Discover all of the new refinements made to the Adjustment Brush in Camera Raw including the ability to reposition brush adjustments in the video below.
In addition, these shortcuts will help when using the Adjustment Brush:
• Command + Option -drag (Mac) | Control + Alt -drag (Win) an Adjustment Brush pin to duplicate the pin.
• Option -click (Mac) | Alt -click(Win) to delete the pin.
• If you prefer, Control -click (Mac) | Right Mouse -click (Win) displays both options – to duplicate or delete a pin.
• Control -click (Mac) | Right Mouse -click (Win) on the pin to access the option to “Reset Local Correction Settings” from the context menu. Or, use the fly-out menu to choose “Reset Local Correction Settings” – whichever is faster for you.
When photographing in low light, shadow areas within an image can appear to have “splotchy” areas of color. Watch the video below to see how to remove this low-frequency color mottling using the new Color Smoothness adjustment slider in Camera Raw.
Jeff Tranberry has been very busy creating, curating and updating resources to help answer frequently asked customer questions about the transition from Photoshop CC to the 2014 Release of Photoshop. He found that the majority of questions focused around “Where’s my Stuff…” Click here for the answers to questions such as:
Where are my settings & workspaces?
Where are my presets?
Where are my custom panels?
Where are my 3rd party plug-ins?
Why do I now have two versions of Photoshop installed?
Camera Raw in Photoshop CC now includes the ability to select RGB, CMYK and LAB ICC profiles to soft proof images. To select a profile, click the workflow Options (accessed via the blue hyperlink at the bottom of the Camera Raw window) and in the Color Space section, choose the Space from the pop-down menu. Once a profile is selected, Camera Raw displays a “soft proof” of that image. In addition you have the ability to choose either Perceptual or Relative as your rendering Intent and can choose whether or not to Simulate Paper and Ink. Note: there is not an option for Black Point Compensation because it is always enabled in Camera Raw. In addition, Grayscale color profiles will only appear in the Space popup when processing a monochrome image or when converting a color image to grayscale. And finally, when using a Lab or CMYK color space, the histogram and color readouts will change accordingly. Check out the details in the video below:
Note: For accurate results, monitor calibration is a must! In addition, there may very well be some colors that simply aren’t reproducible on a monitor that can be printed and vice versa.
There are two choices in the Image Sizing area of the Workflow Options in Camera Raw that I didn’t understand the difference between: Width & Height and Dimensions. Well, thanks to Eric Chan, now I know!
• Width & Height: One would use this option to resize using both the image width and height. The width of the resized image will be limited to the unit specified in the “W” field, and the height of the resized image will be limited to the unit specified in the “H” field. It’s like you’re setting a bounding rectangle for the image to fit inside of (while maintaining the aspect ratio of the image).
• Dimensions: This option is similar to the “Width & Height” described above, but it disregards the image orientation. That is, the longer edge of the resized image will be limited to the larger of the two specified units. Similarly, the shorter edge of the resized image will be limited to the smaller of the two specified units.
In addition, when changing image size, a new option to change based on Percentage is available in the drop down menu.
As many of you know, batch saving multiple images from Camera Raw, can be a significant time saver.
In Camera Raw in Photoshop CC, the Save Image options have been updated to include Color Space, Image Sizing and Output Sharpening. This gives us the benefit of being able to quickly save out our images using the Save Image button without having to change our current workflow settings.
And, if you use the same Save Image setting again and again, be sure to save them as presets so that they’re easily accessible.
Workflow presets are now available for defining and then quickly choosing different workflow settings in Camera Raw. Click on the Workflow settings (the hyperlink at the bottom of the Camera Raw dialog) to access the options then, after creating your custom presets and exiting the workflow settings, Control -click (Mac) | Right Mouse -click (Win) the workflow link to quickly switch between your saved presets. This video will show you how.
The Crop tool’s behavior has been modified so that it is now solely responsible for defining the aspect ratio of the image and the Workflow options are responsible for determining the actual image size. For example, in order to create an image that is 8 x 10 inches at 300 ppi, click and hold the Crop tool to select 4 to 5 from the list of aspect ratios and crop the image as desired. Then, using the Workflow Options (accessed via the blue hyperlink at the bottom of the Camera Raw window), check the Resize to Fit option. Select Short Size from the drop down menu and enter 8 inches and a resolution 300 ppi. See how it works in the video below:
Shortcut – tapping the “X” key when using the Crop Tool toggles the aspect ratio from landscape to portrait and vice-versa.
In Photoshop CS6, the engineering team added the ability to create Type styles to make working with text in Photoshop much more efficient. In Photoshop CC, they added additional functionality including the ability to set default Type styles. This video explains the details:
I thought it might be helpful to include a few additional notes to clarify what will happen (the default behavior) when working with default type styles in different scenarios:
• If you choose “Save Default Type Styles” from the Type menu, it will REPLACE your existing default type styles if they exist, or create them if they do not.
• After defining default type styles, every time you create a new document, those default type styles will be automatically loaded into the new document.
• If you open an existing document without any defined styles, Photoshop will automatically load the default type styles.
• If you open an existing document that HAS type styles defined, Photoshop will NOT load the default set. (You can choose to load them manually – see next bullet.)
• If you choose “Load Default Type Styles”, it will APPEND the default styles to any type styles already defined in the document. However, if there is a type style with the same name, it does not load that default type style.
• After loading the default styles in a document, they are saved with the document. If you later change the default styles, this will not update the styles in previous documents.
• If you need different sets of type styles for different projects/clients, you will need to define those type style sets in separate Photoshop files and then load the appropriate set each time you begin work for that project/client.
If you’re new to Type Styles, this video will quickly get you up to speed:
In the video below, we’re going to discover how easy it is to take multiple, bracketed exposures of the same scene and combine them into a single 32-bit HDR image that can then be edited nondestructively using Adobe Camera Raw as a Smart Filter in Photoshop CC. In addition, we’ll discover how powerful Camera Raw can be when applied to multiple layers as a Smart Object.
And just in case I wasn’t clear in the video, I want to point out why Adobe would include Camera Raw as a filter in Photoshop CC. Well, here are the first three reasons that I can think of, but I’m sure that there are more!
• First of all, not everyone had the luxury of working with raw files so it can be a huge benefit to be able to apply options like clarity and perspective correction to non raw images (a Photoshop layer for example).
• Sometimes we forget to do things in the right order and we don’t have time to go back to the beginning and fix them when on deadline. Yes, this might not be optimal, and yes, we would be better off making changes earlier in our workflow (processing our raw files directly in Camera Raw before opening them in Photoshop), but Camera Raw as a filter can help to make corrections or add creative effects to layers later in your workflow and/or with legacy files.
• Camera Raw as a filter can be applied to multiple layers at one time (by selecting multiple layers in the Layers panel and converting them to a single Smart Object). Plus, working with Camera Raw as a Smart Filter enables blend mode and opacity options as well as a Smart Filter mask to selectively show and hide the filter. Additional information can be found in this post. Note: The following features are not available when using Camera Raw as a Smart Filter (that are normally available in Camera Raw), primarily because they don’t make sense in the filter context:Workflow options and preferences, crop and straighten tools, rotation tools (rotate left/right buttons), snapshots, camera and lens profile corrections.
In the video below, we can see that the Camera Raw team has made even more refinements to the Advanced Healing Brush (Spot Removal Tool) in Camera Raw in Photoshop CC. These improvements include a new Feather slider to control the softness of the edge when cloning or healing areas of an image as well as improvements in the way that the Advanced Healing Brush determines the auto source location (the area that it clones/heals from), so that it now works better for images with textured areas. And, if the image has been cropped, the Advanced Healing Brush will bias the selection of the auto source location from within the crop rectangle (as opposed to auto-choosing image areas outside the crop). Note: tapping the Forward Slash key (/) will automatically select a new source for the selected circle or brush spot.
As some of you might have noticed, the video in yesterday’s post (demonstrating the Radial Filter in Camera Raw) didn’t include the incredible new Filter Brush, which can be used to selectively hide the effects of either the Radial or Graduated Filter in an image. Below is an example of the new technology. This first illustration is the original image.
In the image below, a Graduated filter was added to darken the sky. However the effect is also applied to the top of the mountains because they are also affected by the Graduated filter.
To remove the effect in the top of the mountains, with the Gradient Filter selected, choose the Brush option. The Brush options include Size, Feather and Flow as well as Auto Mask (used to automatically detect edges based on contrast and color) and Clear (to remove Brush overrides).
The image below shows the result from using the Graduated Filter Brush to paint out the effect in the mountains while still retaining the effect in the sky area.
And two more super shortcuts:
• To keep the Graduated and Radial filters eraser size the same as the brush, click the flyout menu (to the right of the Graduated/Radial Filter panel header), and toggle “Separate Eraser Size” from the menu.
• When a Graduated or Radial Filter instance is selected, Shift-K can be used to enter and leave brush modification mode.
The video below demonstrates the Radial Filter in Adobe Camera Raw in Photoshop CC. Additional tips and shortcuts for working with the Radial Filter are below.
• Tap the “J” key to select the Radial Filter
• The Shift key will constrain the Radial Filter to a circle.
• Tapping the “V” key will toggle the overlay of the Radial Filter interface (bounding box).
• Tapping the “Y” key will toggle the overlay of the Radial Filter mask.
• While dragging one of the four handles of an existing Radial Filter to resize it, press the Shift key to preserve the aspect ratio of the ellipse.
• While dragging the boundary of an existing Radial Filter to rotate it, press the Shift key to snap the rotation to 15-degree increments.
• While dragging to create a new Radial Filter, press and hold the Space bar to move the ellipse; release the Space bar to resume defining the shape of the new Radial Filter.
• While dragging inside of an existing Radial Filter to move it, press the Shift key to constrain the movement to the horizontal or vertical direction.
• You can drag a Radial Filter beyond the image area.
• While an existing Radial Filter is selected, press the Delete key to delete the Radial Filter.
• Double-click in the image area to set the bounding box of the Radial filter to the image bounds.
• Double-click inside of an existing Radial Filter to expand the bounding box of the Radial Filter to the image bounds. Or, Control -click (Mac) | Right Mouse -click (Win) on the Radial Filter pin and select Fill Image to expand the Radial filter to the image bounds.
• Command + Option -drag (Mac) | Control + Alt -drag (Win) to duplicate the Radial Filter.
• While an existing Radial Filter is selected, press the X key to toggle the effect direction from outside to inside.