In addition, you can import and export presets to distribute by selecting Edit > Presets > Export/Import Presets. You can select all or Export/Import a subset of your presets. This should make it easier to keep presets the same when working with multiple computers.

In addition, when dragging the transformation handles, the transformation values appear at the top right of your cursor. This display can be controlled via Preferences > Interface > Show Transformation Values (Top Right, Top Left, Bottom Right, Bottom Left or Never). Because the calculations that are taking place when using Free Transform have been moved to the GPU, there shouldn’t be any lag time when dragging the transformation handles.

The “Bicubic Automatic” option is also available when resampling an image using Image > Image Size. And of course you can still change the default option for resampling throughout Photoshop (if desired) under Preferences > General > Image Interpolation.

Will all blurs, you can:

• Hold the “H” key to temporarily hide the Blur interface (pins etc.).

• Tap the “P” key to toggle the preview on and off.

• Hold the “M” key to display the mask.

• Add as many blurs (even mix and match between Tilt Shift, Iris and Field) as needed to a layer, knowing that the multiple pins will create a single unified, intersecting mask).

• Use the option Save Mask to Channel to create an alpha channel.

• Vary the Selection Bleed to expand the blur  into the selection. Note, you have to have created a selection before selecting the blur filters or this option will be unavailable.

Specific to the Tilt Shift blur:

• The area between the solid white lines has no blur applied. The distance between the solid and dashed while lines is the “transitional” area where the amount of blur is slowly added over the length of the transition. Beyond the dashed line, the specified blur amount is fully applied.

• Click-drag the solid white dots to rotate the angle of the blur, OR click-drag anywhere outside of the solid white lines to rotate the angle of the blur. Note: if you click, release the mouse and then drag you will add another blur – you must click and drag in one motion, without releasing the mouse between the click and the drag. Add the Shift key to constrain to 15 degree increments.

• Add distortion to the foreground of an image (or rotate the blur to favor the opposite direction). Or,  choose Distort Symmetrically to apply distortion to both sides of the blur.

• Use the Focus slider (in the Options bar) to blur the center part of the Tilt Shift blur (if you want the whole layer to start slightly out of focus).

• The Blur Effects panel offers a various settings to customize a Bokah effect.

Specific to the Iris Blur:

• From the center pin to the “free-floating” solid white dots, no blur is applied. Between the solid dots and the solid white circle is the “transitional” area where the blur is applied over the length of the transition. Beyond the solid white circle, the blur is fully applied.

• Option + (Mac) | Alt  +(Win) -drag the free-floating dots to move independently (thus making the transitional area asymmetrical).

• Drag the large square on the solid circle outwards to create a rectangular shape Iris blur.

• Drag the small white dots on the outer circle to rotate and/or to distort the circle to an oval.

• Use the Focus slider (in the Options bar) to blur the center part of the Iris Blur (if you want the whole layer to start slightly out of focus).

This illustration demonstrates three options, the first shape was drawn with the Snap Vector Tools and Transforms to Pixel Grid preference turned on and, as a result, all sides of the rectangle are solid (remember, even though the initial rectangle shape might not have been drawn in perfect alignment to the pixel grid, Photoshop automatically snapped the rectangle to that grid because the preference was turned on).

The middle illustration was drawn with the Snap Vector Tools and Transforms to Pixel Grid preference turned off. This resulted in anti-aliased edges (varying levels of opacity) because the rectangle (the vector path) was not perfectly aligned to a pixel edge when the rectangle was drawn.

The final illustration is the same rectangle as in the second illustration, however the Align Edges option was enabled for the rectangle shape layer (in the Options bar) after drawing the rectangle. Enabling the Align Edges option “jumped” the edges of the rectangle to the nearest pixel grid (you can still see that the original shape (path) is not aligned to the pixel grid, but the fill is being forced to Align Edges to the edges of the pixel grid. Align Edge is a good way to align objects on a “per shape layer” basis if you want to turn off the Snap Vector Tools and Transforms to Pixel Grid preference .

However, I expect that most people will leave the Snap Vector Tools and Transforms to Pixel Grid preference turned on as it will help to avoid anti-aliased edges when drawing shapes as well as transforming them making alignment clean and precise.

• To copy and paste the Fill or Stroke attributes from one shape to another, click the color swatch next to Fill or Stroke in the Options bar. Then, click the gear icon and choose Copy Fill (or Copy Stroke). Then select another Shape layer, click the color swatch next to Fill or Stroke, select the gear, and choose Paste Fill (or Paste Stroke).

• An even easier way to quickly apply the fill and shape from one layer to another is to Control -click (Mac) / Right Mouse -click (Win) on the layers panel (to the right of the layer name), and select Copy Shape Attributes (this will copy both the stroke and the fill unlike the tip above that copies one or the other). In the Layers panel, select the layer(s) to paste the attributes and Control -click (Mac) / Right Mouse -click (Win) and select Paste Shape Attributes.  Note: you can also Control -click (Mac) / Right Mouse -click (Win) directly on the layer in the image area, but it might be more difficult to select the layers to paste the attributes on.

• All shapes on a shape layer will have the same Fill and Stroke attributes. To apply different attributes to different shapes, put each shape on its own layer by selecting the shape and choosing Layer > New > Shape Layer Via Cut  or use the shortcut: Command + Shift + J (Mac) | Control  + Shift + J (Win). Note: when cutting a shape to its own layer and/or when merging 2 (or more) shape layers to the same layer, they no longer rasterize but remain vectors!

• Although the Shape Layer icon (badge) has changed, you can still double-click the shape layer icon to change the color of the shape’s fill.

• Because shapes are often very small in relation to the entire image, the Layers panel displays the contents of shape layers as large as possible in the Layer thumbnail – ignoring the relationship of the shape to the entire document (as other layers appear by default).

• Selecting a Shape layer in the Layers panel automatically displays the path in the image area (making it easier to quickly edit the shape).

• Command + H (Mac) | Control + H (Win) hides the path.

• Clicking on a shape in the image area with the Path Selection tool will automatically select that layer in the Layers panel.

• If you delete all of the paths on a shape layer, the layer will automaticallly be deleted.

• Before drawing with the Pen or Shape tools, quickly select between Shape, Path or Pixels from the drop-down list (these options were previously represented by icons which was a bit confusing).

• Click the Fill and Stroke color swatches to choose the type of content: none (for a transparent shape), solid color, gradient and/or pattern.

• The Shape color picker (displayed when clicking on the Fill or Stroke swatch), keeps track of your Recently Used Colors. That would be nice throughout the application!

• Add a stroke, dash and/or dotted line to a path and customize its alignment, caps, corners, gap and dash amounts by clicking the Stroke Options icon in the Options bar.

• Easily change the height and width for shapes (without going to Free Transform) using the new numeric entry options.

• By default, the shape tools draw a new Shape Layer every time you click and drag with the tool. However, you can use the new Path Operations drop-down list in the Options bar (path operations were previously represented by icons) in order to add additional shapes to a single Shape Layer (including Combine, Subtract, Intersect, Extrude or Merge  Shape Components).

• With multiple shapes selected, use the Path Alignment and Path Arrangement drop-down lists to choose to align selected shapes (to the Selection or Canvas), distribute shapes, and/or change the stacking order of shapes.

• Specify a shape’s size by clicking (instead of dragging) in the image area. The Create Polygon (or Create Rectangle etc.) dialog appears, with all of the options specific to the selected Shape tool.