.” He meant the iPhone 4S, which was about to be
released. He was far less interested in the specifications or new features of
the device than in the substantial improvements made to its camera.
That camera is quite impressive, made more so by the fact that the iPhone
is always with me. I can capture great shots without also carrying a separate camera all the time.
Getting photos from the iPhone into the iPad is as simple as importing
from any other digital camera. Plug a regular iPhone sync cable into the
Camera Connection Kit’s USB adapter, and then connect the iPhone and
the iPad. Thumbnails appear in the Photos app, ready to be imported (1.9).
Another direct import route from iPhone to iPad (or between any two iOS
devices) is to transfer the photos wirelessly using an app called PhotoSync.
As long as both devices are connected to the same Wi-Fi network, they
can bounce images back and forth, like so:
On the iPad, launch PhotoSync and tap the red Sync button.
Tap the Receive Photos/Videos button.
The iPad for Photographers
1.9 Importing photos from an iPhone into the iPad
On the iPhone, launch PhotoSync and tap the thumbnail of the image
or images you want to transfer.
Tap the Sync Selected button.
In the next dialog, tap the iPhone-iPod-iPad button to specify where
you want to transfer the image or images to (1.10).
Tap the name of the iPad that appears. The photo or photos you
selected copy from the iPhone to the iPad.
1.10 Transfer photos
from an iPhone (shown)
to an iPad using
Chapter 1: The iPad on LocaTion
The Secretly Versatile iPad Camera Connection Kit
The USB adapter of the iPad Camera Connection Kit was designed to connect
the iPad and digital cameras, but it works with other USB-based items, too. Need
to type something lengthy but don’t own a wireless keyboard? Plug in a USB one.
Connect a wired USB headset and use the Skype app to talk to people via voice.
Or, plug in a USB microphone, record to GarageBand or iMovie, and you have a
portable podcasting studio (1.11).
There is one catch, though. As I mentioned in the “What About CompactFlash
(CF) Cards?” sidebar, iOS imposes a 20 mA power limit on the USB connection.
So, some accessories that draw more energy than that to function won’t work.
In that case, you need to connect the accessory to a powered USB hub. (One
exception: I’ve seen some USB keyboards continue to function even after triggering the low-power alert.) Be sure to test any accessory before you go on location.
1.11 The USB adapter works with accessories such as this external microphone.
The iPad for Photographers
Import Wirelessly Using Eye-Fi Direct
Wait a minute. We’re in the second decade of the twenty-first century,
viewing high-resolution digital photos on a tablet computer operated by
touch. Do we need to shuttle files using adapters and cables as if we were
using floppy disks? Isn’t there another way, one that feels more like the
future we live in?
How about taking a photo and having it
appear on the iPad a few seconds later,
using the camera you already own and
without tethering it to the iPad via a
cable? Using an Eye-Fi wireless memory
card, you can do exactly that. The Eye-Fi
looks and works like a regular SD memory
card, but it also features a built-in radio
that can connect to Wi-Fi networks or even create its own.
When you’re shooting on location, that latter detail is important. The EyeFi is known for being able to hop onto a Wi-Fi network and transfer photos
to your computer on the same network, or upload images to photo-sharing
sites such as Flickr, Facebook, or SmugMug. But that doesn’t help if a Wi-Fi
network isn’t available. Eye-Fi’s Direct Mode turns the card into a wireless
base station inside the camera. After you connect the iPad to that Eye-Fi
network, photos you shoot are copied shortly after they’re captured.
As I write this, Eye-Fi sells cards in 4 GB and 8 GB capacities, ranging in
price from $50 to $100. Although Direct Mode is available for each model,
the high-end card, the Pro X2, is the only one that supports working with
raw images.
Set up the Eye-Fi according to its instructions, which involves creating an
Eye-Fi account, installing the Eye-Fi app from the App Store, and configuring the iPad to recognize the Wi-Fi network created by the Eye-Fi card.
Then, insert the card into your camera and start shooting.
Tip Some cameras now include built-in support for Eye-Fi cards. My Canon
PowerShot G12, for example, recognizes when one is inserted and provides
a menu of options specific to the Eye-Fi.
Chapter 1: The iPad on LocaTion
Shoot and import using eye-Fi direct Mode
Once the card and the iPad are set up, capturing and transferring photos
works like this:
Take a photo to activate the Eye-Fi card’s Direct Mode. (It goes to
sleep after a few minutes of inactivity to conserve power.)
On the iPad, go to Settings > Wi-Fi and select the Eye-Fi Card
network (1.12).
Launch the Eye-Fi app.
The test photo you just took automatically transfers to the iPad; any
images on the card that had not yet been transferred are also copied.
Continue shooting. As you capture each shot, it’s transferred to the
iPad (1.13).
Tap a thumbnail in the Eye-Fi app to view the photo full-screen. (However, you can run into problems with raw files; see the next sidebar for
more information.)
Tip Change the iPad’s Auto-Lock setting to 15 minutes or Never when
you’re shooting with the Eye-Fi (go to Settings > General > Auto-Lock). If
the iPad goes to sleep, it severs the connection to the Eye-Fi’s network to
conserve power. When you wake up the iPad, it may not automatically grab
the network again (especially if you took a break in shooting, during which
the Eye-Fi goes to sleep).
1.12 The Eye-Fi card shows up in the iPad’s Wi-Fi settings.
The iPad for Photographers
1.13 Photos arrive in the Eye-Fi app from the camera just
after they’re shot.
Import Wirelessly Using ShutterSnitch
Unfortunately, the Eye-Fi app’s support for raw files is spotty. When shooting with
my Nikon D90 and Canon PowerShot G12, for example, raw files appear in the
Eye-Fi app only as small thumbnails for browsing, even though the source files
are stored in memory. I originally thought I could switch to the Photos app to
view the file, but it sees the paltry thumbnail and uses that for display. So, one
option in that situation is to shoot Raw+JPEG and review the JPEG versions.
Another option is to purchase ShutterSnitch, a $16 app that works with the Eye-Fi
and can properly view raw images. (Make sure you disable the Accept JPEGs
Only preference in ShutterSnitch’s settings.) If you own an older Eye-Fi that
doesn’t support Direct Mode, ShutterSnitch can work with a portable wireless
base station unit (like a Novatel Mi-Fi) to import photos.
ShutterSnitch is also a helpful photographer’s assistant. It displays pertinent metadata (ISO, aperture, shutter speed, and focal length) and can pop up warnings
about that metadata that you specify. One of my annoying shooting traits is to
forget to reset ISO, so too often I’ve started shooting at ISO 800 (or higher) even
in well-lit situations. In ShutterSnitch, I created a warning that appears when any
photo arrives with an ISO higher than 200 (1.14).
1.14 ShutterSnitch warns that my ISO is high and highlights hot areas of the photo (in red).
Chapter 1: The iPad on LocaTion
Back Up Your Photos
The main focus of this chapter is to move photos from your camera to the
iPad, but getting them off the tablet in the form of backups is just as important. When you’re shooting in the field with your iPad in hand, you don’t have
the luxury of transferring dozens of gigabytes onto your computer or to an
external hard drive attached to it. That leaves you with a few options.
You can import photos into the iPad and use the memory cards you shot
with as backups. It’s like carrying film rolls all over again—although in this
scenario, they occupy much less physical space. Fortunately, the price of
memory cards has steadily dropped as capacities have increased, so you’re
not spending a lot of money to pick up several 8 GB or 16 GB cards.
However, one problem with that approach is the relatively limited capacity
of the iPad. The current high-end model, with 64 GB of memory, feels like
an airy, open orchestra hall when you’re just loading apps and documents.
But the walls begin to push in if you’re capturing several hundred shots
during each outing (and that’s assuming you’ve minimized the amount of
music and video being synced in order to make room for photos).
So, if the iPad itself isn’t big enough to hold one set of photos, you need to
get them off the iPad and onto another medium. If I were talking about an
average computer, this step would be trivial: just copy the files to a hard disk.
Alas, the iPad doesn’t work that way. Since iOS doesn’t expose its file system
to users, Apple opted not to offer the ability to push files around between
devices without a computer in the middle.
Of course, that doesn’t mean the task is impossible.
Online Services
If your iPad can connect to a speedy Wi-Fi Internet connection, you can
upload images to a service such as Dropbox or to Apple’s Photo Stream feature of iCloud. I recognize that “speedy Wi-Fi Internet connection” can be a
giant if. Maybe someday you’ll be able to tap into a fast, high-capacity cellular
network in a sheep pasture in Scotland, but chances are you’ll be blissfully (or
agonizingly) far from the rest of the world while you’re shooting.
The iPad for Photographers
More likely, after shooting for the day, you return home or to a hotel room,
or maybe park in a Wi-Fi–equipped coffee house for a few hours, and
connect to a broadband Internet connection there (although even that
possibility can be spotty, depending on location). Today’s cellular networks
are only starting to approach the speed and capacity required to upload
dozens or hundreds of multi-megabyte files, and in most cases you pay a
premium to do so.
But again, it’s not impossible. I’ve uploaded large files for book projects
while sipping in a Starbucks, and I’ve dribbled files over a flaky 3G cellular
connection next to a tent and campfire in the North Cascades.
Chapter 1: The iPad on LocaTion
What’s important is to have some type of backup. Everything I discuss in
this book becomes useless if you somehow lose the photos you went to
such trouble to capture in the first place.
NoTe I feel I should reiterate that these aren’t the swiftest methods of
backing up photos, especially if you’re talking about multi-megabyte raw
files. But if the choice is between letting the iPad upload files for a while or
losing photos, I’ll always choose the backup route.
icloud Photo Stream
I signed up for Apple’s free iCloud service primarily to share my calendars
and contacts between various devices, but I also got an added bonus:
Photo Stream.
Whenever you take a photo using an iPhone, iPod touch, or iPad 2, it’s
saved to the device’s Camera Roll. With Photo Stream enabled, each of
those photos is automatically uploaded to iCloud and copied to your other
enabled devices when they’re connected to a Wi-Fi network. A photo captured by my iPhone, for example, shows up on my iPad, on my Apple TV at
home, and on my MacBook Pro (when I launch iPhoto).
More importantly for our discussion here, any photos imported into the
iPad using the Camera Connection Kit or an Eye-Fi are added to the Camera Roll, so they, too, appear in your Photo Stream (1.15). (The same applies
to screenshots you capture on an iOS device, which often makes my
personal Photo Stream quite the thrilling mix of photos, test images, and
screenshots of those test images. Not quite the same emotional impact
when playing slideshows for family.)
1.15 Photo Stream,
shown in the Photos
Photo Stream is great because you don’t have to do anything special other
than enable the service. (In the iPad’s Settings app, tap the iCloud button,
tap Photo Stream in the right column, and then flick the switch to On.) As
long as you’re connected to the Internet via Wi-Fi, the photos copy automatically to Apple’s servers.
The iPad for Photographers
There are a couple of limitations, however:
Photo Stream stores just 1000 pictures on the iPad. Once you reach
that thousandth photo, the oldest images in the stream are removed in
favor of new ones. On the iCloud servers, 30 days of photos are saved,
giving you plenty of time to connect on your computer and download
the pictures. Once on the computer, the photos aren’t deleted.
As of iOS 5.0, you can’t delete pictures from the Photo Stream. So,
if you import a flub from your camera, that file sticks around until it
rotates out. (As I write this, there are rumors that an upcoming version
of iOS may add the capability to remove images from Photo Stream.
So, this point might be moot by the time you read this.)
If you do want to make sure a few photos stick around on the device, copy
them from the Photo Stream to an album.
On the iPad, open the Photos app and tap the Photo Stream button.
Tap the Share button.
Tap to select one or more photos you want to copy to an album.
Tap the Add To button
Tap Add to New Album, type a name for the album, and then tap
Save. Or, tap Add to Existing Album and then tap an album (1.17).
The photos are added to the album you created or chose.
1.16 The Add To options
1.17 Choose an album to store the copies in.
Chapter 1: The iPad on LocaTion
dropbox and similar services
If you’re not using iCloud, or you want finer control over which photos
are uploaded, consider using an online service such as Dropbox. It’s a file
storage service that has fundamentally changed the way I work on my
computers, and it extends its features to the iPad with the Dropbox iOS
app. (Another good option is SugarSync; I happen to use Dropbox, so I’ll
describe how it works here.)
On the Mac or under Windows, Dropbox creates a special folder that mirrors its content on the Dropbox servers. Anything you add to the folder
is also copied to other devices you’ve set up with the Dropbox software.
Here’s a real-world example: Whenever I write a new article, I create it in
an “Active Work” folder within my Dropbox folder. Each time I save the
file, it’s automatically copied not only to Dropbox’s servers, but also to a
Mac mini and a Windows PC in my office.
On the iPad (and other iOS devices), the file isn’t copied automatically,
because you may not want giant files to be pushed directly to a lowercapacity device. Instead, the Dropbox app is a window to everything
stored in your Dropbox folder, letting you browse your files and download
the ones you want to view. I can open my article in a text editor on the
iPad and work on it, review PDFs, look at photos, and do pretty much
anything else as long as I can download a file and own apps that work with
the file formats.
Returning to photo backups, the Dropbox app can also upload files—files
that you specify, not all files automatically—to your Dropbox. After you
download and install the Dropbox app on the iPad, follow these steps to
back up photos:
If you’re uploading raw files, skip to step 2. If you have JPEGs, open the
Dropbox app, tap the Settings button, and then tap Upload Quality.
Change the Photo Quality setting to Original so the app doesn’t compress your image. (You should only have to do this step once. Raw files
are uploaded without compression, so this setting has no effect on them.)
Tap the Dropbox button in the upper-left corner of the screen, if you’re
viewing in portrait orientation; in landscape orientation, the list of files
and folders in your Dropbox folder appears along the left edge of the
screen. If you don’t see the list, tap the “>” button at the upper-left
corner to reveal the folders.
The iPad for Photographers
Tap the Uploads button.
In the popover that appears, navigate to the folder in your Photo
Library that contains the files you wish to upload.
Tap to select the photos
Tap the button under “Choose an upload location.”
Locate the folder you want as the destination and tap the Choose button. Or, tap the Create Folder button to make a new folder.
Tap the blue Upload button to start transferring the files. When the
copying finishes, the files are available at the Dropbox servers and on
any of your computers connected to the Internet.
Tip Dropbox offers 2 GB of storage for free, which is suitable for most
people’s document needs. Photos, of course, take up much more storage,
so you’ll want to consider paying for more storage. Paying $9.99 a month
gives you 50 GB; $19.99 a month bumps that up to 100 GB. That’s quite
a jump, I know. I use the service enough that the 50 GB range is worth it
for me, but I’ve also been told by reputable sources that if you contact the
Dropbox folks directly, you can get less capacity for less money.
1.18 Choosing files to
upload to Dropbox
Chapter 1: The iPad on LocaTion
Portable Storage
Until recently, the notion of copying your photos from the iPad to a portable hard disk was science fiction. Doing so makes sense: just offload your
photos to a small disk connected via USB. But that would require a level of
interaction with the file system that Apple is intentionally trying to obscure;
when you’re using an iPad, you’re focused on tasks, not on shuffling files
and figuring out where they’re located.
Working with gigabytes of photos, however, begs for the capability to copy
lots of files to a small, lightweight storage system. An external hard disk is
almost a requirement for shooting on location with a laptop, so why not
attach one to the iPad?
As I write this, I’m aware of one product that can make it happen.
Seagate GoFlex Satellite and Photosmith
Seagate’s GoFlex Satellite is a 500 GB portable hard disk with built-in
Wi-Fi. Originally marketed as additional storage for the iPad (so you could
carry your movie library without having to fill the iPad’s internal memory),
the GoFlex Satellite can now also communicate with Photosmith 2.0 and
store roughly 20,000 high-resolution photos. (See Chapter 3 for more
about using Photosmith.)
After you’ve imported photos into the iPad and then brought them into
Photosmith, do the following to copy photos to the GoFlex Satellite:
Select a collection or a group of photos in Grid view.
In the Services pane of the sidebar, tap the GoFlex button and make
sure the drive is powered on and recognized by Photosmith.
Tap the Backup/Update Photos button (1.19). The files copy to the drive.
Any metadata you’ve applied in Photosmith (ratings, titles, keywords, and
the like) are also copied (as XMP sidecar files). When you return to your
computer, connect the drive and import the files into Lightroom.
NoTe At the Consumer Electronics Show (CES) in January 2012, Sanho
Corporation showed off a new product called CloudFTP, a portable Wi-Fi
hotspot that connects to any USB hard disk to make it accessible to the
iPad. They also demonstrated its ability to copy files to and from the iPad.
As this book goes to press, the product is not yet shipping. I’ll post more
information at as I learn it.
The iPad for Photographers
1.19 Copy photos
from the iPad to
a GoFlex Satellite
external drive in
Use the iPad as a Fill Light
Most of this chapter has focused on using the iPad as a photo repository,
whether you’re importing pictures to review in the field or backing up the
images for safekeeping. But there’s another use for the iPad that doesn’t
require any data transfer. That 9.7-inch screen is backlit and bright, so feel
free to use it on location to throw some illumination on your subject.
The screen can’t replicate a strobe—you don’t want to turn your retinas to
ash by frying them while reading in bed, after all. But it is plenty bright,
especially in dark situations.
The easiest way to set the iPad up as a fill light is to open an app that
appears mostly white. Launch Safari and open a blank page, or run something like PlainText, a text editor, with a blank document loaded. Then
angle the iPad so the illumination falls where you want it to.
Chapter 1: The iPad on LocaTion
1.20 The iPad, out of
frame at left, acts as
a fill light with a cyancolored gel. It also
reminds us to monitor
caffeine intake among
writers after midnight.
You can get creative with simulated gels by displaying various colors as
background wallpaper images (1.20). Here’s how:
In your favorite image editor on your computer, create an empty document and fill it with the color you want.
Save that image as a JPEG or PNG file.
Add the file to iPhoto, Aperture, or a folder on your computer that you
use to sync photos to the iPad.
Open the iPad’s Settings app.
Tap the Brightness & Wallpaper button.
Tap the Wallpaper button (which displays two background images: one
for the lock screen and one for the home screen).
Select the photo you imported from the Photo Library.
Tap the Set Home Screen button to make that photo the background
image on the iPad’s home screen.
The iPad for Photographers
1.21 SoftBox Pro
cooling the scene
Create a new screen of app icons: Touch and hold an app until the
icons begin to shake, then drag it to the right edge of the screen until
it’s the only icon visible; press the Home button to make the icon stop
10. Position the iPad near your subject and take the photo.
A more elegant solution is to install the $2.99 SoftBox Pro app. It features
several background colors, patterns (for adding custom catchlights), and
a brightness control at your fingertips for quick adjustments (1.21). Choose
the look you want, tap the screen to remove the controls, and get the shot.
Chapter 1: The iPad on LocaTion
CHapter 2
The iPad
in the Studio
An iPad is a great photographer’s companion in the field,
but it doesn’t have to sit dormant when you’re back at home or in
a studio. The techniques covered in Chapter 1, such as importing
photos using the iPad Camera Connection kit or an Eye-Fi card, still
apply when you’re no longer on location. When you’re not trying
to minimize your equipment footprint, though, other possibilities
open up.
The iPad can work alongside your camera and computer, triggering
the camera shutter, providing clients or visitors a window to a
photo shoot (without them peeking directly over your shoulder), or
even controlling a remote iPhone or iPod touch to capture photos
or create stop-motion or time-lapse movies.
Control a Camera from the iPad
Often when you’re working in a studio, the camera is tethered to a computer. This arrangement allows you to import photos directly into software
such as Lightroom or Aperture, review shots as they come from the camera, and skip the separate import step entirely. So where does the iPad fit
in this situation?
Just because your camera is tethered doesn’t mean you need to be. Especially if you’re shooting products, food, or other compositions that require
the camera to remain locked down, you can trigger the shutter, change
exposure settings, and more from the iPad without touching the camera.
An iPad also works well when clients or others want to see your output as
the photo shoot progresses. If it’s inconvenient to have them hovering over
your shoulder or the tethered computer, you can hand over the iPad and
encourage them to relax on a couch situated a comfortable distance away
from the camera. (Just remind them to keep their fingers off the button
that fires the shutter.)
DSLR Camera Remote HD
OnOne Software’s DSLR Camera Remote HD ($49.99) assumes most of
the control over a tethered DSLR. (A $19.99 version for the iPhone or iPod
touch is also available, which includes most of the same features except, of
course, the iPad’s large-screen preview.)
Note Be sure to check onOne’s list of compatible cameras to make sure
DSLR Camera Remote HD will work with yours (
products/dslr-camera-remote/specs.html). Even if it’s listed, some features
may not work; my Nikon D90 can do Live View, for example, but not Video
Connect the camera and iPad
In addition to the iPad app, DSLR Camera Remote HD requires a free
server application that runs on the computer; download DSLR Camera
Remote Server from the onOne Web site ( With
that in hand, do the following:
The iPad for Photographers
Make sure the computer and the iPad are on the same Wi-Fi network.
Connect your camera to the computer via a USB cable.
Launch DSLR Camera Remote Server on your computer
Specify a folder on the computer’s hard disk where photos are stored
by clicking the Choose button under Download Location.
OnOne recommends that you clear out that folder (by importing the
files into your photo organizing software or moving them manually) to
avoid overwriting between capture sessions.
Open the DSLR Camera Remote HD app on the iPad.
Tap the name of your computer in the list that appears. After a few
seconds, the DSLR Camera Remote HD camera interface appears.
tip If you’re having trouble connecting to the DSLR Camera Remote Server
application on your computer, try turning Bluetooth off for nearby devices
(the iPad, an iPhone, etc.). The short-range wireless technology could be
causing enough interference with the Wi-Fi connection that a solid connection can’t be made between the iPad and the computer.
2.1 DSLR Camera
Remote Server on the
The server app includes an option to make a copy of each photo and store
it in a separate folder for automatic import into Photoshop Lightroom.
Set up Lightroom’s auto-import feature to watch that folder and import
its contents when photos appear. (It sounds redundant to make a copy of
each image file, but pointing Lightroom’s auto-import feature at the DSLR
Camera Remote HD folder moves the files, making them unavailable for
review on the iPad.)
CHAPTER 2: The iPad in the Studio
Compose and shoot
In many respects, your digital camera is already a computer, so why not
use another computer to control the camera’s settings and fire the shutter?
With DSLR Camera Remote HD running, use the following controls (2.2).
Some items can’t be adjusted, depending on the camera model. Using my
D90 as an example again, I can’t change the exposure mode in software,
because that setting is a physical knob on the camera. Also, as you would
expect, the mode determines which settings are active—in shutter priority
mode (“S” on Nikon models, “Tv” on Canon cameras), the aperture can’t
be set, because that’s a value the camera calculates based on the desired
shutter speed and ISO.
The iPad for Photographers
2.2 The DSLR Camera Remote HD interface
A. Aperture. Tap the current Aperture setting to choose an f-stop from
the list of possible values. The popover that appears shows only the
settings that are available to the current lens.
B. Shutter Speed. Tap the Shutter Speed button to specify how long the
shutter remains open.
C. ISO Speed. Tap this button to choose a level of light sensitivity.
D. White Balance. Tap to select one of the color temperature presets.
E. Image Quality. Switch between available quality and format options.
Exposure Compensation. Choose from the range of positive and
negative exposure adjustments.
G. Fire. Tap this giant button when you’re ready to capture a shot.
CHAPTER 2: The iPad in the Studio
Use Live View
On supported cameras, tap the On/Off button to the right of the Live View
button to get a live feed of what the camera’s image sensor is seeing.
The software can take advantage of the camera’s auto-focus features: Tap
the Focus button at the bottom of the screen, or tap the image preview.
Unfortunately, you can’t specify a focus area by tapping, as you can in the
iPad’s Camera app; doing so just relies on the camera’s auto-focus mode.
However, you can choose which focus priority is used (2.3):
Tap the Live View button (not the On/Off button).
Choose a mode:
Canon cameras options are Quick Mode, Live Mode, or Live Face Mode.
Nikon camera options include Normal Area, Face, and Wide Area.
Tap the Focus button to focus the frame.
Use Burst Mode
In Burst Mode, the camera captures a specified number of frames when
you tap the Fire button once (2.4).
Tap the Burst Mode button.
Drag the slider to set the number of shots to take. The maximum number depends on the current Image Quality setting and your camera’s
image buffer; for example, shooting in JPEG format yields more shots
than shooting in raw format.
Tap the Burst Mode’s On/Off button to switch it to On.
2.3 Choose a focus priority for Live View.
The iPad for Photographers
2.4 Set the number of frames to capture in Burst Mode.
Use Auto Bracketing
DSLR Camera Remote HD taps into your camera’s ability to shoot a
succession of three photos with different exposures (the current one,
overexposed, and underexposed), a feature known as “bracketing.” HDR
(high dynamic range) images, for example, are created with three or more
images at varying exposures.
Put the camera into its manual shooting mode.
In DSLR Camera Remote HD, tap the Auto Bracketing button to reveal
the feature’s options (2.5).
Drag the first slider to specify the variance in f-stops between each
shot. The default is 1, which would give you an image at the current
exposure, one at +1, and one at –1. The higher the value, the broader
the difference in exposure will be in the set of shots.
Tap the next button to control whether the variance applies to full
f-stops (Full Stop) or to thirds of a stop (1/3 Stop).
Set which variable is locked using the third control: Aperture, Shutter
Speed, or ISO Speed. If Aperture is selected, for instance, the camera
will adjust the shutter speed and ISO to achieve the exposure change,
leaving your chosen aperture constant.
Drag the Delay slider if you want to pause between shots (to recharge
a flash, for example).
Tap the Start button at the top of the popover to fire the trio of shots.
2.5 Auto Bracketing
CHAPTER 2: The iPad in the Studio
Shoot at specified intervals
DSLR Camera Remote HD includes an intervalometer, which captures a
series of shots at a specified interval.
Tap the Intervalometer button
Tap the Interval button, and choose the duration between shots in
hours, minutes, and seconds (up to 23:59:59 for extreme time-lapse
series of shots).
Tap the Number of Shots button, and enter a number in the text field
to dictate how many captures are made at the interval.
Switch the Wait on First Shot option to On to pause before the initial
Tap the Start button in the upper-right corner of the popover to start
the Intervalometer.
tip The Intervalometer feature can double as a self timer: Set the Interval
setting for the time you want before the camera fires, specify the number
of shots as 1, and enable the Wait on First Shot switch.
2.6 Intervalometer
The iPad for Photographers
Record video
If your camera shoots video and is a model supported by DSLR Camera
Remote HD, you can switch to Video Mode and direct the video capture
from your iPad. (Visit onOne’s Web site to check camera compatibility.) As
with shooting in Live View mode, you can see what the camera is recording,
start and stop the video capture, and tap to auto-focus. However, you can
focus only before or after recording, not during capture. Also, you’re not
able to play back a video file on the iPad once it’s recorded.
Note Another intriguing app is ioShutter (, which
works with a custom cable that connects the iPad or iPhone to a DSLR or
some supported prosumer compact cameras (like the Canon PowerShot
G12). It offers timed shutter release, bulb mode, and time lapse features,
controlled from the iOS device without requiring a computer in between.
However, the cable is not yet available at the time of this writing, so I
haven’t used it.
Capture Pilot HD with Capture One
Another remote photo app is Capture Pilot HD (2.7), which works with Phase
One’s $399 Capture One software for Mac or Windows (
Capture Pilot HD is free to use with Capture One, allowing you (or a client) to
view, rate, and tag images as they’re captured. A $14.99 in-app purchase unlocks
the ability to control the camera and shoot from the iPad. Although it offers many
of the same features as DSLR Camera Remote HD, the Capture One software is
much more comprehensive, serving as the environment in which you organize and
process your photos. Capture Pilot HD also includes a live view, but it works only
with Phase One or Mamiya Leaf digital back cameras.
2.7 Capture Pilot HD
CHAPTER 2: The iPad in the Studio
Remote Shutter
I’ve focused on controlling a DSLR so far in this chapter, but if you own an
iPhone, you already have a pretty good camera available. Remote Shutter,
by iAppCreation, is an app that runs on the iPad and iPhone, connecting
them both via Bluetooth. Choose one to act as the camera and one to
act as the remote, and you can then fire the shutter; lock focus, exposure,
and white balance; and set a timer (2.8). And, of course, it offers a range of
filters to change the look of the captured photo.
2.8 Remote Shutter
controls an iPhone
(top) from the iPad
The iPad for Photographers
Mount the iPad
The iPad’s portability can sometimes be a hindrance when you’re shooting
in the studio. Your hands are probably already full with camera gear—you
don’t want to set that down to pick up the iPad, or have to crane over a
tabletop to view the screen without reflections from overhead lights. That’s
when mounting the iPad is useful.
Although there are no shortages of cases and stands for the iPad, I favor
two options: a secure mount that was designed to integrate into a photographer’s collection of stands and arms, and a simple desk mount that props
up my iPad nearly all the time it’s close to my computer. I encourage you
to explore the market for options, which change often. For example, if you
also dabble in music, a number of attachments designed for performance
stands could also work to hold the iPad in place, to set it up as a teleprompter, to play relaxing music for clients or subjects, and for other uses.
Tether Tools Wallee System
The Wallee Connect system from Tether Tools ( consists
of two parts: a case that connects to the back of the iPad (see the next page),
and the Wallee Connect, a sturdy adapter that secures to the case and features
holes and threads to connect it to tripods, heads, and lighting stands (2.9). The
Connect Kit, which includes the case and the Connect, costs about $120.
2.9 Wallee Connect
Threads for tripods and light stands
Locking mechanism
CHAPTER 2: The iPad in the Studio
The Stump
Hundreds of iPad stands exist on the market now, ranging from simple plastic kickstands to large suction cups, but there’s one that’s proved invaluable
to how I work. I often want to prop the iPad next to my computer or on a
shelf or table near where I’m shooting. The Stump ( is
a $25 angled piece of heavy material covered in rubber that puts the iPad
into three positions, in either portrait or landscape orientation (2.10).
It sounds almost too simple, I’ll grant you. I received one in a bag of goodies for speaking at a conference and figured I’d toss it fairly soon. However,
it’s currently lifting my iPad 2 more often than the Smart Cover I bought.
Whether it’s for during a shoot or for working next to your computer later,
the Stump is a great little addition.
The iPad for Photographers
2.10 The Stump is
simple, portable, and
quite useful.
Extend Your Computer Desktop with Air Display
Here’s a neat way to take advantage of the iPad’s screen real estate when you’re
back at your computer processing images: Set it up as a second display. Avatron’s
Air Display ($9.99, communicates between your computer
and iPad via Wi-Fi to extend the computer’s desktop (2.11). Stash Photoshop
panels on the iPad’s screen to get them out of the way, or keep email and Twitter
windows off to the side, leaving more space for working with your photos.
Speaking of Photoshop, the Adobe Nav app for the iPad can be helpful without
invoking screen sharing. When running Photoshop CS5 or later on the computer,
Adobe Nav ($1.99, accesses tools off
to the side, offering more workspace on your computer.
2.11 Use the iPad as an external monitor with Air Display.
CHAPTER 2: The iPad in the Studio
Make a Stop-Motion or
Time-Lapse Video
Since a studio offers a controlled workspace, you don’t have to deal with
the whims of natural light or environment. The DSLR Camera Remote HD
app features an intervalometer for firing off shots at specific intervals,
which can then be combined into a time-lapse video later. But here I want
to focus on a clever app that makes the process of creating time-lapse or
stop-motion videos easy on the iPad. iStopMotion for iPad by Boinx Software ($9.99) can use the iPad 2’s built-in camera or an iPhone 4, iPhone 4S,
or iPod touch (fourth generation) with the help of a remote app.
Note Boinx also sells iStopMotion Home for the Mac for $49.99, which is a
more comprehensive tool for shooting stop-motion and time-lapse movies.
Create a Stop-Motion Video in iStopMotion
Although you could use the iPad or an iPhone to snap a bunch of photos and
then stitch them together later to make a stop-motion video, iStopMotion
makes the process much less painless.
In iStopMotion, tap the New (+) button to create a new project.
Initially, the app activates the front-facing camera, so don’t be surprised when your face suddenly appears. Tap the Cameras button at
the top right area of the toolbar.
Choose the front or back camera.
If you’re using another iOS device as a remote camera, first launch the
free iStopCamera app there. Then, on the iPad, select the name of the
camera device. Lastly, tap the Accept button on that device to establish the connection. The camera’s settings screen appears.
On the iPad or the other device, drag the Focus indicator to a spot
where you want the focus to be locked (2.12). You can also tap the
Exposure button at the top of the screen and identify an area on which
to base the exposure level.
The iPad for Photographers
tip You’ll want to shoot where the lighting is consistent, but also make sure
you set the Exposure indicator to an area of the scene that’s not likely to
contain moving elements in your video; they’ll throw off the color in those
Tap Done to exit the camera settings screen.
Tap the Clip Settings button (the gear icon) to set playback speed
(frames per second) and how the editing environment appears. Tap the
Show button, which uses an “onion skin” mode to show the last frame
and a ghosted rendition of the live video so you can see what the next
frame will look like (2.13).
Set your scene, and then tap the Capture button to take a shot.
Reposition elements in the frame.
Tap the Capture button to grab the next frame.
10. Continue adjusting your elements and capturing photos until the scene
is complete. Tap the Play button at any time to review what you’ve
shot so far.
You can jump back to any frame to re-take it (make sure you line up your
elements accurately), or you can delete a frame by selecting it, tapping
the Actions button (the wrench icon at bottom right), and then tapping the
Delete Frame button.
2.12 Lock focus in iStopMotion for iPad.
2.13 See the relative position of objects between shots.
CHAPTER 2: The iPad in the Studio
Create a Time-Lapse Video in iStopMotion
Stop-motion animations require a lot of work and even more patience
to do well. A time-lapse video, by contrast, needs just patience and an
interesting enough place to point the camera. iStopMotion can automatically fire off a shot at an interval you choose, ranging from 1 second to 59
minutes and 59 seconds.
Set up your iPad, iPhone, or iPod touch where you want to capture
action over a period of time.
Choose a camera from the Cameras popover.
Tap the Time Lapse button to the right of the Cameras button.
Make sure Time Lapse is selected under Mode
Drag the minute and second dials to select an interval, then tap outside the popover to dismiss it.
Tap the Capture button to start capturing the scene. The button
doubles as a countdown timer while waiting for the next shot (2.15).
Tap the Capture button again to stop recording frames.
tip Tapping anywhere near the Capture button works, too—you don’t have
to hit the button perfectly centered.
2.14 Specify Time Lapse settings.
The iPad for Photographers
2.15 The Capture button counts the time to the next shot.
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CHapter 3
Rate and Tag
Even if I were to do nothing else with photos on my iPad,
I would want to perform my first round of rating and keyword tagging. I’d much rather spend time in front of my computer editing
the photos than sorting them, especially since rating and tagging
can be done with the iPad during downtime like waiting for a flight,
chilling out in a coffee shop, or sitting on the couch in the evening.
Actually making that possible, however, is a difficult task, which
explains why there are only a few apps capable of doing it. The one
I’m focusing on is Photosmith by C2 Enterprises, which lets you rate
photos you’ve imported, assign keyword tags, and then sync to
Adobe Photoshop Lightroom. Taking a slightly different approach,
Code Foundry’s Pixelsync pulls photos from Apple’s Aperture or
iPhoto, lets you work with them on the iPad, and then puts them
back onto the computer festooned with metadata. Several image
editing apps also now offer tools for rating and tagging.
Rate and Tag Using Photosmith
Apple introduced the iPad Camera Connection Kit at the same time as the
original iPad. In the two years since, we’ve seen all kinds of software innovations with Apple’s tablet, but surprisingly, being able to rate and tag photos
hasn’t quite succeeded until now. It seems like a natural request: Take the
images you imported onto the iPad; assign star rankings to weed out the
undesirable shots and elevate the good ones; add important metadata such
as keywords; and, lastly, bring the photos and all that data into a master
photo library on the computer.
Photosmith 2, in my opinion, finally delivers those capabilities. When you’re
shooting in the field, you can act on those photos instead of keeping them
in cold storage. Back at the computer, that work flows smoothly into Photoshop Lightroom, so you don’t have hours of sorting ahead of you.
Import Photos
When you launch Photosmith, it scans your iPad’s Photo Library and displays
thumbnails sorted by the photos’ capture date (3.1). Tapping one of the Smart
Collections buttons in the sidebar narrows the field; for example, I often want
to just work with the Last Imported collection.
An Important Note About Photosmith 2
While I was writing this book, C2 Enterprises was hard at work preparing version 2.0
of the app. Because the update offers several significant new features, such as the
ability to batch-assign keywords, I realized I needed to abandon my original coverage of version 1.0 and jump on the new edition. However, the deadline for finishing the book was scheduled before the release of the software, so the developers
were gracious enough to provide me with pre-release builds of Photosmith 2.0.
Although the functionality I describe should match the shipping version of the
software, it’s possible that some interface elements (or features) may have
changed during the time the book was being printed and distributed. I plan to
update this chapter once the release version of 2.0 is available, which should be
by the time you read this; go to to
register your purchase and download the free, updated chapter.
The iPad for Photographers
3.1 Photo library
in Photosmith 2
Tip If, for some reason, you don’t want Photosmith to scan your library
automatically, you can turn that feature off. Tap the Services button at the
bottom of the sidebar, then tap the iPad Photos button under Import, and
switch the feature to Manual. The next time you add photos to your iPad,
you would then need to return to the iPad Photos drawer and tap the
Import Now button. This control also lets you include only specific photo
albums from your library.
Photosmith can also import photos directly from an Eye-Fi card. Go to the
Services pane, tap the Eye-Fi button, and set the service to Enabled.
Rate Photos
As you’ll learn in the pages ahead, Photosmith features several ways to
organize and group your photos. But let’s start with the most likely first
action: reviewing and rating the images you imported. The app supports
ratings (1–5 stars) and color labels that track with those features in Lightroom. You can also mark photos that don’t make the cut as rejected.
CHapter 3: RaTe and Tag PhoTos
3.2 Rating a photo in
Loupe view
QuickTag bar
To rate photos, do the following:
Double-tap a thumbnail to expand the photo in Loupe view.
You can also tap the Fullscreen button to hide the sidebar and review
each photo larger. Pinch to zoom in or out to view more or less detail.
Tap a star rating on the QuickTag bar to assign it to the photo (3.2).
Or, if the shot isn’t salvageable, tap the red Reject (X) button to mark
it as rejected.
If you use colors to label your shots, tap one of the color buttons.
Use the Rotate buttons to turn photos that arrived with incorrect orientation in 90 degree increments.
Swipe left or right to switch to the next or previous photo.
Continue until you’ve rated all the photos you want.
To return to Grid view, tap the Grid button; the photos are marked
with stars to indicate their ratings (3.3).
The iPad for Photographers
3.3 Ratings and color assignments appear on thumbnails in Grid view.
3.4 The filter controls in the expanded QuickTab bar include buttons to select all thumbnails or none, or to invert the selection.
The values of the stars are up to you. My approach is to rate anything that
looks promising (which sometimes means, “Oh hey, that one’s in focus after
all!”) as one star. Photos that strike me more creatively get two stars. On
rare occasion I’ll assign three stars at this stage, but usually I reserve stars
three through five for after I’ve edited the photos in Lightroom.
Rate multiple photos simultaneously
For an even faster initial review pass, you don’t need to enter the Loupe
or Fullscreen views. Select the photos you want to rate or categorize in
Grid view, and apply the information at once, like so:
In Grid view, tap once on a photo to select it. Tap to select others.
Tap the rating or color label in the QuickTag bar to apply it to each
selected photo.
To let go of your selections, you can tap each one again, but there’s a
better way: Swipe up on the QuickTag bar and tap one of the selection
buttons—All, None, or Invert (3.4).
CHapter 3: RaTe and Tag PhoTos
Assign Keywords
In the interests of speed and convenience when reviewing photos, one task
that’s often ignored is assigning keywords to the images. On the computer,
it’s a mundane but important task (especially if you’ve ever found yourself
trying to find an old photo and ended up just scrolling through thousands
of shots); on the iPad, it was darn near impossible to do until only recently.
Photosmith makes it easy to apply tags to a single photo or to all photos
you’ve selected.
assign existing keywords
If any of your photos already contain keywords, Photosmith pulls that
information when it first scans your library. So, most likely, you’ll start
with a populated list of keywords.
Bring up a photo in Loupe view or select one or more photos in Grid view,
and then do the following:
Tap the Tags button in the sidebar.
Tap the Keywords field to bring up the Keywords editor (3.5).
To assign an existing keyword, locate it in the list on the left and tap
its button. You can also choose from the lists of Recent and Popular
keywords that appear to the right.
To quickly locate a keyword, begin typing it in the Search field at the
top of the screen.
Tap Done when you’re finished.
3.5 The Keywords
The iPad for Photographers
Create new keywords
The Search field also acts as the control to define new keywords. As you
type, in addition to listing matches to existing terms, the text also appears
under a Create New Keyword heading. Tap the tag that appears to add it
to the selected photo or photos and to the keyword list.
Build keyword hierarchies
Keywording is a form of organization, and organization varies from person to
person. While I prefer a single list of tags, you may be more comfortable with
multiple levels of parent and children terms. Photosmith caters to both styles,
letting you build keyword hierarchies that Lightroom understands, like so:
With the Keywords editor open, tap the Detail (>) button to the right
of any tag to set that tag as the parent.
Type the name of the child keyword in the Search field. As the child
keyword appears under the Create New Keyword section, Photosmith
notes that it will belong to the parent tag (3.6).
Tap the new keyword to add it to the list and to the selected photo or
Remove keywords
Suppose you mistype a keyword or apply it to a term by accident. To
remove a keyword from those already applied to a photo, tap and hold
it and then tap the Remove button (3.7). Or, if you want to just remove a
keyword from the hierarchy, swipe left to right over it and tap Delete.
3.6 Creating a new child keyword, “winter,” under “farm”
3.7 Removing a keyword from a photo
CHapter 3: RaTe and Tag PhoTos
Tip When multiple photos are selected and some contain keywords that
are missing from the others, an asterisk (*) appears on any term that isn’t
shared by all. To quickly add it to the rest of the group, tap and hold
the keyword and choose Apply to All from the group of commands that
Edit Metadata
Keywords are essential for locating your images later and for assigning
terms that can be found in photo-sharing services and commercial image
catalogs, but you should also take advantage of other metadata while
you’re processing your photos in Photosmith.
With one or more photos selected in your library, go to the Tags panel of
the sidebar and tap any field to enter text (3.8). The Photo Title and Caption
fields, for example, are used to identify images on Flickr and other sites.
The IPTC fields are also important, because they embed your contact information, copyright statement, and job-specific metadata into the image file.
Tip Set up metadata presets so you don’t have to enter common informa-
tion (like Creator and Copyright) for every photo. Create a new preset in
the Tags pane of the sidebar, and then populate the data to as many photos as you’d like with just a few taps.
3.8 Add metadata
to multiple selected
The iPad for Photographers
Filter Photos
Now that you’ve rated and tagged the photos and applied metadata to
them, you can take advantage of Photosmith’s filtering tools to customize which images appear based on all that information. Swipe up on the
QuickTag bar to reveal the filtering options.
NoTe Naturally, you don’t need to apply every last bit of metadata before
you can start filtering your library. Particularly when I want to share something online quickly, I’ll do a pass of reviewing and rating my imported
photos and then filter that group to view just my two-star picks. But for the
purpose of explaining how the features work, it made sense to cover it all
before talking about how to filter against it.
Filter by metadata
Here’s where that rating and tagging pays off on the iPad. To display
photos that match certain criteria, do the following in Grid view:
Swipe up on the QuickTag bar to reveal the filter options.
Tap the Filters button to reveal more specific filter controls.
Tap the criteria you wish to filter against (3.9). Selecting a star rating, for
example, displays only images matching that rating. You can also filter
by color labels and rejected status, or you can enter text that would
match titles, captions, or keywords.
Tap Done to apply the filters.
To toggle filtering on and off, tap the button to the left of the Done
3.9 Using filters to
view only photos
marked with two or
three stars
CHapter 3: RaTe and Tag PhoTos
Filter using smart groups
Here’s an issue I run into often when importing photos into Lightroom. The
pictures on my memory cards tend to span several events, or even days
if I haven’t been shooting regularly. Lightroom sees the photos as one
big collection, regardless of their contents. If I want to split them out into
groups—and more importantly, apply accurate metadata during import—I
need to bring them over from the camera in several batches.
Photosmith’s Smart Groups feature enables you to view those photos in
separate batches, adjusted on the fly using a simple slider control. Even if
the photos cover one larger event, it’s likely they represent distinct experiences. For example, when I’m on vacation I don’t usually sit around and
shoot in one place. I could be fly-fishing in the morning, sightseeing in
town in the early afternoon, hiking later in the day, and waiting for the
sunset at a scenic overlook in the evening.
When I bring the photos I took during that day into the iPad, I get them all
in one event based on the date they were shot. Even importing in batches
doesn’t help, because I end up with just the iPad’s Last Imported and All
Imported smart collections, not the groupings I prefer (and I can’t assign
metadata anyway).
A better and faster workflow instead works like this:
Import all the photos into the iPad.
In Photosmith, swipe up on the QuickTag bar to make the Smart
Groups slider visible (3.10).
Drag the slider to the left to break the library down into finer events
Or, to group more photos together, drag to the right.
Although this grouping doesn’t change the locations of the files in the
Photos app—they’re not put into new albums or anything like that—it does
give you the oppotunity to select ranges of photos by tapping the button
to the left of the date stamps. Then you can apply ratings and keywords in
batches that better match the grouping of real-life events.
Tip The Smart Groups slider doesn’t have to be tied to capture dates. It
takes its cues from the Sort criteria that are to the left of the slider (and
discussed in more detail two pages ahead).
The iPad for Photographers
3.10 The Smart
Groups slider at its
default position
Smart Groups slider
3.11 Selecting a finer
setting (drag to the
left) breaks the shoot
into groups. In this
case, the different
stages of a birthday
party are split apart:
riding a pony, eating
cupcakes, and then
grooming the horses.
CHapter 3: RaTe and Tag PhoTos
Change the sort order and criteria
Normally, photos appear in Grid view based on their capture date, with the
newest additions at the bottom of the list. To change the order in which
they appear, or to list them by import date, star rating, or color label, do
the following:
Swipe up on the QuickTag bar to reveal the filter options.
To toggle the sort order between descending and ascending, tap the
arrow to the right of the Sort button (3.12).
Tap the Sort button itself to reveal more sorting options.
Tap the button for the sorting criterion you wish to use
Tap Done to go back to the filter options.
Working with Rejected Photos
Marking a photo as Rejected isn’t the same as deleting it. When you reject a
photo, it’s still present in the catalog. And, in fact, you can’t delete it from within
Photosmith: To protect your data, Apple prevents third-party applications from
deleting files that don’t directly belong to them. Although Photosmith could, in
theory, move the rejected photos to a new album in the Photos app to make it
easier to find them, that solution also doesn’t pan out, because deleting a photo
in an album only removes it from that album. Unless you want to poke through
your library in the Photos app to hunt down rejected photos, it’s better to let
them sync to Lightroom and delete them there.
3.12 Swipe up on the QuickTag bar to reveal the filter options.
3.13 Tapping the Sort button reveals more sorting options.
The iPad for Photographers
Group Photos into Collections
I mentioned earlier that people organize photos in different ways—and that
includes how they group photos. For some, having metadata in place is
good enough to locate photos using filters and searches. Other people prefer to store images in albums, folders, or other types of digital shoeboxes.
Photosmith’s collections scratch that itch, giving photos an address within
the app where they can be easily found, versus being scattered throughout the larger library. (Collections also play an important part in syncing
between the iPad and Lightroom, as I’ll discuss shortly.)
Follow these steps to add photos to a collection:
Select the photos in your library that you want to include in a collection.
If you need to create a collection from scratch, tap the New Collection
button and give the collection a name.
To add the selected photos to the collection, take one of two actions:
Drag one of the photos onto the collection’s name in the sidebar;
all selected photos will accompany it.
Tap the collection’s Detail (>) button to view its options in the sidebar drawer, and then tap the Add Selected Photos button (3.14).
Deleting photos from a collection is just as easy: Select the photos you
wish to remove, tap the collection’s Detail (>) button, and tap the Remove
Selected Photos button.
3.14 Adding selected
photos to a collection
using the sidebar
CHapter 3: RaTe and Tag PhoTos
Sync with Photoshop Lightroom
And now we get to the whole point of using an app like Photosmith.
Rating and tagging is helpful, but if you can’t transfer that metadata with
your photos to Lightroom, all the work you put into it ends up being futile.
Photosmith offers two methods to synchronize your images and data.
Photosmith publish service
Lightroom’s Publish Services panel lets you sync photos to your libraries on
Flickr, Facebook, and others. Photosmith takes advantage of this conduit,
enabling two-way synchronization between the iPad and the desktop.
Download the free Photosmith plug-in at, and
install it in Lightroom using the Plug-in Manager.
Any collections you create in Photosmith show up in Lightroom as well, and
the photos and metadata remain in sync when you click the Publish button in
Lightroom (3.15). Or, synchronize a collection from within Photosmith by tapping its Detail (>) button and then tapping the Synchronize Now button (3.16).
Tip The Photosmith publish service includes options such as specifying
image size and format and applying Lightroom metadata presets.
3.15 Photosmith’s collections appear in Lightroom.
The iPad for Photographers
3.16 Synchronize a collection from within Photosmith.
Photosmith Plug-in extras
If you’d prefer to transfer photos one-way from Photosmith to Lightroom,
use the Plug-in Extras functionality:
In Lightroom, choose File > Plug-in Extras > Photosmith, and then
choose one of the following options:
Sync Keywords: Transfers only the keyword list.
Sync Multiple Collections: Transfers one or more collections that
you choose.
Click the Sync Now (for keywords) or Sync Collections Now (for
collections) button to perform the transfer (3.17).
Click Close to exit the dialog.
3.17 Sync just the
collections you choose
from Lightroom.
export to Photosmith
If that isn’t enough options, you can also set up Photosmith as an export
target. In Lightroom, choose File > Export and then specify Photosmith
from the Export To menu. You can specify the image format and size, and
you can choose whether to sync keywords for the entire library (slower) or
just the keywords in use by photos (faster). The export settings can also be
set up as a preset for easier export later.
Tip Want to speed up Lightroom import? Of course you do! Here’s a clever
way to copy your photos faster. When you get to your computer, connect
the iPad via USB (even if you normally synchronize over Wi-Fi), and use
Lightroom’s standard import process to pull the photos from the Photo
Library; transferring files over USB is much faster than over Wi-Fi. Next,
use the Photosmith publish service in Lightroom to sync it with Photosmith
(or initiate a sync from Photosmith). The sync copies only the metadata
between iPad and computer; it doesn’t re-copy the image files.
CHapter 3: RaTe and Tag PhoTos
Sync to a Hard Disk
Although Photosmith was designed to work with Lightroom, you can still
take advantage of its features if you don’t use Adobe’s software. Export
your tagged photos to your computer for later processing in other software. Photosmith offers two paths for doing this.
If you’re on a robust Internet connection, copy images from Photosmith
to Dropbox, which makes them automatically appear on any computer on
which you’re running the online service.
Select the photos you want to transfer.
Tap the Services button at the bottom of the sidebar.
Under Export, tap the Dropbox button to reveal the Export to
Dropbox drawer (3.18).
Choose which photos to send (such as “Send 24 selected photos”).
3.18 Send photos to
your Dropbox account.
The iPad for Photographers
Tap a button under Upload Size if you want to resize the photos.
If you want metadata saved in separate files alongside the image files,
select the Create XMP/Sidecar button. Metadata is also written to the
image files themselves.
Tap the Send Photos button to start copying.
seagate goFlex satellite
Seagate’s GoFlex Satellite is a portable hard drive that also includes the
ability to create its own Wi-Fi network. The Satellite was designed for people who want to carry a lot of media but don’t have a high-capacity device.
You load up the drive with your entire movie collection, connect your iPad
(or iPhone, iPod touch, laptop, or whatever) to the Satellite’s Wi-Fi network, and then stream the content. No syncing, no juggling media files to
make room—simple.
Photosmith takes that concept and pushes it in the opposite direction.
Apple makes it impossible to copy files to a device connected via the USB
portion of the Camera Connection Kit, but that limitation doesn’t extend
to the air surrounding the Satellite. Copy your photos from Photosmith to
the drive, with ratings and keywords intact, and then import them into the
software of your choice.
Press the power button on the Satellite to start it up and activate its
Wi-Fi network.
On the iPad, go to Settings > Wi-Fi and select the name of the
Satellite’s network.
Switch to the Photosmith app.
In the Photosmith catalog, select the photos you want to copy.
Tap the Services button in the sidebar.
Tap the GoFlex button to view options for the GoFlex.
Tip You can also drag the selected photos to the GoFlex button to bring
up the drawer that contains the export options.
At the top of the drawer, choose which photos to send (all viewed,
selected, or dragged).
CHapter 3: RaTe and Tag PhoTos
Specify a folder on the drive where the photos will reside.
To save the metadata in separate related files, select the Create/
Update XMP Sidecar File button.
10. Tap the Backup/Update Photos button to initiate the transfer
Back Up to Seagate GoFlex Satellite
If you own a GoFlex Satellite and Photosmith, you have one of the most valuable
things a photographer shooting on location could ask for: a backup. In Chapter 1,
I discuss options for keeping backups of your valuable image files; being able to
wirelessly dump them to a portable hard disk circumvents all sorts of potential
trouble, such as trying to find good Internet access to upload shots. If you’re
paranoid, buy two Satellites for a redundant backup.
3.19 Copy photos
wirelessly to a GoFlex
Satellite drive.
The iPad for Photographers
Rate and Tag Using Pixelsync
Every application starts with assumptions. Photosmith assumes you’re
importing photos directly from the camera and preparing them for the
eventual transfer to the computer. Code Foundry’s Pixelsync assumes your
images are aleady on the computer and that you want to take them along
on your iPad to sort and rate when you’re out and about—think of it as the
reviewing environment you work on during the bus ride to work. In fact, it
entirely ignores the photos stored in the iPad’s Photo Library. When you’re
finished reviewing, the expectation is that you’ll bring your metadata back
to the computer. If you store photos in Aperture 3 or iPhoto ’11 (or later
versions of each), Pixelsync is an elegant way to work on them without
being tied to your Mac.
Tip Pixelsync works with both Aperture and iPhoto, not just one or the
other. In the Pixelsync Helper on your Mac, go to the application’s preferences and add both library files to the Libraries list. Then, in Pixelsync on
the iPad, choose whichever library you want in the Select Library dialog.
Import Photos
In addition to the Pixelsync app for the iPad, you need a small utility called
Pixelsync Helper to direct communications between the iPad and the Mac.
Download it for free at Once it’s installed and set
up (you’ll need to specify where your Aperture or iPhoto library resides),
do the following to import photos from the computer into the iPad:
Tap the Photos button to bring up the Hosts popover
Tap the Import button (the down-facing arrow).
3.20 Getting started
in Pixelsync
CHapter 3: RaTe and Tag PhoTos
3.21 Choose an event
or album to copy.
In the Select Library dialog, tap the name of your Aperture or iPhoto
Tap the Browse Library button.
Locate a project, event, or album to import, and tap its checkmark icon
to add it to the import queue (3.21). To preview a picture, tap the name
of the library item to view its files, and then tap a filename.
Tap the Home button.
Tap the Import button to start transferring the photos.
Tip Did nothing transfer from Aperture? Pixelsync doesn’t generate image
previews from raw files, so you need to make sure Aperture is doing that
job first. In Aperture’s preferences, click the Previews category and make
sure “New projects automatically generate previews” is selected.
Review and Rate Photos
With photos loaded into Pixelsync, you can take your iPad anywhere and
start reviewing them. To open one of the sets you imported and start
assigning star ratings, do the following:
Tap the Photos button to view the navigator, displaying libraries stored
on the iPad.
Open a library in Pixelsync’s Light Table by tapping its name
Tap a thumbnail to open the photo in the detail view.
Tap one of the rating dots to assign a rating, or tap the X to reject the
photo (3.23).
The iPad for Photographers
3.22 Choose a library
from the navigator
3.23 Tap a star rating
in the detail view to
assign it to the current
photo. Aperture
libraries also include
a control to assign
color labels in this
Rating control
CHapter 3: RaTe and Tag PhoTos
Tip After rating a photo, swipe left and right to scan through your photos
and assign ratings, or use the thumbnail strip to jump to other images in
the library. However, to speed up reviewing, go to Pixelsync’s preferences
(tap the gear button in the navigator popover) and select the “Scroll to
next image after rating” option. You can also opt to display a temporary
large star overlay to help you verify you tapped the rating you wanted;
select the “Visual feedback after rating” option.
assign ratings in the Light Table
When you’re really in a hurry, you can assign ratings directly in the Light
Table. Instead of tapping a photo thumbnail, tap and hold anywhere for a
second until the rating subpanel appears. You can then tap thumbnails to
select them (which adds a soft outer glow to each) and assign a star rating
that applies to them (3.24). Tap and hold to dismiss the subpanel.
3.24 Rate photos in
the Light Table.
Declutter the Pixelsync Detail View
Having controls within easy reach is laudable, but sometimes you may wonder if
a photo is lurking somewhere behind them. Fortunately, Pixelsync offers several
ways to declutter the detail view, while keeping the tools easily accessible.
• Tap once on the image to hide the top toolbar and the thumbnail strip.
• Tap and hold anywhere on the top panel to hide the rating subpanel.
• Tap and hold the bottom panel containing the thumbnail strip to hide the
filtering subpanel.
• To hide the keyword list, tap the leftmost button on the filtering subpanel.
The iPad for Photographers
Assign Keywords
A list of available keywords appears along the left side of the screen,
pulled from iPhoto or Aperture. Assigned tags show up in blue to the right
of the keywords panel. To locate and add a tag to a photo, do one of the
Scroll through the list and tap a term.
Better yet, start typing in the Search field to locate a term
have hundreds of keywords, this is the best approach.
Aperture libraries can include root keywords as well as child terms.
When children are available, tap the expansion triangle to the right of
the tag name to reveal them (3.26).
If a term isn’t listed, type it in the Search field and tap the plus (+) button to create a new keyword. You’re then asked to save the keyword,
but to add it to the photo you need to locate it again and tap it.
To add a new child keyword, tap and hold a root keyword in the list. In
the dialog that appears, type the name of your term and then tap the
Save button.
If you
If you need to remove a keyword you added, tap the X button to the right
of the tag name.
3.25 Type to search
for existing keywords.
3.26 A child keyword
in an Aperture library
CHapter 3: RaTe and Tag PhoTos
View and Edit Metadata
For any photo I plan to share online, I like to include a caption and definitely a title (so the first thing someone sees isn’t “IMG_5744”). Pixelsync
lets you edit these two values and, in the process, peek at the EXIF data
about the current photo:
Tap the Info (i) button on the top panel to bring up a popover containing all the nitty-gritty shot data (3.27).
Tap one of the Edit buttons to the right of the Version Name or Caption
fields to edit them. (Tapping either button brings up the same dialog
containing both fields.)
Tap outside the popover to dismiss it.
3.27 Metadata for
the current photo
The iPad for Photographers
Filter Photos
When you want to step back and see which photos have risen to the top
of the list, use the Filter Photos feature to show only those images with the
ratings you choose.
In either the Light Table or the detail view, tap the Filter Photos button
in the bottom panel. A list of filter options appears.
Tap a rating level to define which photos remain visible (3.28). Tapping
“Two stars or better,” for example, hides everything but those images
ranked two, three, four, or five stars.
You can also choose to display only unrated photos, only rejected
photos, or Aperture images matching one of the available color labels.
To go back to viewing everything, tap the Show All button.
Tip Combine the filter and sorting tools to display the photos based on
star rating. Tap the Rating button on the bottom panel, and then tap Asc
(ascending) or Desc (descending) to list photos from highest to lowest or
vice versa.
3.28 Select a
filtering option.
CHapter 3: RaTe and Tag PhoTos
Sync with Aperture or iPhoto
Back at your computer, it’s time to sync the ratings, keywords, and other
metadata you’ve assigned. As long as your iPad and Mac are on the same
Wi-Fi network and Pixelsync Helper is running, Pixelsync handles all of the
necessary communication. All you have to do is tap the blue Sync button,
which appears in the top panel (3.29) as well as in the navigator popover.
3.29 Before (top) and
during (bottom) a sync
Connection status
The iPad for Photographers
Last sync
Sync button
Rate and Tag Using Editing Apps
I’ve spent this chapter focused on Photosmith and Pixelsync because
they both work with many photos at once. The way I prefer to work, I first
review and rate my photos, find the ones that are worth spending more
time on, and then bring them into an editing program (on the iPad or on
the computer) later. Sometimes it feels as if I can fire off 200 shots just
watching dust migrate, so sorting images one at a time just isn’t practical.
However, if you’re under the gun to process a few shots and share them
with an editor or with friends online, running them through Photosmith is
overkill. That’s why some editing apps now offer the ability to edit various
metadata and save that information to the exported image file.
By way of example, I’m using the image editor Photogene, which I cover in
more detail in the next chapter. Although the app contains some metadata
support, the pro version adds star ratings and the ability to create IPTC sets
that you can apply, which allows you to avoid the drudgery of entering the
same information repeatedly.
Rate Photos
Photogene (in its pro mode) offers two methods for assigning star ratings:
While you’re viewing photos in their albums, tap and hold a photo
until an options bar appears, and then choose View Metadata.
Open and edit a photo in Photogene’s editing environment, and tap
the Metadata button.
Tap the General heading in the popover that appears, and then select a
star rating (3.30).
3.30 Assign a star
rating in Photogene.
CHapter 3: RaTe and Tag PhoTos
3.31 Add descriptive
information to the
photo’s metadata.
Add IPTC Information
Much of the IPTC information that gets embedded with the photo is specific
to the shot. In the Metadata popover, tap to edit any of the text fields (3.31).
However, the core data about you presumably stays the same, in which
case you’ll want to create IPTC defaults and sets that you can easily copy
and paste to new photos.
Create and use IPTC sets
The advantage to creating sets is that you might want most of the same
information (such as contact info) but need something about it tailored
for specific uses. In my case, I shoot with two cameras: a Nikon D90 and a
Canon PowerShot G12. So, I’ve set up separate IPTC sets that are nearly
identical except for the camera-specific information.
In the Metadata popover, tap the IPTC heading and then tap the IPTC
Sets button.
Tap the plus (+) button to create a new set. Tap the name of the new
set to reveal its information fields.
The iPad for Photographers
3.32 Make sure
Preserve IPTC is
turned on.
Enter the relevant information in the IPTC fields. When you’re done,
tap the IPTC Sets button in the popover’s menu bar.
The next time you need to quickly add metadata from one of your sets to
a photo, tap the Metadata button, tap IPTC Sets, and then tap the Use Set
button belonging to the set you created.
Tip Using the pro version of Photogene, you can also apply IPTC sets to
several photos in a batch. After you fill in the values in one photo, scroll to
the bottom of the Metadata window and tap the Copy IPTC button. Then,
when viewing your library, tap the Select\Collage button. Tap to choose
one or more images, and lastly, tap the Paste IPTC button.
Export IPTC Information
When you’re ready to export the photo, make sure the IPTC data goes
along with it. Tap the Export button and set the Preserve IPTC switch to
On (3.32). The information is written into the file that gets exported.
CHapter 3: RaTe and Tag PhoTos
CHapter 4
Edit Photos
on the iPad
So far, I’ve focused mostly on moving photos around—
importing them into the iPad, organizing them, and getting them
onto your computer. And if the iPad were nothing more than a
glorified picture frame, that would be fine. But, of course, it’s a
powerful image editor, too. A rich array of apps can manipulate
pixels in all sorts of ways: apply premade filters to simulate other
cameras or eras, correct color and tone, retouch to fix blemishes
and other oddities, and much more. Image editing tools on the
iPad are especially helpful when you want to share photos soon
after importing them, before you’re back at a desktop computer.
In this chapter, I focus on common photo adjustments using a handful of representative apps. In practice, I use Snapseed and Photogene interchangeably depending on how I want an image to appear,
so I walk through making edits in those apps. If you already have
a favorite alternative, you’ll find similar controls for accomplishing
the tasks I mention. I also include a few specialized apps, such as
piRAWnha for editing raw files directly and TouchRetouch HD for
removing blemishes or objects from a scene.
Make Photo Adjustments
In an ideal world, every photo I capture would be perfect in-camera, but
that’s just not the case. (It’s a worthy goal to strive for, however—the less
work you have to do to an image later, the better.) Most pictures can
benefit from a little tinkering in a few areas. Here are the typical areas I
focus on when I want to edit an image. Some of these won’t apply in all
cases, or may not be needed at all, depending on the image.
Recompose. I’m pulling a few concepts under this heading because
they each change the boundary of a photo. Cropping is often done to
exclude distracting elements at the edges of the frame or to “zoom
in” on a subject, but it’s also often used to move a subject away from
the center of the image for better visual interest.
Adjust tone. Several tools affect a photo’s tone: exposure, brightness, contrast, levels, curves, and more, depending on the software.
Adjusting tone can usually restore detail to underexposed areas or add
definition to a photo that’s a bit washed out.
Adjust color. Color usually gets edited when adjusting tone, but colorspecific adjustments exist that can help photos. Changing the white
balance (color temperature) can remove color casts or bring warmth to
cloudy scenes, while saturation controls boost or reduce overall color
intensity. Some apps also offer a vibrance control, which affects saturation but preserves skin tones (no sense kicking up the saturation if the
people in your photo end up looking like Oompa Loompas).
Make specific fixes. Some photos need isolated adjustments: fixing
red-eye, spot-retouching, sharpening, and the like.
Apply creative presets. Most adjustment apps include preset filters
that approximate the looks of other cameras, add borders or “grunge”
effects, or evoke aged film stock.
Note Keep in mind that when you edit a raw photo on the iPad, you’re
making adjustments to a JPEG preview (or, if you originally shot Raw+JPEG
format, the higher-quality JPEG version of the photo). That means you
won’t get the full advantage of manipulating the raw file, which usually
yields better recovery in underexposed or overexposed areas. The exception is if you use an app such as piRAWnha that edits the raw file directly
(explained later in this chapter).
The iPad for Photographers
Edit Photos in the Photos App
I highlight working in third-party apps because they offer more features,
but as of iOS 5, Apple’s built-in Photos app also includes a few basic editing tools. Tap a photo to view it full-screen, and then tap the Edit button
to reveal the following controls:
Crop. Tap the Crop button to enter the Crop and Straighten editor,
and then do the following:
Drag the corner handles or the edges of the overlay to redefine
the visible area of the photo.
Drag the middle of the photo to reposition the image within the
crop area.
If you want to crop the image to a specific aspect ratio, tap the
Constrain button and choose an option in the popover that
appears. Further adjustments to the overlay don’t adhere to that
constraint, though; you need to crop and then constrain again if
you want to tweak the border.
To straighten the image, press two fingers against the screen and
rotate them left or right, like you’re turning a radio dial. (You may
need to zoom in first, to provide enough padding for the image
to fully fill the crop area.) A faint yellow grid appears to help you
align objects in the scene (4.1).
4.1 Grid lines help
straighten the photo.
Chapter 4: Edit Photos on the iPad
Rotate. If a photo was imported sideways or upside down, tap the
Rotate button to turn the entire image 90 degrees counterclockwise.
Enhance. Tap the Enhance button to let the Photos app automatically
apply tone and color correction.
Red-Eye. If people or animals have an evil glare about them, tap the
Red-Eye button and then tap the affected red eyes to correct them. It’s
helpful to first zoom in (pinch outward), but the app does a good job
of identifying eyes even if you don’t tap right in the middle.
When you’re finished making edits, tap the Save button. Or, tap Cancel to
discard the changes. Even after you’ve saved the picture, you can always
resurrect the original version by tapping the Revert to Original button,
followed by the Save button (the latter because you need to save the fact
that you removed the edits).
Edit Photos in Snapseed
You wouldn’t think a recently developed photo editor would offer much to
differentiate itself from others in this field, but Snapseed does it with an
innovative interface that makes me often turn to it just because it’s great
to use. Conceived for touchscreen interaction, Snapseed doesn’t try to be
Photoshop in its approach to editing photos. Instead, it uses immediately
familiar swiping gestures to choose which edits to apply and to control their
To get started in Snapseed, launch the app, tap the Open Image button,
and choose the photo you want to edit from your Photo Library. Once the
image is loaded, tap one of the app’s correction modules (4.2).
4.2 Snapseed’s
modules lead to
controls specific to
their adjustments.
The iPad for Photographers
tip In any of the Snapseed modules, tap the Back button to return to the
app’s main screen without applying any adjustments. Or, while you’re working, tap the Preview button to see how the edits will look once applied; in
some tools, a Compare button appears instead, so you can toggle quickly
back to the version that existed before your edits.
To change the visible area of the photo, tap the Crop module and then do
the following:
Drag the corner handles or edges of the selection rectangle to define
the image borders.
Tap the Ratio button to constrain alterations to a specific aspect ratio
Unlike the Photos app, the Ratio control locks the shape, enabling
you to refine the borders at that aspect ratio.
To switch between landscape and portrait orientation for the selection
area, tap the Rotate button.
Tap the Apply button to accept the cropped area and return to the
app’s main screen.
4.3 The crop area
is constrained to the
16:9 ratio.
Chapter 4: Edit Photos on the iPad
If you need to straighten or rotate the image, tap the Straighten & Rotate
module and do this:
Tap the Rotate Left or Rotate Right button to turn the image in
90-degree increments.
Drag left or right on the image to adjust the rotation angle, up to
10 degrees in either direction. (Dragging up or down also works.)
Positioning your finger farther away from the center of the image
affords more granular adjustments.
Tap the Apply button.
Adjust Tone and Color
The Crop and Straighten & Rotate modules use controls similar to other
apps for their edits, but most of the other tools work in a central “cross”
configuration: Drag up and down to select the type of adjustment you
want to make, and then drag left or right to increase or decrease the
amount of the adjustment. For example:
Tap the Tune Image module.
Drag vertically to display the available adjustments and select one,
such as Saturation (4.4).
Drag horizontally to increase or decrease the amount, indicated at the
bottom of the screen (4.5).
Repeat steps 2 and 3 to choose other adjustments.
Tap Apply to save the edits.
4.4 Choose an adjustment type.
The iPad for Photographers
4.5 Drag left or right to specify the amount.
Adjust Specific Areas
Most of Snapseed’s tools apply edits to the entire image. When you need
to punch up just one area, use the Selective Adjust module. Although it
doesn’t offer the ability to make precise selections, such as highlighting
a certain object in an image, the tool lets you define a feathered, circular
area to apply brightness, contrast, and saturation.
With an image loaded, tap the Selective Adjust module to open it.
Tap the Add button to create an edit point.
Tap a location on your image to specify the center of the adjustment.
Pinch inward or outward from the point to define the affected area,
which shows up as a temporary red mask while you pinch.
Chapter 4: Edit Photos on the iPad
Drag up or down to choose an adjustment, which is represented on
the point by its first letter: B for brightness, C for contrast, and S for
Drag left or right to set the intensity of the adjustment; in addition to
the display at the bottom of the screen, the edit point also displays a
green border to represent a positive value, or a red border for a negative value, according to the amount (4.6).
Repeat as needed to get the look you want, then tap Apply.
tip To make sure you’re getting an accurate view of the adjustments you
make, turn up the iPad’s Brightness setting. Go to the Settings app, tap
Brightness & Wallpaper, and drag the Brightness slider all the way to the
right. Or, access the control without taking a trip to the Settings app:
Double-click the Home button, or swipe up the screen with three fingers,
to reveal the list of recent apps. Flick left to right, which displays the Brightness slider as well as music playback controls and the Mute or Screen Lock
button. Drag the slider to the right to increase brightness, and then press
the Home button to hide the controls.
4.6 To highlight the
barn in this photo,
I’ve increased brightness and saturation
around the edit point
at left (with the blue
line indicating the
affected area). The
edit point at right
reduces brightness
and increases contrast.
The iPad for Photographers
Apply Creative Presets
Half of Snapseed’s modules are dedicated to applying creative effects,
which follow the same approach as the correction tools. Choose Black &
White, Vintage Films, Drama, Grunge, Center Focus, or Tilt & Shift to take
a photo in a new direction from the original (the image above was styled
with the Drama 2 preset).
tip Most of the presets include a fixed number of styles, but they offer
much more variation than you might expect. In Vintage Films, for instance,
tap the Texture button and then tap the Properties button to randomly
apply texture patterns. Or, in the Grunge module, just drag from left to
right to view hundreds of variations in color.
Chapter 4: Edit Photos on the iPad
Edit Photos in Photogene
You may already be adept at pushing pixels in Photoshop or Photoshop
Elements, in which case you’ll find Mobile Pond’s Photogene for iPad to
be a familiar editing environment. It includes traditional tools such as levels
and curves, lets you work with layers and masks, and boasts full-resolution
image editing. (Some advanced features require a $7.99 in-app Go-PRO
purchase, which is worth it if you’re serious about editing photos on the
iPad. The regular version, at $2.99, is still quite capable for most editing.)
To get started, browse your Photo Library and tap an image to open it in
Photogene’s editor. As you work, you can tap the Undo button to step
back among your edits; or, at any point, tap the Original button to discard
all changes.
To recompose a photo using the Crop tool, do the following:
Tap the Crop tool to reveal the selection area and a side pane where
you can constrain the aspect ratio.
Drag the selection handles to define the visible area. You can reposition the selection over the image by dragging the area from the
middle using one finger.
Tap the Crop button in the pane to apply the crop.
To dismiss the Crop interface, tap the Crop button in the toolbar.
For images that are a bit (or a lot) askew, follow these steps:
Tap the Rotate button in the toolbar.
In the Rotate panel that appears, drag the Angle slider to straighten
the image (4.7). Photogene applies the change as soon as you let go of
the slider.
You can also rotate the image by quarter turns or flip the image horizontally or vertically.
tip To reset any adjustment slider’s value to its default, double-tap it.
The iPad for Photographers
4.7 Some photos
require more straightening than others.
Adjust Tone and Color
Photogene includes several tools for adjusting brightness, contrast, and
color, each of which have their own strengths. The Brightness controls, for
example, can brighten or darken an image or pull detail out of shadows
and highlights. Or, you may prefer to adjust white and black levels using
the histogram, or adjust curves to manipulate separate red, green, or blue
tip While you’re editing, tap and hold the A/B icon to the right of the side
panel’s title to view the uncorrected version of the image.
Adjust brightness and contrast
I often shoot with exposure compensation set to –1 (or maybe a third of a
stop) because it results in slightly more saturated colors and, more importantly, reduces the chance that portions of my image will end up blownout to all white. Camera sensors, especially when shooting in raw mode,
Chapter 4: Edit Photos on the iPad
capture a lot of detail in shadows that might not immediately be apparent.
Pixels that are blown out, however, rarely offer any usable image data.
The easiest method is to manipulate the sliders in the Brightness section of
the Adjustments panel:
Tap the Adjustments button to reveal the panel.
Drag the Exposure slider to increase or decrease the photo’s overall
brightness (4.8).
Drag the Contrast slider to enhance the distinction between light and
dark pixels.
To illuminate pockets of darkness, drag the Lighten Shadows slider;
this control also affects the full image, but not to the extreme that the
Exposure slider does. Similarly, use the Darken Highlights slider to try
to recover overly bright areas.
tip I almost always tap the Auto button to see what the software suggests
for a fix. And just as often, I follow that by either tweaking the sliders or
tapping Reset and starting over. But viewing the automatic settings helps
me determine which areas of the image need work.
4.8 Adjusting
exposure in Photogene’s Brightness
The iPad for Photographers
If you’re more familiar with adjusting levels in desktop software, scroll
down to the Histogram section, where you can drag the left vertical bar
to set the clipping point of black pixels (making the image darker) or drag
the right bar to specify highlight clipping (making the image brighter). The
triangle in the middle darkens or brightens the image’s midtones.
tip Tap once on the image to hide all of Photogene’s panels and controls
for an uncluttered view of the photo. Tap again to make the controls visible.
Some people prefer to adjust exposure using curves, a feature available in
the pro version of Photogene.
In the Adjustments panel, tap the Show button in the Curves section.
The interface appears over the top of the image (4.9).
To increase brightness, tap the control point in the middle of the grid
and drag it up and to the left. Dragging it toward the lower-right area
of the grid decreases the exposure.
Tap anywhere on the curve to add a new control point, which you can
use to further adjust the tones. For example, adding another point
toward the lower area of the curve lets me apply contrast (by compressing the dark values) while retaining the increase in exposure I
applied in the previous step (4.10).
Tap the Hide button in the Adjustments panel when you’re done.
4.9 The Curves interface
4.10 Adding a control point
Chapter 4: Edit Photos on the iPad
Adjust color cast
Does your photo look a little green? The adjustment tools can compensate
for color shifts as well as exposure values:
In the Adjustments panel, drag the RGB sliders to increase or decrease
the red, green, or blue offsets.
If you’ve purchased the pro version of Photogene, bring up the Curves
editor and then tap one of the colored tabs to the left to edit just
those channels.
tip Tap and hold anywhere on the image to bring up a Copy Edits com-
mand, which notes the adjustments you’ve made. Then, in another image,
tap and hold to view a bar of options, and choose Paste Edits to apply
them to that image.
Adjust white balance
If your camera misinterpreted the existing light as being too cool or warm,
you can specify a new value for white balance (also called color temperature). Living in Seattle, I often do this to add warmth to photos taken under
gray skies, but cameras can be thrown off by fluorescent or incandescent
light bulbs as well.
Tap the Adjustments button, and scroll down to the Colors section of
the Adjustments panel.
Drag the Color Temperature slider left (cooler) or right (warmer).
In Photogene’s pro version, you can set the white balance by identifying an
area that is white, black, or neutral:
Scroll down to the Colors section of the Adjustments panel and tap
the eyedropper icon.
Tap and hold on your image to bring up a zoomed-in loupe, and then
drag to locate a neutral color (4.11).
Lift your finger; Photogene picks a Color Temperature value based on
your selection.
Adjust saturation and vibrance
To boost or pull back the color in your image, drag the Saturation slider.
However, to retain skin tone, the Vibrance slider might give better results.
The iPad for Photographers
4.11 Use the Color
Temperature loupe
in the pro version
of Photogene to set
white balance.
Apply Selective Edits
You won’t always want to apply adjustments to the entire image. Photogene’s Retouches category of tools includes a healing brush but also
masking overlays that let you paint areas to be adjusted. For example, use
the Dodge tool to brighten an area, or enhance the depth of a photo by
applying the Blur tool to its background. The pro version of the software
lets you adjust exposure, saturation, contrast, color temperature, and RGB
offset values in areas you paint.
Tap the Retouches button in the toolbar.
Tap one of the Masking Overlays tools.
Set the diameter of the brush by tapping the Brush button and specifying Radius and Feather amounts using the sliders provided. Tap the
button again to dismiss the popover.
Chapter 4: Edit Photos on the iPad
Begin painting the edit onto the photo by dragging (4.12). To erase an
area you’ve painted, tap the Erase button; or, easier, tap once on the
photo to switch between the Paint and Erase tools.
Normally, you see the effect that painting produces as you work.
However, you can also tap the Contour button to view the edit area in
translucent red.
Tap the Done button at the bottom of the panel when you’re finished.
4.12 Apply edits to
selective areas. In this
case I’ve inverted the
Grayscale tool so I
can erase the balloon
and reveal its color.
Apply Creative Presets
Photogene offers dozens of presets: Tap the Presets button and choose
among several categories (Colors, B&W, Vintage, Frames, and Fun). Then,
tap a preset to apply it.
What’s more interesting is the ability to save your own presets. For example, if you find yourself applying the same amount of vibrance and sharpening to your images, create a preset. After setting those options on a
photo, tap the Presets button, tap My Presets, and then tap Save.
The iPad for Photographers
Edit Raw Files Directly
For most of this book, I’ve referred to this section as an interesting asterisk.
In general, the iPad ignores raw files: You can import them, but editing and
sharing occurs on their JPEG previews or on the JPEGs that were recorded
if you shot Raw+JPEG originals. iOS accepts raw files, but it doesn’t support
the myriad translators that are required to work with them directly. (I’m sure
that’s a deliberate design decision on Apple’s part. Keeping up with camera
manufacturers’ proprietary raw formats happens slowly on the Mac because
the decoders operate at the system level.)
However, working with raw files is really just a computational hurdle. If Apple
won’t provide the foundation for manipulating raw files, other developers
are happy to step in. Two apps that do are piRAWnha and PhotoRaw.
Chapter 4: Edit Photos on the iPad
These apps can act as preprocessors for a photo—similar to the way the
Adobe Camera Raw plug-in works in Photoshop. If you’re working with
a dark image, for example, running it through piRAWnha first may tease
out detail that another editor might overlook. Then, after exporting the
file (as a JPEG), use Snapseed or Photogene to perform additional edits.
Or, if your images need only minor tonal or color saturation adjustments,
they may benefit just from a pass through a raw editor without any further
To be up front, editing raw files on the iPad isn’t yet ideal. Expect editing
to take a while, even just to make what would be a trivial adjustment on a
computer—although the iPad’s processor has lots of oomph, the amount
of working memory (256 MB on the original iPad, 512 MB on the iPad 2)
limits how much data can be processed at a time. I anticipate this capability will improve as software and hardware advances.
I prefer the interface of piRAWnha, so that’s what I’ll use as the example:
The iPad for Photographers
When you open the app, tap an album from your Photo Library.
Tap the image you want to edit.
Use the sliders at right for each control to edit the photo’s attributes.
As you drag, a preview appears at the lower-right corner (4.13).
tip Many sliders don’t offer much horizontal space to make fine adjust-
ments, but there is a way to choose specific increments: Tap and hold a
control to display a popover.
Some adjustments are tailored to the raw format the software is
editing. For example, tapping the White Balance button offers a
Camera-Specific option that reveals the settings on my Nikon D90
(written as the specification dictates, such as “Incandescent” and
Once you’ve specified all of your adjustments, they aren’t immediately
applied. Instead, tap the Add to Queue button.
Tap the Load Photo button to work on another photo. Or, tap the
Export Queue button to process the images waiting in the queue.
When finished, the edited JPEG files appear in your Camera Roll.
4.13 piRAWnha’s
editing interface
Chapter 4: Edit Photos on the iPad
Retouch Photos
Photo retouching is an area where desktop titans like Photoshop still rule
from on high, but some adjustments are possible on the iPad. Although
you’re not likely to touch up a portfolio of fashion shots using the iPad
alone, it’s possible you’ll want to fix minor blemishes in photos that you
plan to share directly from the iPad.
Photogene’s Heal tool fixes errors by cloning related areas of a photo. I
recommend zooming the image to make it easier to control how the edits
are applied.
Tap the Retouches button to view the Retouches panel.
Tap the Heal button.
Double-tap the area you’d like to fix (4.14). Photogene adds a pair of
retouch circles: One covers the area you selected (and is marked with
a gray X), and the other copies a nearby area.
Drag the blue anchor points to resize the retouch circle.
Drag the center of either retouch circle to reposition it
Tap the Done button in the Retouches panel to finish.
4.14 Identify an area to fix (the scratch above her eye).
The iPad for Photographers
4.15 Clone pixels from a nearby area to retouch the spot.
TouchRetouch HD
Photogene (and other approaches) samples nearby pixels to apply fixes.
Another way to tackle the problem is to make software fill in pixels computationally based on the surrounding area. In Photoshop CS5 and later,
Adobe calls this “content-aware” healing. In the app TouchRetouch HD,
AdvaSoft uses this type of technology to achieve similar results. It can be
especially useful when you need to remove unwanted people or objects
from a scene.
In the app, open a photo you’d like to edit, and then do the following:
In the dialog that first appears, pick the resolution at which you’d like
to work. Choosing a higher resolution takes longer to process, so if you
don’t need the original’s full dimensions, select one of the smaller ones.
Chapter 4: Edit Photos on the iPad
Double-tap the image to zoom to 100%, which makes it easier to
define the area to be edited.
Mark an object to remove by selecting the Lasso tool and drawing
around it or by selecting the Brush tool and painting over it (4.16). Use
the Eraser tool to refine the edges. You don’t need to be too specific
about defining the area accurately.
When you’ve identified the area, tap the Go button. The object you
selected disappears.
If the end result isn’t quite to your liking, try painting over the area
again. Or, use the Clone tool to pinpoint a similar source area and then
paint over the area you’re trying to fix.
Tap the Save button to save a copy of the photo to your Photo Library,
to attach it to an outgoing email, or to share it via Facebook, Flickr,
Picasa, or Twitter.
4.16 As you paint
an area to be fixed
(in this case, a toy
in the background),
a preview window
appears so you can
see the area (which
is often obscured by
your finger).
The iPad for Photographers
CHapter 5
Edit Video
on the iPad
I admit, I look at the title of this chapter and am a little
amazed at its implications. Editing video was once something
you could do only with a massively expensive infrastructure of
equipment. Even as computing power increased (and the cost of
software decreased), one still expected to need a high-powered
desktop or laptop computer to edit video.
And now here we are, editing high-definition video in real time on
a tablet computer. Oh, and using an app that costs $4.99. Granted,
the iPad is no slouch in the processor department (though it still
offers a comparatively small amount of RAM, which is why iMovie
doesn’t run on the first-generation iPad), and iMovie for iOS
doesn’t give you all the features of a desktop video editor.
But still: editing HD video on a tablet. The future is fun.
Work with Projects
in iMovie for iOS
Every movie you edit is its own iMovie project, accessible from the neon-lit
opening screen. To get you started quickly, however, iMovie jumps right
into the editing environment after you create a new project. You can return
later to grace the project with a name.
At the main screen, tap the New Project button. iMovie takes you to the
editing environment (5.1), which works in either the horizontal or portrait
Note Although I’m focusing on iMovie in this chapter, it’s not the only
video editor available for the iPad. Shortly before this book went to press,
Avid released Avid Studio for iPad, which looks to be a serious contender.
It’s also worth checking out ReelDirector, a video editor that predates
iMovie. And I’m sure more video editing apps are on the way.
5.1 The iPad editing
environment in landscape orientation.
Media Library
When viewed in
portrait orientation,
the Media Library is
hidden and accessible
as a popover window.
The iPad for Photographers
Project Settings window
To give your project a name, do the following:
Make any edit, such as adding a clip to the timeline.
Tap the My Projects button to return to the opening screen.
Tap the title in the marquee to make it editable.
Enter a new title, and then tap the Done button on the virtual
tip If you create a project and then immediately return to the opening
screen, iMovie discards the new project because it has no content.
Choose a Theme
Every movie must have a theme, even if you don’t plan to use theme elements. New projects adopt the Modern theme, but you won’t see evidence
of it unless you specifically choose a themed transition or add a title to a
clip. You can change a project’s theme at any time. Any themed assets in
the movie automatically switch to the chosen theme (which also means you
can’t mix and match elements from different themes in the same project).
Tap the Project Settings button.
In the Project Settings window, drag the theme thumbnails left or right
to highlight the theme you want to use.
Tap outside the window to apply the setting.
Apply a Fade In or Fade Out to the Movie
Instead of starting with the first frame of the first clip, you may want to
begin your movie with a fade in from black. The Project Settings window
includes a single-switch option for adding fades to the start and end of a
Tap the Project Settings button to open the Project Settings window.
Tap the switch next to “Fade in from black” or “Fade out to black” (or
both) to change the setting from Off to On.
Tap outside the window to apply the setting.
Chapter 5: Edit Video on the iPad
Open an Existing Project
iMovie keeps track of your saved projects on the opening screen, like
you’re choosing a video at a stylish multiplex.
Tap the My Projects button to return to the main screen.
Swipe the project icons until the one you want is highlighted.
Tap the icon to open the project.
Add Video to a Project
iMovie for iOS is picky about the video it uses. Basically, if the video came
from an iPad, iPhone, or iPod touch, you’re golden. (I’ve also had success
with footage from my old Flip MinoHD.) If you want to bring in video you’ve
shot using other cameras, you need to first convert it on your computer.
That said, there are several ways to get video into iMovie.
Capture Video Directly
Using the cameras on the iPad, you can record video directly into your
iMovie timeline. With a project open, do the following:
Tap the Camera button.
Set the mode switch to video.
Tap the Record button to begin capturing the footage.
Tap the Record button again to stop recording.
Press the Play button that appears to review your footage. If the clip is
acceptable, tap the Use button. The clip appears in the Video browser
and at the point in your movie where the playhead was positioned.
If the clip isn’t what you want, tap the Retake button and shoot again.
I’ve expressed my reservations elsewhere about the quality of the cameras
in the iPad 2, but it’s important to detail this approach because iMovie
treats video differently depending on whether it was captured or imported.
Namely: Video shot by the device stays with the project in which it was
The iPad for Photographers
captured. It isn’t automatically added to the Camera Roll, which is where
the iOS stores photos and videos that were shot by the Camera app or
imported using the iPad Camera Connection Kit. If you create a new project, that clip you shot won’t appear at all.
However, there is a workaround: Move a clip to the Camera Roll by tapping the Edit button and then tapping the Move button.
Import from an iPhone or iPod touch
I’m far more likely to shoot video using my iPhone than my iPad, but even
though iMovie also runs on the phone, I prefer to edit on the iPad’s larger
screen. Following the same procedure for importing photos described in
Chapter 1, import media into the iPad’s Camera Roll from an iPhone or
iPod touch using the iPad Camera Connection Kit.
Add Clips from the Media Library
With a library of clips to work from, it’s easy to add clips to your project’s
Scroll to the position in the timeline where you want the clip to appear.
(This doesn’t apply if no clips are in the timeline yet.)
If you’re holding the iPad in its portrait orientation, tap the Media
Library button. (If editing on the iPad in landscape orientation, the
Media Library appears in the upper-left corner.)
To preview the contents of a clip, drag your finger across it.
Tap once on a clip to reveal its selection handles.
Drag the handles to define the portion of the clip you want to add (5.2).
Tap the clip again to add it to the timeline.
5.2 Select a portion of a video clip to add.
Chapter 5: Edit Video on the iPad
Edit Video
Editing video in iMovie requires just a few core concepts, which you’ll
quickly adopt as second nature.
Play and Skim Video
The timeline in iMovie for iOS runs left to right across the bottom of the
screen. Tap the Play button to preview the movie in real time in the Viewer.
To skim the timeline, swipe left or right. The playhead remains in the
middle of the screen, so instead of positioning the playhead on the video,
you’re actually moving the video clips under the playhead (5.3).
tip When the movie expands beyond the edges of the screen, tap and
hold the upper-left edge of the timeline to quickly jump to the beginning
of the movie. Hold the upper-right edge to jump to the end.
5.3 The Viewer shows
the current frame
under the playhead.
The iPad for Photographers
Edit Clips
After adding footage to the timeline, you’ll find yourself moving, trimming,
splitting, and deleting clips to cut out unwanted sections and create good
Move a clip on the timeline
Tap and hold the clip you want to move. It lifts out of the timeline as
a small thumbnail (5.4).
Without lifting your finger from the screen, drag the clip to a new
location in the timeline.
5.4 Move a clip
in the timeline.
Trim a clip
Tap a clip once to reveal its selection handles.
Drag a handle to shorten or lengthen a clip (5.5).
5.5 Trim a clip.
Chapter 5: Edit Video on the iPad
Split a clip
A clip can be added only before or after an existing clip; you can’t insert
a new clip in the middle of an existing clip. To do that, you must first split
the clip in the timeline.
Position the clip so the playhead is at the point where you want to
split it.
Tap the clip to select it.
Slide one finger down the playhead from the top of the clip to the
bottom (5.6). The clip is split into two, with a transition added between
them. (The transition, however, is set to None, so there’s no break
between clips when you play the video. See “Edit Transitions,” later in
the chapter.)
5.6 Split a clip.
Delete a clip
Drag a clip from the timeline to the Viewer until you see a small cloud icon
appear (5.7). When you lift your finger from the screen, the clip disappears
in a puff of smoke.
5.7 Give a clip
the Keyser Söze
The iPad for Photographers
Use the Precision Editor
Tap a transition icon to select it, and then tap the double-triangle icon
to display the Precision Editor (5.8). Or, pinch outward vertically on a
Do any of the following to adjust the edit point:
Drag the transition itself to reposition the edit point without changing the duration of the surrounding clips.
Drag the top handle to change the end point of the previous clip
without adjusting the next clip.
Drag the bottom handle to change the start point of the next clip
without adjusting the previous clip.
Tap the triangle icons, or pinch two fingers together, to close the
Precision Editor.
Note It’s not possible to adjust the duration of the transition from within
the Precision Editor. For that, you need to edit the transition itself.
tip To view more thumbnails in the timeline, pinch outward horizontally
with two fingers to expand the clips; pinch inward to compress the sizes of
the clips.
5.8 Use the
Precision Editor to
more accurately set
where adjoining clips
begin and end.
Chapter 5: Edit Video on the iPad
Edit Transitions
Whether you like it or not, iMovie automatically adds transitions between
every clip. Now, before your imagination fills with endless cross dissolves,
note that it’s possible to have a transition that doesn’t do anything at all—
it’s there so you can tap it and change its settings.
Double-tap a transition icon to reveal the Transition Settings window (5.9).
At the left side of the window, scroll to choose the type of transition:
None (creating an abrupt jump cut between the clips on either side),
Cross Dissolve, or Theme.
The appearance of the latter depends on which theme you chose for
your project. To change the theme, tap the Project Settings button and
highlight a new one, as described earlier in the chapter.
At the right side of the window, scroll to choose one of the four preset
durations for the transition.
To apply the changes, tap outside the window to dismiss it.
5.9 Choosing a
transition style
and duration
Add a Title
Any clip can have a title, which is an attribute of the clip, not something
added separately.
Double-tap a clip to view the Clip Settings window
Tap the Title Style button; the default style is None.
The iPad for Photographers
5.10 The Clip
Settings window
Choose a title style: Opening, Middle, or Ending. The styles depend
on the project’s theme and are designed for common spots in your
movie. For example, Opening is good for titles at the start of a movie
and can occupy the entire screen, while Middle typically runs a title at
the bottom of the screen without obscuring your video. Of course, you
can choose whichever style you want at any point in your movie.
Tap the text field in the Viewer, and enter your title text
Tap Done in the virtual keyboard to stop editing the title.
Add a title to just a portion of a clip
A title spans the entire length of a clip—even if the clip is several minutes
long. If you want the title to appear on just a portion, such as the first few
seconds, do the following:
Position the playhead in the clip where you want the title to end.
Split the clip.
Double-click the portion you want, and add a title to it.
5.11 Entering text
in a theme title
Chapter 5: Edit Video on the iPad
Specify a Location
The iPad 2 (and later), iPhone, and iPod touch can all embed location data
in the photos and video they capture, thanks to their built-in assisted-GPS
technologies. iMovie reads that data, too, and gives you the option of
using it in titles and, creatively, a few themes.
Double-tap a clip to bring up the Clip Settings window.
Tap the Location button.
If location information was saved with the clip, it appears in the Location window (5.12). To change the location, do one of the following:
To use your current location, tap the crosshairs button.
To find a location, tap the Other button to search iMovie’s database
of locations. Tap the closest match to use it.
You can also change the label to something more specific, like a neighborhood or restaurant name. Tap the label and enter new text; it won’t
change the underlying location data. For example, the Travel theme
adds a location marker to a map in its Opening title; the marker stays
in place, but its label changes (5.13).
To exit the Clip Settings window, tap outside it.
5.12 Location
5.13 A custom
label applied to
the location data
The iPad for Photographers
5.14 Use the Location
line as a subhead.
tip In most themes, the location appears as a subhead below the title. If
you don’t want to announce the location, why not put that text to good
use? In the Location window, enter any text you wish to display, even if it
has nothing to do with location (5.14).
tip As you’re working on editing your movie, you can tap the Undo button
to reverse the last action. But what if you tap Undo a few too many times?
Tap and hold the Undo button, which reveals a Redo button.
Add and Edit Photos
Predictably, iMovie for iOS can import photos as well as video, and even
manages to apply the Ken Burns effect to them. In fact, every photo gets
the Ken Burns treatment, without an easy way to keep an imported photo
from moving.
Photos you’ve shot using the device or that were synced from your
computer can be brought into your iMovie project. As with video, if you
captured photos from within iMovie, those images are restricted to the
project that was active when you did the shooting.
Chapter 5: Edit Video on the iPad
5.15 Photos in the
Media Library
To add photos to your project, do the following:
Position the playhead in the timeline where you want a new photo to
Go to the Media Library and tap the Photos button to view available
photo albums.
Tap an album name to view its photos
To preview a photo, tap and hold its thumbnail. On the iPad in landscape orientation, the preview appears in the Viewer.
Tap the photo thumbnail once to add it to the timeline.
Edit the Ken Burns Effect
The Ken Burns effect is based on the position of the frame at the beginning
and end of the clip. iMovie determines how best to make the camera move
from one state to the other.
In the timeline, tap a photo you’ve imported to select it.
Tap the Start button to move the playhead to the first frame of the
clip (5.16).
The iPad for Photographers
5.16 Editing the
Ken Burns effect
Position the starting frame the way you wish: Pinch inward or outward
to zoom in on, or out of, the frame.
Tap the End button to move the playhead to the last frame of the clip.
Adjust the image to the way you want it to appear at the end of the
Tap Done. iMovie builds the animation between the Start and End
frames automatically as the movie plays.
Disable the Ken Burns effect
Unfortunately, there’s no easy control to turn off the Ken Burns effect and
just display a static photo. However, a workaround is possible.
Tap the Start button.
Pinch the image onscreen so you can see all of its edges (zoomed out),
and then release it—iMovie snaps it back into place with a minimal
amount of zoom applied.
Tap the End button and repeat step 2 to let iMovie snap it into place.
Tap Done to stop editing the photo.
Chapter 5: Edit Video on the iPad
Edit Audio
One area where iMovie for iOS sacrifices features for mobility is in editing
audio. You can adjust the volume level for an entire clip, but not specific
levels within the clip; it’s also not possible to detach audio from a video
clip. Still, that leaves plenty of functionality, especially now that you can add
multiple background music clips, include up to three additional sound effects
at a time, and record voiceovers. Viewing audio waveforms on tracks is
extremely helpful. Tap the Audio Waveforms button to make them visible.
Change a Clip’s Volume Level
So you don’t have multiple audio sources fighting for attention, you can
adjust the volume level for any clip, or mute it entirely.
Double-tap a clip in the timeline to display the Clip Settings window.
Drag the volume slider to increase or decrease the overall level
To mute, tap the On/Off switch so it’s set to Off.
Note Whenever a video clip with audio appears over a background song,
the song is automatically ducked (made softer). Unfortunately, iMovie offers
no controls for specifying the amount of ducking to apply.
5.17 Change a clip’s
volume in the Clip
Settings window.
Audio Waveforms button
Volume slider
The iPad for Photographers
Add Background Music
iMovie can include background music, designed for the current theme, that
loops in the background. Or, you can add your own audio tracks (with a few
limitations). What’s unique about iMovie’s approach (and this is mirrored in
iMovie on the Mac) is that a background music track is a separate type of
audio track that operates a bit differently than iMovie’s other audio tracks
and sound effects. A background song always starts at the beginning of the
movie; it can’t be pinned to a specific location in the movie.
Add automatic theme music
Tap the Project Settings button.
Tap the Theme Music switch so it’s set to On. (The Loop Background
Music option is automatically selected.)
Tap outside the Project Settings window to apply the setting.
Add a background music clip
Go to the Media Library and tap the Audio button.
Choose an audio source (5.18). In addition to iMovie’s theme music
selections, the Audio window gives you access to your iTunes music
library, sorted by playlists, albums, artists, or songs.
5.18 Audio window
Chapter 5: Edit Video on the iPad
Tap the name of a song to add it to your project. It appears as a green
track behind the video clips in the timeline (5.19).
tip Music written for each theme is available to add to any project, not just
to movies with those themes. In the Audio window, tap Theme Music and
choose any song you wish.
5.19 A background
song added to
the timeline
To add multiple background songs that play one after another, go to
the Project Settings window and deselect the Loop Background Music
option. You can then add more audio clips. If you don’t change that
project setting, iMovie replaces any background song when you add a
new one.
Note iMovie does not import any music encumbered with Apple’s Fair-
Play DRM scheme; those tracks appear in the song list, but in gray with
“(Protected)” before their names. Apple abandoned DRM for music tracks
a while ago, but you may still have tracks in your iTunes library from before
the switch. If you still want to use a specific song, go to iTunes on your
computer, click iTunes Store in the sidebar, and then click the iTunes Plus
link under Quick Links. That gives you the option to upgrade protected
songs (for a fee of $0.30 per song or 30 percent of an album’s current price)
to the DRM-free iTunes Plus format.
tip iMovie considers any audio file less than one minute in length to be a
sound effect, and won’t add it as a background song.
Aside from the fact that a background song can’t be repositioned in the
timeline, you can edit it like most clips. Tap to select it and then adjust its
duration using the selection handles, or double-tap it to adjust the clip’s
overall volume. One downside, however, is that you can’t apply a fade to
an audio clip, so if you shorten the clip, the audio ends abruptly.
The iPad for Photographers
Add a Sound Effect
When you want to add a little punch to your audio, consider throwing in a
sound effect. Up to three sound effect clips can appear in a section.
Position the playhead at the section where you want a sound effect
to start.
In the Media Library, tap the Audio button.
Tap the Sound Effects button to view a list of available effects.
Tap the effect you want to use to add it to the timeline
5.20 Sound effects
appear on tracks
below the video.
tip iMovie’s automatic assumption that any audio clip less than one minute
in length is a sound effect is an annoyance when you want to use a short
song to open your movie. But it’s also an advantage: You can add any music
file that’s under one minute—whether its content is a sound effect or not—
as a sound effect clip.
tip Using iMovie’s audio recording feature, you can record sound effects
while you’re shooting or anywhere else. See “Add a Voiceover,” on the
next page.
Chapter 5: Edit Video on the iPad
Add a Voiceover
Most of the time, your videos can speak for themselves. On occasion,
though, you may want to provide narration or a commentary track that
plays over the footage. iMovie’s audio import feature lets you record your
voice (or any sound, for that matter) into the timeline.
Position the playhead in your movie where you want to begin recording audio.
Tap the Record button to bring up the Ready to Record window.
When you’re ready to start capturing audio, tap the Record button in
the window. iMovie counts down from 3 to 1 and begins recording (5.21).
Tap the Stop button to end recording. The recorded clip appears as a
purple audio clip below the video in the timeline.
Choose what to do with the recorded clip: Tap Review to listen to it;
tap Retake to record again; tap Discard to delete the recording; or tap
Accept to keep it in your project.
Feel free to record multiple takes, but keep in mind that you can have only
three audio tracks in one spot at a time. Also, mute the other takes before
you record a new one.
tip To capture better-quality audio, consider using a microphone instead
of relying on the device’s built-in mic. That can be the microphone on the
earbuds that come with the iPhone or even, when connected to the iPad
using the iPad Camera Connection Kit, a professional microphone or USB
5.21 Recording
a voiceover
The iPad for Photographers
Share Projects
iMovie for iOS is designed to easily turn footage into a movie, but it’s also
intended to take your video and share it with the world (5.22). That could
mean saving the finished movie to the Camera Roll for later viewing or
for importing into iTunes on your computer. You can also post it directly
to YouTube, Facebook, Vimeo, or CNN iReport (but those options are
straightforward, so I don’t cover them here).
5.22 iMovie’s
sharing options
Share to the Camera Roll
When you share your project to the Camera Roll, a final version of the
movie is created and made available for you to not only watch, but also
access from other apps that can read your photo and video library.
Tap the My Projects button to return to the opening screen.
With the project you want to share highlighted, tap the Share button.
Tap the Camera Roll button.
In the dialog that appears, choose a resolution to export:
Medium - 360p, Large - 540p, HD - 720p, or HD - 1080p. iMovie
creates the finished movie and saves it to the Camera Roll.
To view the movie there, open the Photos app, locate the movie at the
bottom of the Photos list, and tap the Play button.
Chapter 5: Edit Video on the iPad
Send the Project to Another Device via iTunes
This method of sharing an iMovie project is, quite frankly, a weird workaround, but it has its uses. You can export the project itself—not just a
rendered version of the movie—for backing up to your Mac, sending to
another iOS device for editing, or importing into iMovie on the Mac. It is,
however, a fairly counterintuitive procedure.
Export a project to iTunes
At the My Projects screen, highlight the project you wish to export and
tap the Share button.
Tap the Send Project to iTunes button. iMovie packages all the data
and resources (including video clips and audio files) and then informs
you when the export is complete.
Connect your iPad to your computer.
Open iTunes and select the device in the sidebar.
Click the Apps button at the top of the screen and scroll down to the
File Sharing section.
Select iMovie in the Apps column.
Select the project you exported (5.23) and click the Save To button.
Specify a location, such as the Desktop.
5.23 The exported
project in iTunes
The iPad for Photographers
Import the project into iMovie on another iOS device
Connect the other device to iTunes and select it in the sidebar.
Go to the Apps screen, scroll down to the File Sharing section, and
select iMovie in the Apps column.
Click the Add button and locate the project file you exported in the
previous exercise. Or, drag the project from the Finder to the iMovie
Documents column. (You don’t need to sync the device to copy the
file; it’s added directly.)
Open iMovie on the device.
Although the project now exists on the device, iMovie doesn’t yet
know about it. Go to the My Projects screen and tap the Import
In the dialog that appears, tap the name of the project to import it. It
appears among your other projects (5.24).
See? Only 13 steps to move a project from one device to another!
tip This method is also a way to duplicate a project—for example, if you
want to save what you’ve done but try an editing experiment. After sharing to iTunes, tap the Import button to bring a copy back in; it will have a
slightly different name.
5.24 The project
as it appears on an
iPhone after being
copied through iTunes
Chapter 5: Edit Video on the iPad
Chapter 6
Build an
iPad Portfolio
The desire to showcase your photos may have been your
impetus to buy an iPad in the first place. The benefits are compelling:
You can show off your work on the large screen, where the backlight
makes the photos pop. You don’t need to create a printed portfolio,
which can involve considerable cost and requires lugging it around
whenever you’re meeting with a prospective client. And you or your
client can zoom in to examine photos in detail.
An iPad portfolio also extends your reach beyond an initial meeting. Email a photo to a client directly from the iPad so they have
something more than a business card or a print to remember you
by. And since you’re likely to have your iPad with you at other
times, impromptu portfolio viewings are possible wherever you
are—airplanes, lunches, or even just around the coffee table with
family members.
5 Steps to Create a Great Portfolio
Before getting into the nuts and bolts (or more accurately, taps and swipes)
of building a portfolio, let’s look at what makes a portfolio successful. It’s
easy to throw all your photos onto the iPad and use the Photos app to play
a slideshow. What makes a good portfolio stand out is how well it’s edited.
I doubt there’s such a thing as a portfolio that’s too small, but many portfolios end up being much too large.
Include only your best work. I know this should seem obvious, but
I find that when I’m picking photos for my portfolio, I often consider
one because it’s a favorite, not necessarily because it’s great. That’s
an important difference. Always think about how best to impress the
person viewing your portfolio.
Demonstrate your range. Choose photos that show a variety of skills
and styles, to better help the client imagine what you’re capable of,
not just what you’ve done before.
Tell a story. Even if your photos are pulled from a variety of situations
and styles, your portfolio shouldn’t come across as if it had been just
thrown together. Start and finish with your best images, and give purpose
to everything in between. That can be as literal as starting with images
that were shot early in the day and ending with those set at night (6.1), or
working through the various stages of a wedding (preparation, ceremony,
reception). Or consider working through the color spectrum—black and
white images first, building to full-color, high-saturation closing shots.
6.1 Tell a story
in the portfolio.
The iPad for Photographers
Build multiple portfolios. If you work in several areas, create portfolios for each, such as for weddings, for landscapes, for portraits, and
so on (6.2).
Update the portfolio as needed. A digital portfolio isn’t limited by
paper. As you create more great shots, add them to your portfolio to
keep it fresh. If necessary, rotate out old images to prevent the portfolio
from getting bloated or looking dated.
Tip Make sure your iPad portfolio reflects your online portfolio. I can
almost guarantee that clients will search for your work online on their own
time. Make sure your talents are equally represented there. If you have a
personal photo library online, such as at Flickr, consider keeping it separate
from your portfolio work. You don’t need to hide your casual photos—just
make it more likely that the first images someone sees are the good ones.
6.2 Multiple
Chapter 6: Build an iPad Portfolio
Prepare Images for the Portfolio
The iPad will dutifully display the photos you add to it, but to make your
portfolio look its best, you’ll want to prepare the images. Despite having a
great screen, the iPad offers no color management. That means the colors
you worked so hard to achieve in-camera or on the computer may not
match exactly when viewed on the iPad.
You also need to consider the dimensions of the images you transfer to
the iPad. Although iOS will scale large images to fit, they may not appear
as sharp as you’d like. They also require more of the iPad’s memory. (The
iPad 2 offers just 512 megabytes, or half a gigabyte, to run the operating
system and all apps; the original iPad includes 256 MB.)
Both of these limitations are surmountable. Saving images in the sRGB
color space (as opposed to Adobe RGB) provides the closest color fidelity
between computer and iPad. For sizes, the iPad’s native resolution is 1024
by 768 pixels, but most apps can handle a 4096 by 2048 pixel size, which
provides plenty of resolution to zoom in and appreciate details.
Definitely create some test images to see how they appear on your iPad.
Other considerations when preparing the photos include the following:
Crop to fill the frame. To take advantage of the entire iPad screen,
you may want to crop the images to avoid empty areas above or
below the photo. Personally, I prefer to not crop, so that I retain the
same composition in the final photo, but that’s more of a general rule
than an edict set in stone.
Sharpen the image for the screen. Again, this suggestion is up to
you and is worthy of testing. Sharpening the image for the screen can
restore some crispness after it’s been resized. Since you’re outputting
to a relatively low-resolution device rather than creating an image for
print, I recommend sharpening a little—say, 10 percent—for the iPad.
Increase the saturation. Boosting the saturation of an image can
quickly push it into a dangerous realm of Vegas color, but I find that a
small push of the Saturation slider (or, better, a Vibrance control if it’s
available, to avoid messing up skin tones) helps for the iPad’s screen.
Using photo editing software on your computer, you can export copies with
these characteristics for your iPad portfolio. I’m including a few common
solutions here; if you use other software, the steps should be similar.
The iPad for Photographers
Adobe Photoshop Lightroom
When exporting photos from Lightroom, you can specify the size, color
space, and other attributes, which can then be saved as a preset. For
future portfolio images, you need only choose the preset to get files that
are iPad-ready.
Select one or more photos to export.
Choose File > Export to open the Export dialog
From the Export To pop-up menu, choose Hard Drive.
In the Export dialog, choose a location and a method of assigning
the filename (such as the image’s name or a title you assign).
In the File Settings area, set Image Format to JPEG and push the
Quality slider to 100. Also make sure the Color Space pop-up menu is
set to sRGB.
6.3 Lightroom’s
export options
Chapter 6: Build an iPad Portfolio
Under Image Sizing, select the Resize to Fit checkbox and choose
Width & Height from the pop-up menu. Set the W field to 4096 and
the H field to 2048. I also recommend selecting the Don’t Enlarge
checkbox; if the original dimensions are smaller than 4096 by 2048
pixels, enlarging the image can introduce blurring.
Scroll down to the Output Sharpening section, select the Sharpen
For checkbox, and choose Screen. I keep the Amount value set to
To save these settings as a preset, click the Add button in the lowerleft corner of the dialog and give the preset a name. Click Create.
Click the Export button to save the file or files.
With the preset created, you can create future portfolio versions by selecting them in Lightroom and choosing File > Export with Preset > [Name of
your preset].
Apple Aperture
Apple’s photo organizer also offers the ability to create a preset that can
output iPad-friendly images for your portfolio. Unlike Lightroom, Aperture
does not offer to sharpen the file during export, so you’ll need to do that
before you export; I recommend choosing Photos > Duplicate Version
before sharpening, so you have a separate iteration for export.
Select one or more images to export.
Choose File > Export > Version(s).
In the Save dialog that appears, click the Export Preset pop-up menu
and choose Edit.
In the Image Export dialog (6.4), click the Add (+) button in the lowerleft corner. A duplicate of the currently selected preset is created.
Rename the preset to something like “Fit within 4096 x 2048.”
Set the Image Format pop-up menu to JPEG.
Set Image Quality to 12 (the highest).
Change the Size To pop-up menu to Fit Within (Pixels), and specify the
Width as 4096 and the Height as 2048.
The iPad for Photographers
6.4 Aperture
export settings
Leave the Gamma Adjust slider alone (it should be zero), and set the
Color Profile to sRGB IEC61966-2.1.
10. Click OK to return to the Save dialog.
11. Specify a filename and then click the Export Versions button.
Adobe Photoshop
Photoshop’s Actions and Automate tools are great for processing a lot of
images quickly. Record the steps once to create an action, and you can
then use it for other shots.
Create an action
Choose Window > Actions to show the Actions panel.
Click the New Action (+) button at the bottom of the panel to create a
new panel. Give it a name and click Record. Any steps you take within
the app will now be recorded.
Chapter 6: Build an iPad Portfolio
Choose File > Image Size, and set a width of 4096 for landscape
images or a height of 4096 for portrait images. (You’ll need to create a
separate action for each orientation.)
Choose Image > Adjustments > Vibrance, and use the Vibrance setting
to boost the image’s colors slightly.
Choose Filter > Sharpen > Unsharp Mask, and set an amount of sharpening you’re comfortable with.
Save the file by choosing File > Save As, and specify JPEG as the file
format, a quality of 12, and sRGB as the intended color space.
In the Actions panel, click the Stop button (a square icon at the
bottom of the panel).
Batch-process files
With the initial settings recorded, you can batch-process images.
Either open the images you want to send to the iPad, or place them all
in one folder on your hard disk.
In Photoshop, choose File > Automate > Batch.
In the Batch dialog, choose the action you created from the Action
pop-up menu.
Specify where your images are located (a specific folder or images
open in Photoshop) in the Source area of the dialog (6.5).
Set the location and the file-naming convention in the Destination area.
Click OK to process the files.
6.5 Batch-export
files in Photoshop.
The iPad for Photographers
Tip It’s also possible to create a droplet, a small application that handles
the automation. Instead of choosing Batch from the Automate submenu,
choose Create Droplet, and then specify your iPad portfolio action and a
destination. Then, whenever you want to prepare some images for your
portfolio, you need only drag the photo files onto the droplet.
Adobe Photoshop Elements
The consumer version of Photoshop can accomplish almost everything its
older sibling can, and in one dialog.
Open the files you want to process in the Photoshop Elements Editor,
or group the files in a folder on your desktop.
Choose File > Process Multiple Files
In the Process Files From area, choose Opened Files or specify the
folder where the images are located.
Specify a location for the converted files in the Destination field.
6.6 Photoshop
Elements export
Chapter 6: Build an iPad Portfolio
Under Image Size, select the Resize Images checkbox and enter 4096
in either the Width or Height field, depending on the orientation of
the images you wish to process; you’ll need to process the orientations
In the Quick Fix area, select the Sharpen checkbox.
Under File Type, choose JPEG Max Quality from the Convert Files To
pop-up menu.
Click OK to process the images.
Apple iPhoto
Apple’s consumer photo software doesn’t offer export presets, but you can
easily save a version of a photo that’s sized correctly for the JPEG.
Select one or more images to export.
Choose File > Export to open the Export dialog
Make sure you’re in the File Export section of the dialog that appears,
and set the Kind pop-up menu to JPEG.
Change the JPEG Quality setting to Maximum.
6.7 iPhoto export
The iPad for Photographers
From the Size pop-up menu, choose Custom.
To specify the size, choose Dimension from the Max pop-up menu, and
enter 4096 in the field.
Choose how the file will be named in the File Name setting.
Click the Export button.
Tip If you have a brochure or other printed work, save it as a PDF and
include it in your portfolio. You can then send it to a client via email.
Create Your Portfolio
A portfolio is essentially a slideshow of your photos, and if you want to
stick with the basics, you can use the iPad’s built-in Photos app to show
off the images. But as you’re putting a portfolio together, you’ll want more
control: over how photos are added and organized, over the way they’re
presented, and over how your client interacts with the work.
Dedicated portfolio apps offer all of those options, and you’ll find many
programs at the App Store. I’ve worked with several of them, and Portfolio
for iPad ( is my favorite. I’ll use it as the model
for building a portfolio on the iPad in this chapter.
Using the Built-in Photos App
If you don’t want to pay for dedicated portfolio software, you can achieve similar
results using the iPad’s included Photos app. The trick is in getting the images
to appear in the order you wish. In iPhoto or Aperture, create an album that
contains the photos, and specify the order there. When you sync, the Photos app
honors their placement within that album.
Chapter 6: Build an iPad Portfolio
Create and Populate Galleries
Since this is a digital portfolio that will likely change over time, it’s important to be able to easily add images to your collection now and later. The
Portfolio app groups multiple portfolios into galleries—you can have just
one gallery as your entire portfolio, or you can create several. To create a
new gallery, do the following:
Tap the Configure button (the gear icon), and then tap the Manage
Galleries button (6.8).
On the Galleries screen, tap the Add (+) button and type a name for
the gallery.
6.8 Configure
galleries in Portfolio
for iPad.
Repeat the process to create as many galleries as you’d like. If you decide
to remove a gallery, tap the Edit button at the top of the page, tap the
circular red delete button that appears, and then tap Delete to confirm the
Add Photos to a Gallery
The best way to load images into a gallery depends on what’s most
convenient for you. I’m partial to using Dropbox, since I’m a big fan of
the service anyway, and it provides a destination for the portfolio-specific
images I generated earlier in the chapter. Dropbox also gives me an online
The iPad for Photographers
backup of my portfolio images, so if for some reason I can’t use Portfolio
to run a presentation, I can fall back on the Dropbox app. (If you don’t use
Dropbox, give it a try at—the service is free for up to
2 GB of data storage.)
Other possibilities include loading images you’ve previously imported or
synced to the iPad’s Photos app, transferring the files via iTunes, fetching
files from specific URLs, or using the free Mac application Portfolio Loader,
available from the developer. Here’s how to do it from the iPad, from
iTunes, and from Dropbox.
Load from iPad media
With the gallery selected in the Galleries list, tap the Load button
Tap the Load from iPad Media button.
Using the iOS Photos picker, navigate to an album containing an image
you want (6.10).
Tap an image thumbnail to add it to the gallery. This method allows
you to load only one photo at a time.
Tap outside the picker to dismiss it.
Tap Done to finish managing galleries.
6.9 Load options
6.10 The window to your photo library
Chapter 6: Build an iPad Portfolio
Load from iTunes
In iTunes on your computer, select the iPad in the sidebar and click the
Apps category at the top of the window. (If you don’t see your iPad
in the sidebar, make sure it’s connected via a sync cable or a Wi-Fi
Under File Sharing, scroll down to the Portfolio app and select it
Click the Add button at the bottom of the Portfolio Documents pane,
and locate the files you want to add. Or, you can drag the files to the
pane from the Finder or from Windows Explorer. The files are copied
immediately without requiring a sync operation.
In the Portfolio app on the iPad, go to the Galleries screen (as
described earlier) and tap the Load button.
Tap the Load from File Sharing button
In the File Sharing popover, select the photos you want to import.
Tap the Add button.
Tap Done to finish managing galleries.
6.11 Add files
via iTunes.
The iPad for Photographers
Load from Dropbox
On your computer, copy any image files destined for your portfolio
to a folder within your Dropbox folder.
In Portfolio on the iPad, go to the Galleries screen and tap the Load
Tap the Load from Dropbox button. A popover appears, containing the
contents of your Dropbox folder (6.13). (Or, if you’re accessing this feature for the first time, you’re asked to log in to your Dropbox account.)
Navigate to the folder in which your images are stored.
Tap the thumbnails to select the photos you want to load, and then
tap the Add button. The images are copied to the Portfolio app and
appear in the gallery.
Tap Done to finish managing galleries.
6.12 After transferring files via iTunes, import them in
6.13 Adding photos from Dropbox
Chapter 6: Build an iPad Portfolio
Edit a Gallery
Here’s where you put all that earlier advice to good use. Now that you
have a gallery full of images, you need to put them into your preferred
order and set a thumbnail for the gallery.
Reorder images
Return to the Manage Galleries screen in the Portfolio app.
Tap the Edit button above the image thumbnails; the photos jiggle and
appear with close boxes (x).
Tap and drag a thumbnail to change its position (6.14). Do the same
with the others until the photos are in the order you want them to
To remove an image, tap its close box and then tap the Delete button
that appears (6.15).
Tap Done when you’re finished.
6.14 Drag to change
the order of photos.
6.15 Remove a photo.
The iPad for Photographers
Choose a gallery thumbnail
Tap the thumbnail of the photo you wish to use as the gallery’s
From the popover that appears, tap Set as Gallery Thumbnail.
Pinch with two fingers to resize the image to fit the visible area (in the
center of the screen, not dimmed); you can also reposition the image
by dragging it (6.16).
Tap the Save button to apply the change and assign the image as the
thumbnail (6.17).
6.16 Specify the
thumbnail source.
6.17 Thumbnail
Chapter 6: Build an iPad Portfolio
Add a Logo Screen
To personalize the opening screen of your portfolio, the Portfolio app can
display three logo screens: one for landscape orientation, one for portrait
orientation, and one for an external screen when presenting with a videoout connection like a television or projector.
Tap the logo area (helpfully marked with “Tap here to place your logo”), or
tap the Configure button and then tap the Customize Appearance button.
Using the sizes specified on the Customize Appearance screen, create a set
of images that act as a virtual cover for the portfolio. The pixel dimensions
are important: The app won’t simply crop an image you throw at it; it will
resize the image to fit (6.18).
Tap one of the placeholders, and load the corresponding image using the
techniques described earlier.
Tip If you don’t want to be restricted by the app’s logo screen dimensions,
create black (or white, or anything else suitably forgettable) versions of
the logo images. Then, create a 1024 by 768 logo image and set it as the
first photo in your portfolio. You can then bypass the initial navigation and
launch your presentation from within the gallery.
6.18 Set three
custom images
for your portfolio’s
main screen.
The iPad for Photographers
Present Your Portfolio
Depending on the client or target audience, you may choose to run the
presentation yourself on the iPad, let the photos play in a slideshow, hand
the iPad to the viewer, or display on an external television or projector.
Before you begin your presentation, it’s a great idea to restart the iPad by
powering it off and powering it back on again, which resets the memory.
That reduces the chances that the software will stall while shuffling large
images in and out of active memory.
Rate and Make Notes on Photos in Portfolio for iPad
The Portfolio for iPad app can also be used to get feedback from someone on
the images in your portfolio; for example, suppose you’re showing your selects
from a photo shoot and want the client to choose a set of favorites. They can rate
and comment on individual photos.
1. In a gallery, tap the Note button near the gallery name.
2. Tap a star to assign a rating.
3. Tap the Notes field, and type a comment (6.19).
4. Tap outside the popover to dismiss it.
6.19 Rate and make notes in Portfolio for iPad.
Chapter 6: Build an iPad Portfolio
Present on the iPad
Presenting your portfolio can be as easy as running a slideshow in the
Photos app, but again, you’ll appreciate some of the other features that a
dedicated portfolio app can bring. I’ll use Portfolio for iPad as an example.
Tap a gallery to view the first photo it contains (6.20). Here, you can tap a
thumbnail at the bottom of the screen to jump ahead and view any image
in the gallery. For the best presentation, however, I prefer tapping the
Full Screen button to view one image at a time. Flick between images by
swiping left or right on the screen. (Tap once on the screen to reveal the
controls if you want to exit full-screen mode.)
Tip With the thumbnail strip visible, double-tap a photo other than the one
currently displayed; the two photos appear side by side (6.21). Double-tap
again to return to the thumbnail strip.
To view an image in more detail, pinch outward or double-tap a photo to
zoom in. Double-tap again or pinch inward to see the entire image.
For a self-directed presentation, tap the Play button in the upper-right
corner to run the photos as a slideshow.
Tip If you’re handing the iPad to a client, you can lock the editing interface
in Portfolio for iPad to prevent them from accidentally editing your gallery.
On the Portfolio title screen, tap the gear icon and then tap the Lock button. Specify a four-digit passcode that must be entered to access the editing features. This lock applies only within the app; a client can still access
the rest of your iPad by pressing the device’s Home button.
Present on an External Display
The iPad’s screen is a good size for presenting to one or two people, but
if you need to show your portfolio to more, moving the images to a larger
display like an HD television or a projector can make quite an impact.
Connect the iPad to a TV or projector by using an HDMI, VGA, or component cable, depending on the available connections. Apple sells iPad
adapters for each type of plug.
The iPad for Photographers
6.20 Presentation
with thumbnails
Full Screen
6.21 Compare two
images side by side.
Chapter 6: Build an iPad Portfolio
After connecting the iPad to the device, open Portfolio for iPad. If you
specified a custom logo page for the largest size, it should appear on the
external display. When you enter a gallery, the first image shows up. You
can then direct the presentation from the iPad or start a slideshow. (As I
write this, it’s not yet possible to zoom an image on the external display.)
If you’re using an iPad 2, connecting it to the device mirrors the screen, so
your viewers can see exactly what you see on the iPad. However, in Portfolio for iPad, only the images appear, not the thumbnails. Swipe to switch
between photos, or tap the Play button to start a slideshow.
The iPad for Photographers
If you have an iPad 2 or later and a second-generation Apple TV (the small
black model) at your disposal, and they’re both on the same Wi-Fi network,
you can display the portfolio wirelessly using AirPlay. To make the two
devices communicate, do the following:
Double-click the Home button to reveal the iPad switcher bar.
Swipe left to right to reveal the brightness, music playback, and volume controls.
Tap the AirPlay button, which appears to the right of the fast-forward button. If the AirPlay button isn’t there, verify that the iPad and
Apple TV are both connected to the same network, that the Apple TV
is powered on, and that AirPlay is enabled in the Apple TV’s settings.
Tap the name of the Apple TV in the AirPlay popover.
Set the Mirroring switch to On
Now, without being physically tethered to the TV or projector, run your
presentation from the iPad.
6.22 Connect
to the Apple TV
using AirPlay.
Chapter 6: Build an iPad Portfolio
CHapter 7
Share Photos
Yes, it’s true. I do, on occasion, import photos from my
camera into the iPad, sort and edit them, and then upload selected
shots to photo-sharing services…from my couch. Even when my
laptop is sitting just a few feet away, I don’t want to retreat to my
upstairs office and get into working mode. I want to browse shots
from the day, get feedback from my family there in the same room,
and put something up that friends can view online.
You needn’t aspire to be as lazy as me, but there are many opportunities to share photos directly from the iPad before they inevitably
end up on a computer. You may want to post shots from a justconcluded wedding, or maybe a client located elsewhere needs
to review and rate images quickly. Several options for sharing your
photos from the iPad are available beyond simply syncing the
photos to a computer.
Upload Images to
Photo-Sharing Services
In the early days of the Web (I’m dating myself here), when you wanted
to publish a photo online you needed to be savvy enough to upload the
image to a server and write the HTML code necessary to make it appear.
Now, with popular photo services such as Flickr, Facebook, and others, you
can let the software handle all of that.
Upload from Editing Apps
Most of the photo-editing apps allow you to upload your images directly
to Facebook, Flickr, Twitter, Dropbox, and others. The steps are similar in
most apps, but since I focused on Snapseed and Photogene in Chapter 4,
I’ll detail those steps here.
Upload from Snapseed
Snapseed uses the iOS convention of making exporting options available
from the Share button; it supports Flickr, Facebook, and Twitter.
With a photo already loaded in Snapseed’s initial screen, tap the Share
button (7.1).
Tap the name of the service you want to use.
The first time you share something, you need to log in to the service to
grant the app permission to add items to your account. Twitter support
exists at the operating system level, so if you haven’t done so previously,
go to Settings > Twitter and enter your account information. Also make
sure that the Allow setting for the app is set to On.
Depending on the service, enter a caption, a description, a destination,
and privacy options. Facebook, for example, is limited to a caption and
choice of album (7.2); if you don’t choose an album, it creates a Snapseed Photos album. Flickr, on the other hand, lets you add keywords
and specify who gets to view the photo once it’s uploaded.
Tap the Publish button to upload the image.
The iPad for Photographers
7.1 Snapseed’s sharing options
7.2 Choose a Facebook photo album.
Tip To control who views your photos on Facebook, you need to set up
privacy options in your Facebook account. Locate your photo albums, and
then click the drop-down menu just below each one to specify Public,
Friends, Only Me, or Custom. (Facebook changes its interface often enough
that I’m not even going to try to walk you through the steps of locating that
control. But once you get to the albums, it should be obvious.)
Upload from Photogene
Photogene offers more services to upload to, and it also gives you options
such as image size and, in the pro version, a watermark.
Open a photo and edit it as you wish.
Tap the Export button
Tap the Resolution\Resize button to specify the image size. In most
cases you’ll probably want to choose Original, but not always; you may
want to upload a smaller version when you don’t have much available
bandwidth (or maybe you just prefer not to upload full-size photos). The
numbers in the Resolution\Resize popover represent the image’s longest dimension. Choosing 1024, for example, resizes a landscape photo
to 1024 pixels wide but resizes a portrait photo to 1024 pixels tall.
(7.3, on the next page).
The pro version of the app adds the ability to set the JPEG quality by
specifying the level of compression that’s applied.
7.3 Export options in
If you want to strip any metadata you added before uploading, switch
the Preserve IPTC option to Off.
Tap the name of the service or feature you want to use. If you haven’t
previously set up a service, you’re asked to log in and grant Photogene
permission to add photos.
In the service’s details panel, enter a title, a description, and other
information that applies, including the privacy level.
Tap the Share button. Photogene prepares the photo and uploads it.
iCloud Photo Stream
I want to mention Apple’s iCloud Photo Stream briefly here because if you’re an
iCloud subscriber, photos are automatically uploaded from your iPad’s Camera Roll.
However, Photo Stream is really designed for an audience of one: you. Yes, you
can access your photos from any of your connected devices, but you can’t point a
friend at photos in your stream as was possible with the old MobileMe service.
The iPad for Photographers
To Watermark or Not?
I find watermarks distracting, so I generally don’t bother to watermark my
photos. I want viewers to focus on the photo, not the mark. I’m also not too
concerned about getting ripped off—unless I splash a watermark over the entire
image, someone stealing the photo can easily remove the mark. However, there
are instances when a watermark can be appropriate. Wedding photographers
can benefit from having their logo, web address, or other branding appear on
photos that many people will see (the final versions that go to the bride and
groom, of course, would be free of marks). You can also use a watermark to
indicate that a photo is a proof versus a final version.
Photogene’s watermark support (available only after you’ve paid for the pro
version) allows you to specify an image as a watermark and place it on an
exported photo. Create your logo or other mark and copy it to the iPad’s
Photo Library. Then, in Photogene’s Export popover, do the following:
1. Tap the Watermark button.
2. Tap Select Image and choose the watermark image you created.
3. Using the sliders in the popover, adjust the opacity of the image and the
amount of padding around it (7.4).
4. Choose a position for the mark by tapping one of the boxes in the proxy grid.
Note that the preview doesn’t accurately convey the size of the mark; it’s
enlarged to show relative position.
5. Tap the Export button at the top of the popover to return to the rest of the
Export options.
6. To include the watermark, switch the Watermark option to On. The watermark
appears on the photo that’s exported (7.5).
7.4 Setting a watermark
7.5 Watermark applied
Chapter 7: Share Photos
Upload Photos Using Services’ Apps
Photo services have been quick to create their own iOS apps, mostly for
use with the iPhone so people can upload the shots they take with its camera. For snagging pictures that you have imported and don’t need to edit,
a dedicated app provides a more direct path from your iPad to your online
photo album. In some cases, you can upload photos in batches instead of
one at a time.
The first step is to visit the iTunes Store and see if your preferred photo
service offers an iOS app. You’re also sure to find third-party apps that
view photos and upload them to the services. Here are a few that I use,
both “official” and third-party apps.
Despite the fact that Flickr is one of the largest photo-sharing sites on the
Web, its iOS app hasn’t changed much in several years. Still, even though
it’s not optimized for the iPad, the app does make it easy to upload multiple photos to your Flickr photo stream.
At the opening screen, tap the Upload button and choose Upload
from Library.
Choose the album that contains the photos you want to upload. At this
stage, you can choose photos only from one album, but you’ll have a
chance later to add more photos.
Tap to choose photos, which gain a green checkmark, and tap Done to
On the Details screen that appears, optionally assign the photos to
sets, add tags, and specify whether to upload them at full resolution
or medium resolution (7.6). You can also tap a photo thumbnail to edit
details for just that item.
Decide who can see the photos online by choosing a setting in the
Privacy Level area.
If you want to include other photos in the upload, tap the Add Item
button and select them.
Tap the Upload button to transmit the photos.
The iPad for Photographers
Tip If you prefer an iPad-native Flickr client, check out Flickr Studio.
SmugMug, a popular site for more-experienced photographers, offers an
official SmugMug app, but it’s geared toward viewing photos by you and
others. Since I’m focusing on sharing in this chapter, go get SmugShot,
an iPhone app that is designed to upload photos you capture or pull from
your Photo Library. You can add several photos to the queue and then
upload them all at once (7.7).
PhotoStackr for 500px
The newest entrant in the photo-sharing field is 500px, a site that boasts
a great viewing experience and a growing number of professionals. The
company’s 500px app is a model for how to browse photos on a tablet,
but it doesn’t offer any way to upload new photos to one’s account.
Instead, turn to PhotoStackr for 500px, which adds uploading and a few
other features to the browsing experience. As with the Flickr and SmugShot apps, you can queue several photos to be uploaded together.
7.6 Uploading photos in the Flickr app
7.7 SmugShot’s upload queue
Chapter 7: Share Photos
7.8 Uploading a
single image to
using the Photoshop
Express app
Photoshop express
The Photoshop Express app acts as the window to,
Adobe’s own photo-sharing and editing Web site. The Photoshop Express
app will prove particularly useful if you use Photoshop Elements, which ties
In the app, tap the Share button in the toolbar.
Tap the Select Photo button.
Choose a photo from your library.
Tap the Photoshop Express button to view a list of online albums.
Select an album and optionally enter a photo caption in the text field
at the bottom of the popover (7.8).
Tap the Share button to begin uploading.
Tip Although you must pick photos one at a time for uploading, the
Photoshop Express app builds a queue of jobs to send. Tap the Share
Progress button to see what’s been uploaded and what’s pending.
The iPad for Photographers
Email Photos
A fallback for getting your photos out there is to send them as email
attachments. This capability is built into the core of iOS and is available
from nearly every app.
I call this approach a “fallback” because, honestly, the current state of
email makes it difficult to guarantee that the message will get through.
Image attachments are usually large, which increases the chances that the
message will stall at a server en route from you to your recipient. Or, the
message could be marked as spam and shunted into a person’s queue
of suspect emails with the usual assortment of get-rich-quick scams and
unwanted product solicitations.
Share a Single Photo
Still, email is convenient and widely supported. But there’s a trick. Unlike
most desktop email programs, where you compose a message and then
attach a photo to it, on the iPad the process is reversed: You start with the
photo first and then choose to send it via email, like so:
Open the Photos app to view your image library. (If you’re in a thirdparty app that offers email as an export option, follow its steps. I’m
starting here as if you have just picked up the iPad and want to share a
photo from the built-in library.)
Locate the photo you want to share, and tap to view it full screen.
Tap the Share button and choose Email Photo from the popover list of
options. A new outgoing message appears, with the photo in the body
of the message.
Fill in the To and Subject fields to address the message.
Tap the “Images” text to the right of the Cc/Bcc, From field to specify
the size of the outgoing image (7.9).
7.9 The imagesize control is
almost invisible.
Chapter 7: Share Photos
7.10 Choose an
image size to send.
Choose one of the Image Size options by tapping it (7.10).
Tap the Send button to dispatch the message.
Share Multiple Photos
To attach more than one photo to an outgoing message, you need to follow a slightly different approach:
In the Photos app, open the album containing the images you want.
Instead of viewing one full-size, tap the Share button. The toolbar
reads Select Photos, and the buttons there change.
Tap to select the photos you’ll soon be sending.
Tap the Share button—this time, a button labeled “Share,” not the
pervasive icon with an arrow coming out of a square.
Choose Email from the popover that appears
become part of an outgoing message.
Fill in the To and Subject lines, set an image size (which applies to all
of the photos), and then tap the Send button.
The iPad for Photographers
The photos
7.11 Mark multiple
messages and attach
them to one outgoing
7.12 iMessage or
MMS is often a faster
way to get a photo to
Tip One way to circumvent email but deliver a photo to a specific person is
to use MMS (Multimedia Messaging Service) or iMessage instant messaging. In the Messages app, tap the camera icon to the left of the text field,
locate your image, optionally write a note, and tap the Send button (7.12).
Tip One advantage to email is that it can act as a workaround when other
uploading options fail. My Flickr account, for example, gives me a personal
email address. Any image attachment I send to that address is added to my
photo stream, which uses the contents of the Subject field as the photo’s
title and the text in the body of the message as the description. Check your
favorite service for a similar option.
Chapter 7: Share Photos
Share Photos Using Adobe Revel
As you’ve no doubt discovered, many photo-sharing services vie for your
attention and image libraries. Adobe, digital imaging powerhouse that it is,
jumped in with and Photoshop Express for iOS. However,
late in 2011, it also started a separate service called Adobe Revel, which
doesn’t currently communicate with (although it is integrated into Photoshop Lightroom 4, which is in public beta as this book
goes to press).
Revel offers a very cool feature that soothes a photography pain point. You
can share a set of photos, called a carousel (reminiscent of the circular trays
of slides you’d load into a slide projector), with other people. They can rate
the photos, and even use the software’s editing tools, without stepping on
your versions of the images. So, when I come back from vacation and my
wife wants to look through my library and pick out her favorites, I can create a new carousel for her to browse on her computer or iOS device. I can
see her picks in my library, but they don’t overwrite mine.
The Adobe Revel software is free, but the service costs $5.99 a month
(a 30-day trial period is free). It’s currently available for iOS and Mac OS X;
Windows and Android versions are still in development.
Import Photos to a Carousel
After you install the app and log in with your Adobe ID (or create a new ID
if you don’t currently have one), do the following:
Tap the plus sign (+) button to create a new carousel.
From the popover that appears, choose Choose Existing Photos.
Navigate to an album, such as the Camera Roll, and tap to select the
photos you wish to import.
Tap Done to begin importing the photos, which appear grouped
by date (7.13). Revel also uploads the images to Adobe’s servers for
backup and syncing to other devices on which you install the software.
The iPad for Photographers
7.13 A carousel of
photos in Adobe Revel
Rate and Edit Photos
When I say “rate” in regards to Revel, what I really mean is to mark a
photo as a favorite; there are no multiple-star rankings. Instead, tap a
photo to open it, and then tap the star button in the lower-left corner of
the screen.
To edit photos, tap the Develop button and use the controls in the toolbar
to apply preset looks, adjust color and tone, or crop and rotate the image.
(See Chapter 4 for more detail on these types of tools, though I don’t
cover Revel specifically there.)
NoTe In the spirit of sharing, Revel also enables you to upload a photo
via Facebook, Twitter, Tumblr, and Flickr or to send it via email. Tap the
Share button and choose an option.
Chapter 7: Share Photos
Collaborate with Others
Here’s where I find Revel the most interesting. From within Revel, you can
share a carousel with someone else who has an Adobe ID, even if they
don’t subscribe to Revel. Here’s how:
On your iPad, tap the Settings button (the gear icon) to view your list
of carousels in a popover.
Tap the Detail (>) button for the carousel you intend to share.
In the Sharing With section, tap the Add User button
share a carousel with up to five people.)
Type the email address of the person who will share the carousel, and
then tap Done.
Tap Done at the top of the popover to send an invitation.
(You can
7.14 Share the
carousel with
someone else.
When the other person installs the Revel software and signs in, they’re
asked if they want to join your carousel. After they do, the same rating
and editing features are available. Images are updated nearly in real time,
so when they mark a photo as a favorite, a gray flag indicates it’s been
marked by someone else (7.15). (The number in the flag tells you how many
people have marked it.)
And because Revel also works on the Mac, when I get back to my computer, the files are already present in the desktop version of Revel, and
they reflect the ratings and edits made while reviewing.
The iPad for Photographers
7.15 The other
reviewer marked
these two barn
photos as favorites.
Print Photos from the iPad
When you think of printing from the iPad, you probably envision making
a paper copy of an airline boarding pass or a text-only page of notes. Or,
your first thought is, “The iPad can print?” The options for taking content
from the iPad and putting it on paper are still relatively slim—a few Wi-Fi–
enabled printers support Apple’s AirPrint technology, for example. However, photos originated in the print world, and it is possible to transfer your
images into ink-on-paper reproductions.
NoTe Keep in mind that the iPad doesn’t offer color management, so
I wouldn’t rely on it for professional output. Run your photos through a
color-managed desktop workflow for the best results for clients, gallery
shows, and the like.
Print from Nearly Any App
Since it’s not possible to plug a printer into an iPad, any printing you do
must occur wirelessly. If you own an AirPrint-compatible device, that’s no
problem: Tap the Share button in the Photos app, tap the Print button, and
configure any printer-specific options.
If you own a perfectly good printer that doesn’t support AirPrint, it’s still
possible to make it work. Using a utility called Printopia under Mac OS X,
Chapter 7: Share Photos
any printer on the network that’s accessible by your Mac is available (7.16).
In fact, Printopia can also “print” to your Dropbox account, to folders on
your computer, or directly to applications (7.17). Under Windows, check
out Collobos Software’s FingerPrint utility, which does the same thing.
The major printer manufacturers, like Epson, Lexmark, and HP, also offer
free printing utilities for iOS that take advantage of their devices’ features.
(Make sure you check compatibility with your printer.)
Order Prints
A few companies are getting wise to the fact that some people use their
iOS devices more than computers (or own just iPads), so they’re developing apps that send images directly to print vendors. The app for the
drugstore Walgreens, for example, lets you upload photos and then order
prints or cards that you can pick up at the closest location.
Other fun apps include PopBooth, which takes photo booth–style snapshots
and gives you the option of ordering a physical photo strip, and Sincerely
Ink, which makes greeting cards from templates and your photos (7.18).
NoTe If you’re looking to order a print that’s of higher quality than a snapshot
from the iPad, a combination of an app and the Web might be the way to go.
At the Web site Zenfolio (, you can use the service to
create and distribute prints. From my storefront (, I
can upload photos and then access the site in Safari to place an order.
7.16 Choose a printer and the number of copies, and hit Print.
The iPad for Photographers
7.17 Printopia prints to destinations other than printers.
7.18 Sincerely Ink
orders printed cards
containing your
photos directly from
the iPad.
Chapter 7: Share Photos
CHapter 8
Helpful Apps for
As I type this, there are something like 2600 apps in the
Photo & Video category of the iTunes Store. A lot of them share the
same functionality; all sorts of apps add effect presets to images, for
example. But there are also plenty of gems that provide specialized
features, such as a way to produce legal model releases for signing
on the spot, or to calculate when tomorrow’s sunrise will emerge
and which angle the light will be coming from.
This chapter contains a host of apps that will help photographers,
but it doesn’t repeat any of the excellent app suggestions made
elsewhere in the book; see the appendix for a full list of apps
mentioned in these pages. You’ll also notice that some are iPhone
apps—that means they haven’t been designed to run specifically
on the iPad (taking advantage of its larger screen, for example),
but they still work fine.
The iPad on Location
VelaClock Sun/Moon
More than just a world clock, the VelaClock Sun/Moon app is handy for
planning sunset or sunrise photo shoots in far-flung locales. In addition to
displaying global times for popular cities, it also gives a graphical view of
astronomical twilight, nautical twilight, and civil twilight—all at both dawn
and dusk. You can also create custom locations by entering longitude and
latitude information. To get a “golden hour” forecast for your destination,
tap the calendar icon to select a specific date or to incrementally view by
hour, day, week, month, and year. Tapping a location also provides moonrise and moonset times, plus the altitude and azimuth of the sun and moon.
$3.99, iPhone app
The iPad for Photographers
Whether you’re working in the field or in the studio, PhotoCalc is a handy
one-stop toolbox for calculating depth of field, exposure reciprocation (for
shutter speed, aperture, and ISO), and flash exposures. It also includes a
solar calculator for sunrise, sunset, and twilight times based on your current
location or one of the many global presets. And its calculations can be
geared toward your specific camera (selected from an extensive list) or one
of a variety of film formats. As a bonus for new photographers, it also features a handy glossary of terms, as well as explanations of the zone system
and the Sunny 16 rule.
$2.99, iPhone app
CHapter 8: HelPful APPs for PHotogrAPHers
Intellicast HD and WeatherBug
For a more immediate view of conditions for your shoot, you should outfit
your iPad with a reliable weather app. The App Store is chockablock with
weather titles, but the best apps give you up-to-date radar views with
good customization capabilities. The Intellicast HD app offers up to four
active radar overlay options—from precipitation to cloud cover to storm
tracks—that you can toggle between. WeatherBug for iPad offers even
more overlay customizations (including wind speed), and it pulls data from
a variety of localized sources that can provide more specific data.
Intellicast HD: Free, iPad app
WeatherBug for iPad: Free, iPad app
The iPad for Photographers
Now that the weather looks all clear and you’ve got the time just right for
the sunset, it’s time to set up your shoot to maximize natural lighting conditions. The LightTrac app calculates and plots the angle and elevation of
both the sun and the moon for any given date and time. Once you choose
your location, the app shows three lines for the angle of the sun: sunrise,
sunset, and the current time. Use the slider at the bottom of the screen to
adjust the time of day to find where the sun will be for your shoot.
$4.99, iPad/iPhone app
CHapter 8: HelPful APPs for PHotogrAPHers
Geotag Photos Pro
Having location data added to your photos is both practical and fun. If you
don’t have a GPS-enabled camera or memory card, the Geotag Photos Pro
app is the next best thing. After the app records your position, it runs in the
background and logs location data at selected intervals (from continuous
to once an hour). Matching the app’s coordinates with your photos requires
sending the data file from the app to the Geotag Photos Web site and then
downloading the data to a Java-based desktop application that will save the
matched GPS coordinates into a photo’s EXIF data. A GPX file can also be
sent via email from the iPad app for importing into Aperture. Geotag Photos
Pro works best with the 3G version of the iPad, which includes built-in GPS.
You can still use it with the Wi-Fi–only iPad, but you’ll need to be connected
to a Wi-Fi network to get location data.
$3.99, iPhone app
The iPad for Photographers
Easy Release
To keep everything on the up-and-up, you’ll need signed legal releases
from your shooting subjects. You could keep a stack of photocopied forms
available, but with the Easy Release app you can help yourself go paperless,
and it’s handy for getting signatures when on the go. It includes industry
standard model and property releases, which can be fully customized. After
your model types in his or her details, a signature can be made right on the
iPad’s screen and then the finished release is created as a PDF for sending
via email or printing via AirPrint.
$9.99, iPad/iPhone app
CHapter 8: HelPful APPs for PHotogrAPHers
GoodReader for iPad
I used to carry a copy of my camera’s instruction manual in my camera
bag, just in case I needed to look up some obscure feature or troubleshoot
something. Even slicing out the non-English portions of the book left me
with a heavy little chunk of pressed paper. Instead of abandoning the
information altogether, I downloaded PDF versions of my camera manuals
and other information and put them into GoodReader for iPad. Although
iOS can read PDF files natively, and you can store them in iBooks or other
ebook readers, GoodReader is unexpectedly versatile. Not only can it read
PDFs, it can pull them from (and upload them to) sources such as iCloud
and Dropbox, and it can play audio and video files.
$4.99, iPad app
The iPad for Photographers
The iPad in the Studio
While it won’t help you with the nuances of creating a lighting setup for
your studio, the Strobox app is a good tool for documenting how your
studio lights were arrayed during your shoots. Starting from a blank grid
pattern, you can add icons for a variety of lighting instruments—from softboxes to diffusion panels and strobes—and then manipulate their positioning. Once you diagram your lighting, you can save it for future reference,
send it via email, or save it to your iPad’s Photos app.
Free, iPhone app
CHapter 8: HelPful APPs for PHotogrAPHers
Timelapse Calculator
For creating videos of timelapse photography, you’ll need to do some
math to calculate the interval between shots to get you to the desired
length of your movie. The Timelapse Calculator app relieves you of having
to flash back to your calculus class by computing how many shots you’ll
need to take—and at what interval—during a set time to arrive at your
clip’s duration. You can also email the resulting calculations from the app.
$0.99, iPad/iPhone app
The iPad for Photographers
The HelloPhoto app can be used simply as a light table for your iPad to
view and sort slides and negatives, and it includes full-screen viewing as
well as trays for 35mm slides, 35mm negatives, and 120/200 film. However,
if you add another camera-enabled iOS device to the mix (iPhone, iPod
touch, or another iPad), you can use the app on that second device to capture an image of a negative placed on the HelloPhoto light table and turn
it into a positive image. The result might not be of pristine quality, but it’s
good enough for sharing with Facebook friends.
$1.99, iPad/iPhone app
CHapter 8: HelPful APPs for PHotogrAPHers
Portable Inspiration
Visuals by Vincent Laforet
One of the best ways to keep your creative mojo working is to see what
other photographers are doing and practice some of their techniques. The
Visuals by Vincent Laforet app features some stunning photos by the Pulitzer
Prize winner, and each image is accompanied by exposure details and a
video of Laforet explaining how the shot was accomplished, with tips on
composition and technical details. The app also provides external links for
buying prints and for purchasing equipment used to shoot the photos, and
you can also save images to the Photos app for use as wallpaper.
$2.99, iPad/iPhone app
The iPad for Photographers
The Guardian Eyewitness and The Big Picture
For a wider lens on news photography, The Guardian Eyewitness app replicates the London newspaper’s Eyewitness section, where a single image
is printed in full color across a center spread. The app showcases just one
striking image per day and offers the last 100 daily images. At the bottom
of each image you’ll find a caption to give the picture context, as well as a
pro tip. Save images to a Favorites list and share to Twitter and Facebook.
While The Big Picture app from the Boston Globe only publishes photos
three times a week, you get to dive into a larger collection (ranging from
20 to 40 images) that is based on a theme or a specific news event. The Big
Picture also offers share connections to Twitter and Facebook, and you can
save an image to the Photos app to set it as your wallpaper.
The Guardian Eyewitness: Free, iPad app
The Big Picture from $2.99, iPad/iPhone app
CHapter 8: HelPful APPs for PHotogrAPHers
More than just a photo-sharing site, 500px has been attracting work from
highly skilled photographers since its original incarnation as a curated
LiveJournal community. It’s now open to the public with both free (with
limited upload capability) and paid (unlimited upload) memberships. But
the essence of its beginnings is still in evidence on the Web site and in
the 500px app, where you can browse through a cornucopia of dazzling
imagery from professionals and amateurs alike. As you move through lists
of photos (arranged under Popular, Editors, Upcoming, and Fresh), you can
give a thumbs-up to images to help them float to the top of the heap, as
well as add favorites to your list. Unfortunately, you can’t upload photos to
the site through the iPad app (but see Chapter 7 to learn how you can do
so using another app).
Free, iPad app
The iPad for Photographers
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App Reference
I knew there would be a lot of iPad apps mentioned in
this book when I started, but I didn’t want to pepper every
paragraph with an app name, the price, and a lengthy link to the
iTunes Store. Instead, this handy reference breaks down all the
apps mentioned throughout each chapter, organized alphabetically,
so you can find and investigate the apps easily. Where possible,
I’ve included links to developers’ Web sites, which often feature
videos of the apps in action and more detail than what appears at
the iTunes Store.
The iTunes Store links are regular Web addresses: Plug them into
your favorite Web browser, which will redirect you to the product’s
page in iTunes.
Chapter 1: The iPad on Location
Dropbox (Dropbox), Free
Eye-Fi (Eye-Fi), Free
GarageBand (Apple), $4.99
iMovie for iOS (Apple), $4.99
Photosmith (C² Enterprises), $17.99
PhotoSync (touchbyte GmbH), $1.99
PlainText (Hog Bay Software), Free
The iPad for Photographers
ShutterSnitch (2ndNature Software), $15.99
Skype for iPad (Skype), Free
SoftBox Pro for iPad (EggErr Studio), $2.99
SugarSync (SugarSync), Free
Chapter 2: The iPad in the Studio
Adobe Nav for Photoshop (Adobe), $1.99
Air Display (Avatron Software), $9.99
Capture Pilot (Phase One), Free*
* Capture Pilot requires Phase One’s $399 Capture One Pro software.
DSLR Camera Remote HD (onOne Software), $49.99
ioShutter (enlight photo), Free
iStopMotion for iPad (Boinx Software), $4.99
iStopMotion Remote Camera (Boinx Software), Free
Remote Shutter (iAppCreation), Free
Chapter 3: Rate and Tag Photos
Photogene for iPad (Mobile Pond), $2.99
Photosmith (C² Enterprises), $17.99
The iPad for Photographers
Pixelsync (Code Foundry), $9.99
Chapter 4: Edit Photos on the iPad
Photogene for iPad (Mobile Pond), $2.99
PhotoRaw (Alexander McGuffog), $9.99
piRAWnha (Cypress Innovations), $9.99
Snapseed (Nik Software), $4.99
TouchRetouch HD (AdvaSoft), $0.99
Chapter 5: Edit Video on the iPad
Avid Studio for iPad (Avid Technology), $4.99
iMovie for iOS (Apple), $4.99
ReelDirector (Nexvio), $1.99
Chapter 6: Build an iPad Portfolio
Dropbox (Dropbox), Free
Portfolio for iPad (Britton Mobile Development), $14.99
Chapter 7: Share Photos
500px (500px), Free
The iPad for Photographers
Adobe Revel (Adobe), Free*
* $5.99 monthly subscription required after demo period.
Flickr (Yahoo!), Free
Flickr Studio (Keeple), $4.99
myZenfolio (Zenfolio), Free
Photogene for iPad (Mobile Pond), $2.99
Adobe Photoshop Express (Adobe), Free
PhotoStackr for 500px (iPont), $0.99
PopBooth (Sincerely, Inc.), Free
Sincerely Ink Cards (Sincerely, Inc.), Free
SmugMug (SmugMug), Free
SmugShot (SmugMug), Free
Snapseed (Nik Software), $4.99
Chapter 8: Helpful Apps for Photographers
500px (500px), Free
The Big Picture from (, $2.99
Easy Release (ApplicationGap), $9.99
The iPad for Photographers
Geotag Photos Pro (TappyTaps), $3.99
GoodReader for iPad (Good.iWare), $4.99
The Guardian Eyewitness (Guardian News and Media), Free
HelloPhoto (Light Paint Pro), $1.99
Intellicast HD (WSI Corporation), Free
LightTrac (Rivolu), $4.99
PhotoCalc (Adair Systems), $2.99
Strobox (Strobox), Free
Timelapse Calculator (Cateater), $0.99
VelaClock Sun/Moon (Vela Design Group), $3.99
Visuals by Vincent Laforet (Equity Incubator), $2.99
WeatherBug for iPad (WeatherBug), Free
The iPad for Photographers
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500px app, 159, 184
500px site, 159, 184
Adobe Nav app, 45
Adobe Photoshop. See Photoshop
Adobe Photoshop Elements. See
Photoshop Elements
Adobe Photoshop Lightroom. See
Photoshop Lightroom
Adobe Revel, 164–167
Air Display, 45
AirPlay, 151
AirPrint technology, 167
adding photos to, 25
All Imported, 15, 60
creating, 25, 139
deleting photos in, 62
Facebook, 155
Flickr, 158
Last Imported, 15, 60
naming, 25
Photoshop Express, 160
Snapseed, 154–155
viewing photos in, 118
exporting photos from, 134–135
importing photos with Pixelsync,
keyword tags, 73
syncing with Pixelsync, 69, 76
App Store, 139
Apple Aperture. See Aperture
Apple FairPlay DRM scheme, 122
Apple iPhoto. See iPhoto
Apple TV, 151
apps, 171–184
500px, 159, 184
Adobe Nav, 45
Avid Studio, 106
Camera, 10
Capture Pilot HD, 41
Dropbox. See Dropbox
Easy Release, 177
Eye-Fi, 19
Geotag Photos Pro, 176
GoodReader for iPad, 178
Guardian Eyewitness, 183
HelloPhoto, 181
image pixel size and, 132
Intellicast HD, 174
ioShutter, 41
iStopMotion, 46–48
LightTrac, 175
Messages, 163
myZenfolio, 168
overview, 171
photo editing, 154–157
photo service, 158–160
PhotoCalc, 173
Photogene. See Photogene app
PhotoRaw, 97
Photos. See Photos app
Photoshop Express, 160
Photosmith. See Photosmith app
PhotoSync, 16–17
piRAWnha, 97, 98–99
Pixelsync. See Pixelsync app
PopBooth, 168
Portfolio for iPad. See Portfolio
for iPad app
printing from, 167–168
ReelDirector, 106
remote photo, 34–42
Remote Shutter, 42
ShutterSnitch, 21
Sincerely Ink, 168
SmugShot, 159
Snapseed. See Snapseed app
SoftBox Pro, 31
Strobox, 179
for studio use, 33–48
VelaClock Sun/Moon, 172
Timelapse Calculator, 180
TouchRetouch HD, 101–102
Visuals by Vincent Laforet, 182
Walgreens, 168
WeatherBug, 174
aspect ratio, 90
background music, 121–122
in movies, 120–124
recording in iMovie, 123
sound effects, 123
voiceovers, 124
audio clips
adjusting volume, 120
background music, 121–122
sound effects, 123
audio tracks, 121, 124
Auto Bracketing, 39
auto-focus features, 38
Auto-Lock setting, iPad, 20
Avatron Air Display, 45
Avid Studio app, 106
background music, 121–122
backups, 22–27
to Dropbox, 22, 24–25, 66–67
to GoFlex Satellite, 28–29, 67–68
to hard disks, 22, 28–29
iCloud Photo Stream, 22, 24–25
importance of, 22, 24
on memory cards, 22, 23
online services for, 22–27
overview, 22
with Photosmith, 28–29
portable storage for, 28–29
wireless connections and, 22–23
batch-processing images, 136–137
black levels, 91
bracketing, 39
brightness, 31, 88, 91–93
Brightness setting, iPad, 88
Burst Mode, 38
Camera app, 10
Camera Connection Kit
connecting microphone/headset,
18, 124
importing photos with, 12–18
importing video with, 108–109
The iPad for Photographers
Camera Roll
moving clips to, 108–109
Photo Stream uploads, 24, 156
sharing iMovie projects to, 125
camera sensors, 91–92
controlling from iPad/iPhone, 34–42
importing photos from, 13–16
iPad 2 cameras, 10, 108–109
iPad Camera Connection Kit, 12–18
tethered, 34, 43–44
Capture One software, 41
Capture Pilot HD app, 41
capturing video, 108–109
carousel, photo, 164–167
cases, 43–44
CF (CompactFlash) card readers, 16
Clip Settings window, 114–116, 120
clips. See audio clips; video clips
CloudFTP, 28
CNN iReport, 125
collections, 63, 65
adjusting, 82, 91–95
in portfolios, 132, 133
saturation, 88, 94–95
vibrance, 82, 94–95
color cast, 94
color management, 132, 167
color temperature, 82, 94, 95
CompactFlash (CF) card readers, 16
component cables, 148
compression, 6, 26, 155
contrast, 88, 91–93
cropping photos, 82, 83, 85, 90, 132
digital cameras. See cameras
disks. See hard disks
displays. See monitors
DRM scheme, 122
adding photos
to gallery, 140–141, 143
backing up to, 22, 24–25, 66–67
considerations, 27
copying photos to, 26–27, 66–67
photo quality, 26
“printing” to, 168
sharing photos via, 140–141, 143
uploading photos from, 154
uploading photos to, 26–27, 66–67, 141
droplets, 137
DSLR Camera Remote HD, 34–41
DSLR Camera Remote Server, 34, 35
Easy Release app, 177
images. See image editing
video. See video editing
emailing photos, 161–163, 165
exporting items
iMovie projects to iTunes, 126
IPTC data, 79
exporting photos
from Aperture, 134–135
from iPhoto, 138–139
from Lightroom, 65, 133–134
from Photoshop, 135–137
from Photoshop Elements, 137–138
exposure, 92, 93
Eye-Fi app, 19
Eye-Fi cards, 19–21, 53
photo albums, 155
sharing movies via, 125
uploading images to, 154–157, 165
FairPlay DRM scheme, 122
fill light, iPad as, 29–31
filtering photos
by metadata, 59
in Photosmith, 59–62
in Pixelsync, 76
with Smart Groups, 60–61
FingerPrint utility, 168
Flickr, 158, 165
Flickr Studio, 159
focus priority, 38
adding photos to, 140–143
creating, 140
editing, 144–145
populating, 140
presenting, 147–151
thumbnails, 145, 149
Geotag Photos Pro app, 176
GoFlex Satellite, 28–29, 67–68
GoodReader for iPad app, 178
grouping photos
into collections, 63, 65
Smart Groups feature, 60–61
Guardian Eyewitness app, 183
hard disks
considerations, 22, 28
Seagate GoFlex Satellite, 28–29,
syncing to, 66–68
HDMI cables, 148
headsets, 18, 124
healing tools, 95, 100, 101
HelloPhoto app, 181
highlights, 92
histogram, 91, 93
iCloud Photo Stream, 22, 24–25, 156
image editing, 81–103
brightness, 31, 88, 91–93
color. See color
contrast, 88, 91–93
cropping photos, 82, 83, 85, 90, 132
enhancing photos, 84
healing tools, 95, 100, 101
overview, 81, 82
with Photogene, 90–96
with Photos app, 83–84
presets, 82, 89, 96–97
raw files, 6, 8, 82, 97–99
red-eye correction, 84
image editing (continued)
retouching photos, 82, 100–102
rotating photos, 84, 85, 86, 90
selective edits, 95
with Snapseed, 84–89
straightening photos, 83, 86, 90, 91
tone, 82, 91–95
with TouchRetouch HD, 101–102
images. See photos
iMessage instant messaging, 163
iMovie for iOS, 105–127.
See also video
audio features. See audio
considerations, 105
editing process. See video editing
getting video into, 108–109
interface, 106
Media Library, 106, 109
playhead, 106, 110
playing video, 110
Project Settings window, 106
skimming video, 110
timeline, 106, 108–113, 124
Viewer, 106, 110
iMovie projects. See also movies;
video clips
adding background music, 121–122
adding clips from
Media Library, 109
adding photos to, 117–119
adding titles, 114–115
adding video to, 108–109
adding voiceovers, 124
applying fade in/out, 107
audio in. See audio; audio clips
capturing video directly, 108–109
choosing themes for, 107
creating, 106–107
described, 106
duplicating, 127
editing. See video editing
exporting to iTunes, 126
importing into iOS devices, 127
importing video from iPhone/
iPod touch, 109
Ken Burns effect, 118–119
location data, 116–117
naming, 107
The iPad for Photographers
opening existing, 108
playing, 110
resolution, 125
reversing actions, 117
sending to devices
via iTunes, 126–127
sharing options, 125–127
skimming, 110
theme music, 121
transitions, 112, 113, 114
using Precision Editor, 113
working with
timeline, 106, 108–113, 124
importing items
iMovie projects to iOS devices, 127
video from iPhone/iPod touch, 109
importing photos
from camera, 13–16
with Eye-Fi Direct, 19–21
with iPad Camera
Connection Kit, 12–18
from iPhone, 16–17
from memory card, 13–16
with Photosmith, 52–53
with Pixelsync, 69–70
with ShutterSnitch, 21
wirelessly, 19–21
Intellicast HD app, 174
intervalometer, 40, 46
iOS devices. See also specific devices
importing iMovie projects into, 127
importing video from, 109
Photo Stream, 22, 24–25, 156
as remote camera, 46
screenshots captured, 24
sharing iMovie
projects with, 126–127
ioShutter app, 41
iPad. See also iOS devices
3G vs. Wi-Fi, xiii
Auto-Lock setting, 20
Brightness setting, 88
capabilities of, xii
cases/stands, 43–45
considerations, xii–xiv, 3
controlling camera from, 34–42
as external monitor, 45
on location, 3, 172–178
memory, xii, 22, 132, 147
models, xiii–xiv
mounting, 43–45
printing photos from, 167–169
resolution, 132
using as fill light, 29–31
using in studio, 33–48
iPad 2
camera quality, 10, 108–109
considerations, xiv
location data, 116–117, 176
video quality, 108–109
iPad adapters, 148–150
iPad Camera Connection Kit
connecting microphone/
headset, 18, 124
importing photos with, 12–18
importing video with, 108–109
iPad Media button, 141
iPad Pocket Guide, xiv
iPad portfolio. See portfolios, 28, 139
iPhone. See also iOS devices
controlling cameras from, 34–42
importing iMovie projects into, 127
importing photos from, 16–17
importing video from, 109
location data, 116–117, 176
iPhone 4S, 16
exporting images from, 138–139
importing photos
with Pixelsync, 69–70
keyword tags, 73
syncing with Pixelsync, 69, 76
iPod touch. See also iOS devices
importing iMovie projects into, 127
importing video from, 109
location data, 116–117, 176
IPTC fields, 58, 79
IPTC information, 78–79
IPTC sets, 78–79
ISO setting, 21
iStopMotion app, 46–48
accessing music library, 121, 122
file sharing, 142, 143
importing iMovie projects into
iOS devices, 127
loading images into gallery, 142, 143
sharing iMovie projects via, 126–127
JPEG compression, 6
JPEG files, 4, 97
JPEG format
capturing photos in, 5–6
considerations, 4, 6, 82
pros/cons, 6
vs. raw format, 4–11
JPEG previews, 6, 8, 82, 97
Ken Burns effect, 118–119
keyboards, 18
keyword hierarchies, 57
assigning with
Photosmith, 56–58, 65
assigning with Pixelsync, 73
considerations, 51, 52, 56
light, fill, 29–31
Lightroom. See Photoshop Lightroom
LightTrac app, 175
Live View, 38
location data, 116–117, 176
logo screen/page, 146, 150
Media Library
adding clips from, 109
sound effects in, 123
viewing photos in, 118
memory, iPad, xii, 22, 132, 147
memory card adapter, 12–13
memory card readers, 16
memory cards
for backups, 22, 23
considerations, xiii, 13–16
memory cards (continued)
deleting images from, 15
Eye-Fi Direct, 19–21, 53
importing photos from, 13–16
SD cards, 12–16
wireless, 19–21
Messages app, 163
IPTC information, 58, 78–79
in Photosmith, 58, 59, 67
in Pixelsync, 74
microphones, 18, 124
MMS (Multimedia Messaging
Service), 163
iPad as external monitor, 45
presenting portfolios on, 148–151
movies. See also iMovie entries; video
adding photos to, 117–119
audio in. See audio; audio clips
background music in, 121–122
choosing themes for, 107
editing. See video editing
fading in/out, 107
Ken Burns effect, 118–119
playing, 110
sharing options, 125–127
skimming, 110
theme music, 121
titles, 114–115
transitions, 112, 113, 114
voiceovers, 124, 168
Multimedia Messaging
Service (MMS), 163
music, background, 121–122
myZenfolio app, 168
notes, photos, 147
ordering prints, 168–169
The iPad for Photographers
photo editing apps, 154–157
Photo Library
Photogene and, 90
Photosmith and, 52–53, 69
Pixelsync and, 69
Snapseed and, 84
viewing with Photos app, 161
photo service apps, 158–160
photo-sharing services, 154–160
Photo Stream, 22, 24–25, 156
PhotoCalc app, 173
Photogene app, 155–156
applying selective edits, 95–96
brightness adjustment, 91–93
color adjustment, 91–95
contrast adjustment, 91–93
image editing in, 90–96
presets, 96–97
rating photos, 77
retouching photos, 100–101
tone adjustment, 91–95
PhotoRaw app, 97
adding to movies, 117–119
in albums. See albums
backing up. See backups
batch-processing, 136–137
carousel, 164–167
collections, 63, 65
copying to Dropbox, 26–27, 66–67
copying to GoFlex
Satellite, 28–29, 67–68
cropping, 82, 83, 85, 90, 132
deleting from Photo Stream, 22, 24
dimensions, 132
editing. See image editing
emailing, 161–163, 165
enhancing, 84
exporting. See exporting photos
filtering. See filtering photos
galleries. See galleries
grouping. See grouping photos
iCloud Photo Stream, 22, 24–25, 156
importing. See importing photos
metadata, 58
notes, 147
ordering prints, 168–169
preparing for portfolio, 132–139
printing from iPad, 167–169
rating. See rating photos
raw format. See raw images
recomposing, 82, 85–86, 90
rejected, 62
reviewing, 12–21
rotating, 84, 85, 86, 90
sharing. See sharing photos
sharpening, 132, 134
slideshows, 130, 139, 148
sort order, 62
straightening, 83, 86, 90, 91
watermarks, 157
zooming in on, 82
Photos app
considerations, 139
image editing in, 83–84
sharing photos, 161–163
Adobe Nav app, 45
batch-processing images, 136–137
creating actions, 135–136
images, 135–137
Photoshop Elements, 137–138, 160
Photoshop Express app, 160
Photoshop Lightroom
considerations, 164
exporting photos from, 65, 133–134
exporting to Photosmith, 65
publishing service, 64
syncing to hard disk, 66–68
syncing with Photosmith, 64–65, 69, 160
Photosmith app
assigning keywords, 56–58, 65
deleting photos, 62
exporting photos to, 53, 65
filtering photos, 59–62
importing photos, 52–53
photo backups with, 28–29
photo collections, 63, 65
Plug-in Extras, 65
rating photos, 53–55
rejected photos, 62
scanning library, 52, 53
Smart Groups feature, 60–61
sorting photos, 62
syncing to hard disk, 66–68
syncing with Lightroom, 64–65
version 2.0, 52
working with metadata, 58, 59, 67
Photosmith plug-in, 64
Photosmith publish service, 64, 64
PhotoStackr for 500px, 159
PhotoSync app, 16–17
piRAWnha app, 97, 98–99
pixels, blown, 92
Pixelsync app
assigning keywords, 73
importing photos, 69–70
rating photos, 70–72
syncing with Aperture, 69, 76
syncing with iPhoto, 69, 76
working with metadata, 74
Pixelsync Helper utility, 69, 76, 69
playhead, 106, 110
playing video, 110
podcasting, 18
PopBooth app, 168
portable storage. See hard disks
Portfolio for iPad app. See also
creating portfolio, 139–146
logo screen/page, 146, 150
photo notes, 147
presenting portfolio, 147–151
rating photos, 147
portfolios, 129–151. See also
advantages of, 129
color issues, 132, 133
considerations, 129, 139
creating, 139–146
galleries. See galleries
logo screen/page, 146, 150
multiple, 131
online, 131
preparing images for, 132–139
portfolios (continued)
presenting, 147–151
tips for, 130–131
updating, 131
wired connections, 148–150
wireless connections, 151
Precision Editor, 113
printing photos, 167–169
printing utilities, 167–168
Printopia utility, 167–168
prints, ordering, 168–169
wired connections to, 148–150
wireless connections to, 151
projects, iMovie. See iMovie projects
rating photos
in Adobe Revel, 165
considerations, 51, 52
in Photogene, 77
in Photosmith, 53–55
in Pixelsync, 70–72
in Portfolio for iPad, 147
raw format
capturing photos in, 6–8
considerations, xiii, 4, 6, 8
pros/cons, 8
vs. JPEG format, 4–11
raw images
described, 4
editing, 6, 8, 82, 97–99
ShutterSnitch app, 21
Raw+JPEG format
capturing photos in, 8–11
considerations, 4
pros/cons, 10
recomposing photos, 82, 85–86, 90
recording video, 41
red-eye correction, 84
ReelDirector app, 106
remote photo apps, 34–42
Remote Shutter app, 42
resolution, 125, 132
retouching photos, 82, 100–102
Revel, 164–167
rotating photos, 84, 85, 86, 90
The iPad for Photographers
saturation, 88, 94–95, 132
SD card adapter, 12–13
SD cards, 12–16
Seagate GoFlex Satellite, 28–29, 67–68
shadows, 92
sharing items
iMovie projects, 125–127
video to Camera Roll, 108–109, 125
sharing photos, 153–169. See also
uploading photos
emailing photos, 161–163, 165
photo sharing services, 154–160
via Dropbox, 140–141, 143
via iTunes, 142, 143
sharpening images, 132, 134
ShutterSnitch app, 21
Sincerely Ink app, 168
slideshows, 130, 139, 148.
See also portfolios
Smart Groups feature, 60–61
SmugMug site, 159
SmugShot app, 159
Snapseed app
image editing in, 84–89
uploading photos from, 154–155
SoftBox Pro app, 31
sorting photos, 62
sound. See audio
sound effects, 123
splitting clips, 112
stands, 43–45
stop-motion video, 46–47
straightening photos, 83, 86, 90, 91
Strobox app, 179
apps for, 179–181
using iPad in, 33–48
The Stump, 44–45, 44
SugarSync, 26
Sun/Moon app, 172
to hard disk, 66–68
Photosmith with Lightroom, 64–65
Pixelsync with Aperture, 69, 76
Pixelsync with iPhoto, 69, 76
Tether Tools, 43–44
tethered cameras, 34, 43–44
theme music, 121
themes, movies, 107
thumbnails, 145, 149
Timelapse Calculator app, 180
time-lapse video, 46, 48
timeline, iMovie, 106, 108–113, 124
tone, adjusting, 82, 91–95
TouchRetouch HD, 101–102
transitions, video, 112, 113, 114
trimming clips, 111
Tumblr, 165
wired connections to, 148–150
wireless connections to, 151
Twitter, 154–157, 165
uploading photos. See also sharing
to, from editing apps, 154–157
Flickr, 158
iCloud Photo Stream, 22, 24–25, 156
to photo sharing services, 154–157
from Photogene, 155–156
PhotoStackr for 500px, 159
SmugMug app, 159
from Snapseed, 154–155
via photo service apps, 158–160
USB adapter, 12–13, 18
USB connections, 65
USB hard disks, 28
USB headsets, 18, 124
USB keyboards, 18
USB microphones, 18, 124
VelaClock Sun/Moon app, 172
VGA cables, 148
vibrance, 82, 94–95
vibrance control, 82
video, 105–127. See also iMovie
entries; movies
adding clips from Media Library, 109
adding to iMovie projects, 108–109
audio in. See audio; audio clips
capturing directly, 108–109
editing. See video editing
importing from iPhone/
iPod touch, 109
importing into iOS devices, 127
playing, 110
quality of, 108–109
recording, 41
resolution, 125
sharing options, 125–127
skimming, 110
stop-motion, 46–47
time-lapse, 46, 48
video clips. See also movies; video
adding titles to, 114–115
deleting, 112
editing, 111–113
Ken Burns effect, 118–119
from Media Library, 109
moving on timeline, 111
splitting, 112
transitions between, 112, 113, 114
trimming, 111
video editing, 110–117
in Adobe Revel, 165
considerations, 105, 106
deleting clips, 112
editing audio clips, 120–124
editing video clips, 111–113
moving clips, 111
with Precision Editor, 113
specifying location, 116–117
splitting clips, 112
transitions, 112, 113, 114
trimming clips, 111
video editors, 106
Video Mode, 41
Viewer, 106, 110
Vimeo, 125
Visuals by Vincent Laforet app, 182
voiceovers, 124
volume, audio clips, 120
Walgreens app, 168
Wallee Connect system, 43–44
watermarks, 157
WeatherBug app, 174
Web sites
Adobe Nav, 45
companion to book, xiv, 28, 52, 141, xiv, 28, 139, 168, 34, 160, 164, 64, 69, 44, 43, 168
The iPad for Photographers
white balance, 82, 94
white levels, 91
Wi-Fi networks, 151
Wi-Fi printers, 167
wired connections, 148–150
wireless connections, 151
wireless keyboards, 18
wireless memory cards, 19–21
wireless networks, 19, 22–23
wireless printers, 167–168
YouTube, 125
Z, 168
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The iPad for PhotograPhers:
The New iPad
(Third Generation)
The week leading up to the launch of a new iPad is a
fever dream of rumors, speculation, and anticipation. As the thirdgeneration iPad announcement neared, the iPad for Photographers
was coming off a printing press and I was nervous. What if Apple
added something that would directly impact how photographers
use the new device? A high-resolution Retina display was almost a
sure bet, but suppose Apple changed the entire photo workflow?
I couldn’t burst into the printing plant and yell, “Stop the presses!”
(without getting arrested).
Fortunately, the changes in the new iPad—which are impressive,
especially that screen—don’t dramatically impact the book’s content, except one thing: iPhoto, a new $4.99 app from Apple that’s
really quite well done. If it had been released before my book
went to press, the content in this addendum would have definitely
appeared in the print version.
But iPhoto isn’t the only noteworthy new thing. I suggest in the
book that Photogene is a good fit for photographers accustomed
to working in Adobe Photoshop. Well, also released after the book
went to press was Adobe Photoshop Touch, a photo editor from
the folks who basically invented digital photo editing. Both apps are
featured in this addendum. Thanks for downloading it!
Edit Photos in iPhoto
iPhoto shares the same name as Apple’s photo software for the Mac, but
they’re really completely different applications. iPhoto for iOS is not only
optimized for a touch interface, it includes features, like the ability to selectively edit areas of a photo, that don’t appear on the computer. (In fact, I
wouldn’t be surprised to see many aspects of the iOS version appear in the
next version for the Mac.)
To start editing a photo, select it and tap the Edit button; the editing tools
appear at the bottom of the screen. While in editing mode, you can also
tap another photo to begin editing it without exiting the mode.
As you work, you can compare the edits you’ve made by tapping the Show
Original button to the left of the Edit button. Tap it again to return to the
edited view. Tapping the Undo button removes the last edit (or tap and
hold to reveal an option to redo an adjustment), but if you want to start
over from scratch, tap the gear button in the lower-right corner and choose
Revert to Original.
Tip Tap the Show or Hide Thumbnail Grid button to make more room for the
photo you’re editing. If you don’t mind thumbnails along the side, drag the
edge of the grid in the top toolbar (you’ll see three vertical lines, suggesting a grippy place to position your finger) left or right. That lets you choose
between one and three columns of thumbnails. And here’s a nice touch,
especially if you’re left-handed: Drag the top of the grid to move the whole
thing to the other side of the screen. That also repositions the tool buttons.
I’ll be honest, there are several approaches to cropping and straightening
photos among various editors, but I like iPhoto’s implementation the best.
Select a photo and, in the Editing mode, tap the Crop & Straighten tool.
Straighten the image
If iPhoto detects a possible horizon, it draws a line along it and attaches a
rotate button to the right edge (A.1). Tap the button to accept the suggestion and straighten the image. Or, to manually straighten the photo, drag
the dial at the bottom of the screen or touch the screen with two fingers
and turn them to rotate and zoom the image as necessary.
The iPad for Photographers
A.1 iPhoto suggests
straightening if it
detects a horizon line.
Tip Here’s a feature that’s fun but almost useless in real practice. Tap once
on the straighten tool at the bottom of the screen to highlight it. Now,
instead of dragging it to adjust rotation, turn the entire iPad itself clockwise
or counter-clockwise and use the device’s gyroscope. Tap the control again
to disengage the gyro.
Crop the frame
To redefine the visible area of the photo, do any (or all) of the following:
Drag a corner or edge of the image’s border to resize the area freely.
Drag the middle of the image to reposition it within the frame.
Pinch with two fingers to zoom in or out of the image.
Tap the Lock Aspect Ratio button (next to the gear button) to keep the
ratio of the current frame
Tap the gear button to choose from several standard aspect ratios,
such as 4 x 3 or 16 x 9. This is often the quickest way to switch
between landscape and portrait orientations (A.2).
Addendum The New iPad (Third Generation)
A.2 Choose from
standard aspect ratios.
Adjust Exposure and Color
iPhoto’s controls for improving exposure and color include sliders for
adjusting brightness, contrast, saturation, and the like, as you might
expect. But those are secondary to dragging directly on the photo and
applying corrections based on where you touch.
Brightness and contrast
To adjust a photo’s tone, tap the Exposure button in the toolbar and do
the following.
Tap anywhere in the image to reveal the onscreen brightness and contrast controls (A.3).
Drag up or down to increase or decrease brightness. (Or, drag the
Brightness control in the slider.)
Drag left to decrease contrast, or drag right to increase it. (Or, drag
one of the Contrast controls in the slider.)
The iPad for Photographers
A.3 Exposure controls
for iPhoto
touch and drag to
edit anywhere
Clipping area
To brighten shadows specifically, touch a dark area of the photo to
reveal a Shadows control. Or, drag the left-most control on the slider
at the bottom of the screen. Extending it left beyond the hairline
border clips the black pixes in the image (the area behind the control
turns red to indicates clipping).
Similarly, to adjust highlights touch a bright area of the photo to reveal
a Highlights control. Or, drag the right-most slider controla, optionally
blowing out the lightest values to white.
The color controls focus on five key areas: saturation, blues, greens, skin
tones, and white balance. The sliders with the descriptive icons at the
bottom of the screen control the intensity of these attributes, but you can
drag corresponding areas of the photo to adjust those values.
Addendum The New iPad (Third Generation)
A.4 Apply color
adjustments based
on the area sampled
in your image.
For example, dragging from a blue area displays the Blue Skies control
(even if you’re not technically editing a sky) that affects all blues in the
image (A.4).
To change the photo’s color temperature, tap the White Balance button
to the right of the Skin Tones slider and choose one of the white balance
presets. For more granularity, tap the Face Balance or Custom buttons
and pinpoint an area of the image to sample. (As the name implies, Face
Balance is intended to better preserve skin tones when setting color
Tip Once you’ve made tonal or color changes to an image, it’s easy to
apply them to related photos. Tap the gear button and choose Copy
Exposure or Copy Tone (depending on the tool), switch to a different
photo, and then tap Paste Exposure/Tone from the same menu. In fact,
you can use this technique to apply adjustments to several photos at once.
After copying settings from one, tap and hold to select multiple photos (or
double-tap an image to select visually similar ones), tap the gear button,
and choose Paste Exposure, Color and Effect.
The iPad for Photographers
Adjust Specific Areas
Some photos need just a touch of detail adjusted here and there, but until
now iPhoto (on the Mac) applied changes to the entire image. Using the
Brushes tools, paint adjustments just where you want them.
Tap the Brushes button to reveal the available tools
Tap a brush to select it.
Zoom or pan the image using two fingers. When painting areas, it’s
often easiest to zoom in.
Drag your finger on areas to apply the adjustment (A.6). If you paint an
area by accident, switch to the Eraser tool. Or, tap the Edge Detection
button (next to the Eraser) to help you scribble inside the lines. Sometimes it can be difficult to tell where you’ve painted. In that case, tap
the gear button and enable the Show Strokes option (A.7).
A.5 Apply color
adjustments based on
the area sampled in
your image.
A.6 Painting the berries brightens them.
A.7 View your strokes as a red overlay.
Addendum The New iPad (Third Generation)
The tool settings popover also includes a slider for setting the intensity of
the stroked areas you’ve painted. You can also apply a brush’s effect to the
full image instead of painting by tapping the [Effect] Entire Image button;
this isn’t as useful for a brush such as Lighten (since you could achieve similar effects using the Exposure tools), but is helpful if you select the Sharpen
tool to make the entire photo more crisp.
NoTe The results of the Brushes and Effects tools are applied to a virtual
overlay of your image. If you add an effect and then decide to adjust the
tone or color of the photo, switching to another tool temporarily disables
the effect (it’s pulled up like a plastic film). The edits reappear when you
finish the adjustment.
Apply Creative Effects
You won’t find the largest selection of preset effects in iPhoto, but for my
money, that’s fine. The effects are restrained, not thrown in to see how
many levels of visual complexity can be glommed onto a photo.
To get started, tap the Effects button in the toolbar to reveal the effect
categories displayed as if they’re bound like a fan or a Pantone swatch
book (A.8).
Tap a category to select it and explore its effects.
For the Vintage or Artistic categories, tap a thumbnail, such as Sixties or
Oil Paint, to apply that effect (A.9). (It’s helpful to tap the Help button—
the question mark—to view an overlay that labels each one.)
A.8 iPhoto’s
array of effects
The iPad for Photographers
For the other categories, drag along the thumbnail strip until you find
a hue or look that appeals to you.
If the category includes other options, they appear to the right of the
thumbnails. Add Vignette is most common: tap it to create the dark
halo surrounding the photo, and then pinch with two fingers to specify
the size and center of the vignette. The Black & White effects also
include the option of adding film grain and a sepia tone (A.10).
Tip I almost can’t believe I’m suggesting this, but make sure your iPad’s
audio isn’t muted when you edit in iPhoto. Many actions have sound
effects—like a ziiip as the loupe appears or disappeares—that are quite
well done. If you find them annoying, don’t worry: At iPhoto’s main Albums
screen, tap the gear button and switch the Sound Effects setting to Off.
Tip Despite the improved camera in the third-generation iPad, I’m far more
inclined to take photos using my iPhone 4S. The iPad, however, is a much
better editing environment. Since iPhoto runs on both devices, it’s a cinch
to transfer photos from one to the other. On the iPhone, select a photo and
tap the Share button. Make sure the iPad is also running iPhone and tap
the Beam button. Specify which photo to beam (the selected one, or others
that may be flagged or favorited), and then choose the name of the iPad.
A.9 Vintage effects
A.10 Black & White
effects, with a
vignette and grain
added (but sepia
Addendum The New iPad (Third Generation)
Edit Photos in
Adobe Photoshop Touch
This is the real deal, Photoshop adapted for use on a tablet. It doesn’t
support all of the desktop version’s features, of course, but you may be
surprised to learn what is there: layers, blend modes, selection tools
(including the very cool Scribble Selection tool), custom gradients, and
more. As such, I’m not going to try to provide a comprehensive overview,
and instead stick with common operations you’re likely use most often.
NoTe It can’t be Photoshop without a little frustration, right? In its attempt
to provide a stripped-down tablet app, Adobe has made the interface
a little too sparse for my taste. For example, many operations are found
under the & menu—yes, an “ampersand” menu. So when I mention that
you need to choose Crop under the & menu, it’s not a typo.
To get started in Photoshop Touch, tap the New From button (at the
bottom of the screen, to the right of the New, or plus-sign (+) button)
to locate a photo to work with. It can come from local photos stored on
the iPad, Adobe’s Creative Cloud (if you have an account), captured by
the device’s camera, or downloaded from Google or Facebook. Select an
image and tap the Add button.
Straightening a crooked photo requires two steps: turning the image and
cropping out empty space created by the rotation. While many apps crop
automatically, Photoshop Touch leaves that step for you to do. Is the app
slacking? Not really. Your photo exists on a layer, and edits you make are
applied to that layer. This approach gives you the freedom to bring in an
image, adjust it, add another image on a new layer, rotate or resize that,
and perform other involved edits.
Straighten the image
With an image open, tap the Layer Transform tool (which looks like a
cross) to view the transformation options.
The iPad for Photographers
A.11 Straighten the
photo by dragging.
Drag the Rotation button clockwise or counter-clockwise to turn the
image (A.11). If your image needs just a small amount of straightening,
the tool may snap to 90-degree angles; in that case, turn snapping off
by tapping the magnet icon in the toolbar.
Tap Done to accept the edit.
Crop the frame
Tap the & menu and choose Crop.
Drag the selection handles to redefine the visible area of the photo
If you want to maintain the image’s aspect ratio, tap the Lock
Aspect Ratio button in the toolbar so that it appears that the chain in
the icon is unbroken.
Drag the middle of the selection area to move the entire area without
adjusting its size.
Tap Done to finish.
Addendum The New iPad (Third Generation)
A.12 Crop to define
the visible area.
Rotate the canvas
Surprisingly, Photoshop Touch offers no easy way to rotate the image
in 90-degree increments, and doesn’t always honor the orientation of
imported images. It’s possible, but it will make you feel like you need to
be an engineer to do it.
Open a photo that needs to be rotated.
From the & menu, choose the Crop item.
Tap the carat button (^) to expand the options at the bottom of the
In the W(idth) and H(eight) fields, take the largest value and apply it to
the other field. For example, if your landscape-oriented photo is 1600
pixels wide by 1200 pixels tall, change the H value to 1600. Tap Done.
Tap the Layer Transform button.
Drag the Rotation button to turn it 90 degrees, and then tap Done.
Go back to the Crop command under the & menu and drag the
handles to remove the excess background area. Tap Done to finish.
The iPad for Photographers
Adjust Tone and Color
So you want fine-grained control over how your image appears? Photoshop
Touch has a slider for you.
Tap the Adjustments button to reveal the collection of tone and color
adjustment tools you can use (A.13).
Choose a tool to reveal its controls. For example, Brightness/Contrast
offers a slider for each attribute (A.14).
Drag the controls to adjust the settings, and then tap the Apply button.
Adjust Specific Areas
One advantage Photoshop Touch boasts over most editors is its array of
selection tools. You can draw rectangular and free-form lasso selections,
feather the selection borders, and more.
For my discussion here, I want to draw attention to the Scribble Selection
tool, and use it to make the background of an image black and white,
while keeping a foreground object in color. This also lets me demonstrate
how layers are an important part of editing in the app.
A.13 The Adjustments menu
A.14 Adjusting contrast and brightness
Addendum The New iPad (Third Generation)
In the Layers panel at the right edge of the screen, tap the Add Layer
(+) button, and then tap Duplicate Layer in the dialog that appears.
Next, activate the Scribble Selection tool: Tap the toolbar at the left
of the screen to view which tools are available. The Scribble Selection
tool is grouped together with the Magic Wand; tap and hold the latter
and then choose Scribble Selection Tool when it appears. When a tool
is selected, its options replace the column of other tools.
Make sure the Keep button is highlighted, because you want to first
define the area you want to select. Then, drag roughly to define the
area with a green line; Photoshop Touch will do the hard work of
detecting edges and making a better selection (A.15). (To refine the
selection, pinch with two fingers to zoom.)
Tap the Remove button in the toolbar, and then paint the section you
want to be outside the selection (the strokes show up in red). As soon
as you lift your finger, Photoshop Touch makes the selection. However,
if you want to refine the edge, you can continue to draw Keep or
Remove strokes.
In this example, to keep the lion but remove the background, I choose
Extract from the Edit menu (the pencil icon). The image looks the same
due to the identical layer below it, but the layer icon reveals a transparent background (A.16).
A.15 Using the Scribble Selection tool to define an area.
The iPad for Photographers
A.16 Background extracted in top layer
To make the underlying layer black and white, first tap to select it.
From the Adjustments menu, choose Black & White. The end result is a
foreground in color and background in gray (A.17).
A.17 A quick bit of
selection separates
the foreground and
Addendum The New iPad (Third Generation)
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