2018/09/18

3, 2, 1, Photoshop! Explore Different Artistic Filters in Photoshop CC

In this Episode of 3, 2, 1, Photoshop! You’ll explore different artistic filter and learn how to apply them nondestructively using smart objects in Photoshop.

5:00 AM Permalink
2018/09/12

Now or Later – When to Share Photographs

For several years, my goal was to post three new photographs a day  in order to exercise my creative muscle and improve my photography. My “self-imposed” requirement was that the images were at least loosely related to one another (in theme, color, subject or some other way). Doing the same thing for several years however, had started to loose its charm so when Instagram changed the way they display images (preventing my three images to appear sequentially in the feed), I though it would be the perfect time for me to shake up my process as well. 

Today, I’ve started paying more attention to the quality of the images that I post rather than the speed at which I post them. I’m looking to share photographs that still have impact weeks, months (hopefully even years), after they were taken. Although some may feel that delayed publishing goes against the immediacy of social media, I am thrilled to have let go of the idea of posting “same-day” images for several reasons including:  

• Time is a lovely editor. I find that I’m often so excited about the process of making the photograph that while I’m still “in the moment”, I can’t be objective as to whether or not the photograph successfully communicates the emotion/story that I’m trying to tell. I don’t want to confuse the experience of making the photograph (being awed by a beautiful landscape for example), with the photo itself.  If I’m only paying attention to my part of the equation (my roll in the making of the image) while ignoring the fact that the viewer is going to complete the experience, then I might not be posting my most compelling work.  

• Publishing a body of work with a deliberate order (sequence) can help create a more cohesive story. In other words, the order of images matters, but it often takes time for me to see the relationship between images.  

• Social media has an appetite that’s never satisfied. By giving myself permission to allow time to pass between capture and sharing, I can make more thoughtful decisions about my work. And, when I don’t worry about immediately posting an image, I am able to better enjoy my roll as a participant in the world – not only as an observer.

So, all that was my way of saying, I’m so glad that I didn’t immediately post all of the images that I took in the Valley of Fire. I needed to take some time to live with my photographs for a while before I shared them – as a result, I think I made a significantly tighter edit which resulted in a better (much smaller) body of work to share. 

Below are three of the images as they were captured (left) and after editing in Lightroom Classic and Photoshop.

5:30 AM Permalink
2018/09/04

3, 2, 1, Photoshop! Five Ways to Change the Canvas Size in Photoshop CC

In this Episode of 3, 2, 1, Photoshop, you’ll learn five different ways to change the canvas size of a document based on the task at hand. 

5:02 AM Permalink
2018/08/29

New Features in Lightroom CC Mobile (August 2018)

I’m excited to announce new features and enhancements to Lightroom CC mobile on iOS and Android.

iOS

  • Lightroom for iOS now has two “smart” folders to help auto-organize your images:
    • Lr Camera Photos –  tap to see all images captures with the Lr camera
    • Recently Added – tap to see recently added photos

  • Tap the new Shared Albums icon (the globe) to see all of the albums you’ve shared on lightroom.adobe.com. Tap the more icon (the three dots) to The right of the album to access and control the share options.

  • To help organize your images more quickly, tap and hold on an image to enter “multi-select” mode. Once the desired images are selected, choose to Add To (a collection), Move To (a collection), Share, or Remove. 

  • The filter menu has been updated, enabling you to filter your photos by media type, camera, location, keywords, and whether or not the photo has been edited.

  • When sharing images, the limit of 15 images was removed. 
  • Tap the new Gear icon (added to the Home screen) to access the Lightroom Settings (Preferences, Help & Support etc.).

  • HDR and long exposure photos captured within the Lr Camera are now greatly reduced in size (up to 2/3rds smaller) without any visual quality loss, taking less time to upload. 
  • A new Technology Preview was added (Settings > Technology Previews > Depth Map) which enables a new depth capture mode within the camera (letting you capture HEIC photos with depth maps).

Once the Depth Map is enabled, select Depth from the drop-down menu in the camera.

Click the Selective Edits icon and chose the  new Depth-aware selective tool.

Use the Depth Map range sliders to isolate the area in the image that you want to turn into a selection (the selected area will appear in red).

Then, use the Adjustment Brush to add to the mask (or the eraser to subtract from it) and apply the desired changes using the  same editing tools that are available with the other selective tools. 

 

Android

  • Lightroom for Android adds in improvements to the Optics section with the ability to reduce chromatic aberrations (CA) as well as manually select from one of the more than1,200 Adobe created lens profiles available within Lightroom CC.
  • HEIC (sometimes referred to as HEIF) formatted photos are also now supported, letting you import and work with this new and increasingly popular photo format.
  • You can now pause and resume synchronization within the cloud status tab, letting you decide when you’d like to sync your photos and edits to the cloud.
  • We’ve also added in a brand new technology preview, Best Photos.  Best Photos combines Adobe Sensei smarts as well as changes and edits that you’ve made to your photos to make a recommend selection of your photos within an album with the highest potential, quickly and easily.
  • Finally, there’s a new guided tutorial (Settings > Help & Support > Guided Tutorials) to learn how to apply watermarks to your photos. 
6:15 AM Permalink
2018/08/22

Lightroom Classic Updates – Book Module, Presets & Profiles, and HEIC Support

I’m excited to announce several updates to Lightroom Classic including several enhancements to the Book module, support for importing profiles and presets as ZIP files, and HEIC support on Windows.

Enhancements to the Book Module

For customers who have requested additional Blurb book options, you’ll be happy to know that the Book module now supports Blurb Magazine, Blurb Trade Books, and Layflat paper:

  • Magazines provide a high-end look with semigloss cover and velvet finish paper.  
  • Blurb Trade Books are affordable books ideal for distribution. 
  • Layflat paper for Blurb Photo Books make unique layouts possible, thanks to its seamless spreads.  

In addition, you can now customize the layout  – create any number of photos, at any size and place them anywhere on the page!

  • Reposition any cell (Text or Photo) anywhere on the page by dragging the center anchor point.

  • Change the size of a cell by dragging any of the eight resize buttons (anchor points) surrounding the cell. Note: as in earlier releases, dragging within the cell will change the cell padding.

  • Right -click on a page and choose Add Cell > Photo or Photo Description to add new cells to a page.
  • Right -click on a page and choose Remove Selected Cell to delete an unwanted cell. 

Use the new Page Grid and Guide Lines in the Guides panel for easier alignment of photos and descriptions.

Page Grid lines.

 

Page Guide Lines (visible when a cell (or multiple cells) is selected).

  • Nudge cells into position using Option + left/right/up/down arrow keys (Mac) | Alt + left/right/up/down) arrow keys (Win).

If cells overlap, change the stacking order (z-plane) by right -clicking in the cell and choosing one of the following:

  • Send To Back – sends the cell to the lowest level in the stacking order.
  • Send Backward – sends the cell one level down in the stacking order.
  • Bring To Front – sends the cell to the highest level in the stacking order.
  • Bring Forward – sends the cell one level up in the stacking order.

Save Custom Layouts as Template.  

  • Right click on a page and choose Save as Custom Page to save the Layout. Then, select it at any time using the Page panel’s page picker.

New Page Numbering Options:

  • In the Page Panel, choose to display page numbers on only the left or right page (instead of on both pages). 

Change Cell Border Size and Color

  • In the Cell panel, add a border of any size and color to a cell.

Pause (and Resume) during Upload:

  • Use the Activities Center to pause/resume the upload of cover and pages with in a session while uploading to Blurb.

Import and automatically install presets and profiles   

This release also adds in the ability to import a zip archive full of presets and profiles. Select Import from either the Preset panel or Profile browser, select the zip file, and Lightroom will automatically install the presets and profiles in the correct location.

  • From the Presets panel, click the ‘+’ icon and select Import Presets. Select the desired ZIP file and click OK.

From the Profile Browser, click the ‘+’ icon and select Import Profiles. Select the desired ZIP file and click OK.

Note: both Presets and Profiles will be imported with either of the above methods (XMP presets, XMP profiles, DCP profiles, and LCP profiles). Legacy “lrtemplate” files will not be imported (even if contained inside the ZIP).

  • In addition, legacy Presets and Profiles are now hidden by default. To reveal them, right -click on any profile group, choose Manage Profiles, and enable Legacy profiles.

HEIC Support on Windows

HEIC files are now supported on Windows and macOS High Sierra and later.  

6:16 AM Permalink

Lightroom CC – Select Albums for Off-line Use

Lightroom CC now includes the ability to store images in Albums locally which is great news for those of us who find ourselves in a location that has slow/low/no bandwidth internet connection and want to work on our images. Just right-click on any Album and choose “Store Album Locally”.  Lightroom CC will download and store the images on your local drive (just make sure that you do it before you get on that plane or travel to that far-off land!).

In addition, you can click the Info panel  to quickly see which which Album(s) your images are in.

 

6:15 AM Permalink
2018/08/21

3, 2, 1, Photoshop! Tips for Working with Guides in Photoshop CC

In this Episode of 3, 2, 1, Photoshop, you’ll learn several tips for working with Guides in Photoshop.

5:42 AM Permalink
2018/08/14

Five Additional Tips for Accessing and Applying Blend Modes in Photoshop CC

1) Blend Modes can be applied to multiple layers at one time. Select the layers, then select the Blend Mode to apply. 

Applying the Multiply Blend Mode to all three selected layers at once.

2) Second, instead of changing the Blend Mode for each individual layer within a Layer Group, you can change the Blend Mode for the Layer Group. When assigning a Blend Mode to a group, Photoshop treats the contents of the group as if they are flattened before adding the Blend Mode. As long as none of the layers have content that is overlapping, they layers will appear no differently than if the Blend Modes was applied to each layer, but if the content does overlap, then the results will blend differently. 

In this first example, each individual leaf layer’s Blend Mode is set to Multiply. Therefore the top leaf is blended with the two beneath it. The middle leaf is blended with the leaf below it, and all three  leaves are blended with the Background.

 

In the second example, the individual leaf layer’s Blend Mode is set to Normal and the Layer Group is set to Multiply. Because Photoshop treats the content of the group as if they’re flattened before applying the Blend Mode, the leaf layers are only being Multiplied (blended) with the layer below the group (in this case the Background).

3) Layer Groups have a unique blend mode called Pass Through which is only visible when a Layer Group is targeted in the Layers panel. It is the default Blend Mode for Layer Groups and allows any Blend Modes, adjustment layers,  advanced blending options, opacity and fill values applied to layers within a Layer Group, to affect the layers below the Group.  To restrict the blending of layers within a Group, change the Layer Group’s Blend Mode to Normal. Note: Option + Shift + P (Mac) | Alt + Shift + P (Win) sets the Blend Mode of the currently selected group to Pass Through. 

With the Layer Group’s blend mode is set to Pass Through, Blend Mode applied to layers with in the Group “pass through” the bottom of the group and affect the layers below the Layer Group.

When a Layer Groups blend mode is set to Normal, Blend Mode assigned to layers with in a group are restricted to only affect  layers with in the group  (they leaves set to the Multiply Blend Modec an’t blend with layers beneath the group). 

4) For more advanced blending of channels within Groups, choose Layer > Layer Style > Blending Options  (or Control -click (Mac) | Right -click (Win)  the Layer Group icon in the Layers panel and select Blending Options) to specify which channels to use for special effect blending of layers.

5) Select Edit > Fade (or use the shortcut Command + Shift + F (Mac) | Control + Shift + F (Win) ) to access Opacity and Blend Mode setting for several different commands. For example:

• Immediately after creating a brush stroke, select Edit > Fade to change the Blend Mode or opacity for the most recently created stroke.

• Directly after applying a filter, select Edit > Fade  to change the Blend Mode or opacity of the filter using the Fade dialog. 

The Blend Mode of the Diffuse Glow filter is changed using the Fade command.

Note: filters applied to a Smart Object are automatically “Smart Filters”. To change the Opacity and Blend Mode of the Smart Filter, double click the Filter Blending Option to the right of the filter name in the Layers panel. 

5:01 AM Permalink
2018/08/08

Working with Blend Modes in Photoshop CC

A blend mode allows you to control how the pixels on one layer work with or affect (or blend with) other pixels in Photoshop. They can be found throughout the program in such areas as the Layers panel, Layer Styles, Painting tools, Smart Filters, the Fill, Stroke, and Fade commands, and the Apply Image and Calculations commands. Within each of these different areas of Photoshop, the available blend modes vary based on which modes are useful and appropriate for each command. Except where noted, these modes work on a per channel basis (i.e., they treat an RGB image like three grayscale images).

When using blend modes, it’s helpful to think of the effects in terms of the following three colors: 

• The base color is the original color in the image (which can be the color on a layer or a cumulative combination of layers).

• The blend color is the color being blended (the painting or editing color).

• The result color is the color resulting from the blend.

In addition, some of the blend modes have what are called Neutral colors, or colors that have no effect when they are blended. For example, the Multiply blend mode has a Neutral color of white (white has no effect), the Screen blend mode has a Neutral color is black (black has no effect), and the Overlay blend mode has a Neutral color of 50% gray (gray has no effect).

In this example there are two layers in the Photoshop document – the Background layer is a photo of a mountain and the top layer is a photo of leaves with three circles (black, white, and gray) added to demonstrate the effect of the Neutral color of the Blend Mode.

In the first illustration, the Background layer (the photo of the mountains) is visible. In the second illustration, the photo of the leaves is visible. In the third illustration, both layers are visible but with the Blend Mode for the leaves layer set to Normal, there is no blending between layers.

The first group of Blend Modes (the ones at the top above the first dividing line) contains from one to four blend modes depending on the feature: Normal, Dissolve, Behind and Clear. Note: the Fill command and the painting tools are the only ones that list the Behind and Clear Blend modes and are only available when working on layers that can have transparency. In this grouping, there is no Neutral color – all blend colors will effect the base colors. When used at 100% opacity, the blend color will replace the base color. (I point out that I’m using 100% because lowering the opacity of the layer (or paint or fill etc.) will change the way that the blend color is combined with the layer below.)  

• Normal – This is the default mode. Pixels don’t blend. Results are as expected – the contents of a layer are displayed without any blending. A photo will appear as the original or, if you paint with a color, the result color is the color that you chose.  Note: the Normal Blend mode changes to the Threshold Blend Mode when working with indexed-color and/or bitmapped images.

• Dissolve  – Edits or paints each pixel to make it the result color; however, the result color is a random replacement of the pixels with the base color or the blend color, depending on the opacity at any pixel location. Lowering the opacity (in this example the opacity of the Layer) reveals a speckled effect which is either the blend color or the base color – never a combination of the two. In this case, the result looks a bit like a mezzotint.

• Behind – Edits or paints only in the transparent areas of a layer. This mode is available for the painting tools and the Fill command.  It’s like painting on the back side of acetate, underneath the image. This mode works only in layers with Lock Transparency deselected. Note: it could be more flexible to paint on a separate layer but I’m sure that people have reasons to do it this way!

• Clear – Makes all affected pixels transparent – essentially the same result as using the Eraser tool. This mode is available for the painting tools, the Fill command, and the Stroke command. Note: you must be in a layer with Lock Transparency deselected to use this mode.

In the first illustration, the Blend Mode is set to Normal – layers don’t blend. In the second illustration, the Blend Mode is set to Normal – the layers – blend because the Opacity of the leaves was was lowered  to 50%. In the third illustration, the opacity is lowered and the Blend Mode is set to Dissolve.

In the first illustration, the “Z” is painted with the Brush set to Normal. In the second illustration, the Brush was set to the Behind Blend Mode. Note: it would be more flexible to paint on a separate layer but I’m sure that people have reasons to do it this way! In the third Illustration  the Brush was set to the Clear Blend Mode – creating essentially the same result as using the Eraser tool.

The second group of Blend Modes (Darken, Multiply, Color Burn, Linear Burn and Darker Color) have a Neutral color of white. This means that white as a blend color will have no effect on the result color (white simply disappears). These blend modes all have stronger effects as the blend color becomes darker. Using the Fill slider on Layers palette using blend modes from this group  may  modulate this effect rather than performing a simple opacity blend the way normal mode does. By definition:

• Darken – Looks at the color information in each channel and selects the darker of the base or blend color as the result color. Pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change.

• Multiply – Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black.  When you’re painting with a color other than black or white, successive strokes with a painting tool produce progressively darker colors, producing an effect similar to drawing on the image with multiple magic markers. Multiply is similar to sandwiching two pieces of slide film (positive images) and projecting them together. 

• Color Burn – Looks at the color information in each channel and darkens the base color to reflect the blend color by increasing the contrast. The result will always be darker and have more contrast.

• Linear Burn – Looks at the color information in each channel and darkens the base color to reflect the blend color by decreasing the brightness and – unlike multiply – it will clip values while doing so. It has a stronger darkening effect than either multiply or color burn. Linear Burn is a combination of color burn and multiply.

• Darker Color – Compares the total of all channel values for the blend and base color and displays the lower value color. Darker Color does not produce a third color, which can result from the Darken blend, because it chooses the lowest channel values from both the base and the blend color to create the result color.

Blend Modes set to Darken, Multiply, Color Burn, Linear Burn and Darker Color.

The third group of Blend Modes have a neutral color of black. This means that black as a blend color will have no effect on the result color. These blend modes all have stronger effects as the blend color becomes lighter. Using the Fill slider on Layers palette and using blend modes from this group may modulate this effect rather than performing a simple opacity blend the way normal mode does. The lightening modes are essentially the inverses of the darkening modes.

• Lighten – Looks at the color information in each channel and selects the lighter of the base or blend color as the result color. Pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change.

• Screen – Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. The effect is similar to projecting multiple photographic slides onto the same screen. Screen reduces contrast and can produce and effect similar to painting an area with bleach. 

• Color Dodge – Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing the contrast. Color Dodge is an exception to the neutral color rule in this group – it is the only lightening mode that preserves blacks. Color Dodge is similar to moving the input white triangle in Levels. As such, color dodge increases contrast but may clip the brighter portions of the lower colors to white. 

• Linear Dodge – Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness.  Linear dodge is the combination of color dodge and screen. As such, it has a stronger lightening effect than either of them. Linear Dodge will clip bright values, unlike Screen.

• Lighter Color Compares the total of all channel values for the blend and base color and displays the higher value color. Lighter Color does not produce a third color, which can result from the Lighten blend, because it chooses the highest channel values from both the base and blend color to create the result color.

Blend Modes set to Lighten, Screen, Color Dodge, Linear Dodge, and Lighter Color.

The fourth group of Blend Modes have a neutral color of 50% gray. This means that 50% gray as a blend color will have no effect on the result color.  All of the light modes (except for Overlay) lighten when using colors brighter than 50% gray and darken when using colors darker than 50% gray. This happens on a channel-by-channel basis so they can actually both lighten and darken at once.

• Overlay – Multiplies or screens a scaled version of the blend color into the base color based on whether the lower color is darker or lighter than 50% gray. Colors darker than 50% are multiplied, colors lighter are screened. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced but is mixed with the blend color to reflect the lightness or darkness of the original color.

• Soft Light mode – Darkens or lightens the colors, depending on the blend color.  If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white. It uses gamma adjustment s to darken or lighten. The effect is similar to shining a diffused spotlight on the image. 

• Hard Light – Multiplies or screens the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white. The effect is similar to shining a harsh spotlight on the image. 

• Vivid Light – Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast. Vivid Light uses color burn and color dodge to darken or lighten. 

• Linear Light – Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness. Linear Light uses linear burn and linear dodge to darken or lighten.

• Pin Light – Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. Pin Light uses darken or lighten modes to darken or lighten. This is useful for adding special effects to an image. 

• Hard Mix – Lighter colors lighten the result. Darker colors darken the result.  Lowering the fill opacity creates less posterization/thresholding.

Blend Modes set to Overlay, Soft Light, Hard Light, Vivid Light, Linear Light, Pin Light, and Hard Mix.

The fifth group of Blend Modes have a neutral color of black. This means that black as a blend color will have no effect on the result color. The Divide blend mode has a Neutral color of white.

• Difference – Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values.

• Exclusion – Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base color values. Blending with black produces no change.  The effect is a bit like using one image to solarize the other.

• Divide and Subtract – Both are intended for us with calibrated imaging however interesting creative effects are also possible. For astronomy and microscopy:  you want to subtract background values (dark frames, factoring out hot pixels, etc.), and divide by a flat field image (removing vignetting and other lens defects, bringing insensitive pixels back up to normal range, etc.). You can remove lens falloff even if you have something that Lens Correction can’t handle (like mirror lenses, dust on the lens, etc.). Of course you can also use them for HDR toning tricks (or experimentation).

Blend Modes set to Difference, Exclusion, Divide, and Subtract.

The sixth group of Blend Modes have no neutral colors. They work in a hue, saturation, luminance space that is similar to but different from both HSB and HSL. In particular, while hue is the same in all three spaces, all of the spaces define saturation and brightness/lightness/luminance somewhat differently. All of the combinations described below are subject to clipping to keep the values in the valid RGB range.

• Hue – Creates a result color with the luminance and saturation of the base color and the hue of the blend color. 

• Saturation – Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area that has no (0) saturation (gray) causes no change.

• Color – Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images. Color yields a result with the same hue and saturation as the upper color and the luminance of the lower color.

• Luminosity – Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode is the inverse of Color mode.

Blend Mode set to Hue, Saturation, Color, and Luminosity.

This video quickly demonstrates some of the most commonly used Blend Modes for compositing images using the Layers panel (Multiply, Screen, Overlay and Soft Light):

This video gives a quick overview of the most common uses of the blend modes used with Adjustment layers (Hue, Saturation, Color and Luminosity):

While each Blend Mode has it’s own custom keyboard shortcut (see below), holding the shift key and tapping “+” (plus) or “-” (minus) will quickly cycle through the list of blend modes ( + moves forward and – moves backwards). If a tool painting tool selected, then these shortcuts change the blend modes for the painting tool. If a tool is selected that doesn’t have a Blend Mode option in the options bar, then this shortcut will change the blend modes on the Layers panel.

All Blend Modes begin with the same keyboard modifiers: Option + Shift (Mac) | Alt + Shift (Win) and then add a single letter. For example, Option + Shift + N (Mac) | Alt + Shift + N (Win) is the shortcut for the Normal blend mode. 

• Dissolve –  I 

• Darken – K

• Multiply – M

• Color Burn – B

• Linear Burn – A

• Lighten – G

• Screen – S

• Color Dodge – D

• Linear Dodge – W

• Overlay – O

• Soft Light – F

• Hard Light – H

• Vivid Light – V

• Linear Light – J

• Pin Light – Z

• Hard Mix – L

• Difference – E

• Exclusion – X

Subtract (does not have a shortcut)

Divide (does not have a shortcut)

• Hue – U

• Saturation – T

• Color – C

• Luminosity – Y

Note: The next two shortcuts are only associated with brushes, not layers.

• Behind – Q

• Clear – R 

For additional information on Blend Modes, check out these free videos:

Photoshop CC 2017 Essential Training: The Basics — Getting to know the blend modes 

Photoshop CC 2017 Essential Training: The Basics — Adding a texture to a photo 

Photoshop CC 2017 Essential Training: The Basics Using Blend modes to emulate image transfer effects 

Photoshop CC 2013 Essential Training  — Scanning or photographing paper to add a deckled edge

 

5:05 AM Permalink
2018/07/24

Create a Custom Gradient in Photoshop CC

In this episode of 3, 2, 1, Photoshop!, Julieanne will demonstrate how to create a custom Gradient in Photoshop.

Tips/shortcuts mentioned in the videol:

When using the Gradient tool, check “Dither” on in the Options bar to minimize banding over long gradients.

The Gradient tool has multiple styles to choose from (Linear, Radial, Angle, Reflected, and Diamond). ‘[‘ or ‘]’ will move you quickly from one to the next gradient style.

‘,’ (comma) or ‘.’ (period) goes to previous or next  gradient swatch in the Gradient Preset Picker.  Shift + ‘,’ (comma) or ‘.’ (period)  goes to first or last gradient swatch in the Gradient Preset Picker.

Double clicking on a gradient stop in the Gradient Editor will bring up the color picker. Option -drag (Mac) | Alt -drag (Win) on a gradient stop to duplicate it.

5:04 AM Permalink
2018/07/19

Adobe Camera Raw Videos

I thought it might be helpful to list all of my free videos on Adobe Camera Raw in a single location. Or, if you have a subscription to Lynda.com | LinkedIn learning, click here to watch my complete Adobe Camera Raw Essential Training series.

(2018) The Power of Profiles in Adobe Camera Raw

(2018) Previewing before and after adjustments (on Lynda.com) 

(2018) Bringing it all together  (on Lynda.com) 

(2018) Highlighting important elements using the radial gradient (on Lynda.com) 

(2018) Making selective enhancements using the adjustment brush (on Lynda.com) 

(2018) Creating and applying camera raw presets (on Lynda.com)

(2016) Guided Upright in Adobe Camera Raw

(2015) Bridge and Camera Raw or Lightroom: Which should you use? (on Lynda.com) 

(2103) Touring the Camera Raw user interface (on Lynda.com) 

(2103) Comparing raw and JPEG files (on Lynda.com) 

(2015) Customizing color using HSL (on Lynda.com) 

(2014) Reducing Color Noise, Duplicating Local Adjustments, and the interactive Histogram in Camera Raw

(2014) Saving Workflow Presets

(2014) Discover how to Soft Proofing your images in Camera Raw

(2013) The Radial Filter in Adobe Camera Raw

(2015) Creating a Panorama in Camera Raw

9:19 AM Permalink
2018/07/17

A Complete Guide to Shortcuts for Adobe Camera Raw

I have put together a 10 page PDF with shortcuts, tips and tricks for using Adobe Camera Raw. You can view them below or click here to view the PDF.

General Interface

  • Tap F to toggle Full Screen Mode. 
  • When using keyboard shortcuts to select a tool, (C to access the Crop tool for example), tapping it again returns to the previously selected tool.

The Zoom Tool

  • Tap Z to select the Zoom tool.
  • Click in the image area to zoom in. Option -click (Mac) | Alt -click (Win) to zoom out.
  • Click -drag left/right to zoom out/in with the Zoom tool.
  • Command + “+” (plus) (Mac) | Control + “+” (plus) (Win) zooms in.
  • Command + “-” (minus) (Mac) | Control + “-” (minus) (Win) zooms out.
  • Double click the Zoom tool to view the image at 100% .
  • Option + Command + “0” (Mac) | Alt + Control + “0” (Win) will also set the view to 100%. 
  • Command + 0 (Mac) | Control + 0 (Win) will fit the image within the preview area (Fit In View).
  • With most other tools selected:
    • Press and hold Option (Mac) | Alt (Win) to temporarily activate the Zoom Out tool.
    • Press and hold Command (Mac) | Control (Win) to temporarily activate to the Zoom In tool. 
  • For quick navigation to a specif area, use Birds Eye View. 
    • Press and hold the H key. 
    • Click-and-hold the mouse down in the image area . The image zooms in (or not – based on the zoom level) and a rectangle appears.
    • With the mouse still held down, reposition the rectangle over the area that you want to zoom to.   
    • Release the mouse. The image zooms in to the rectangular area. If you start in Fit In View mode or smaller, the zoom rectangle will represent 100% pixel view (1:1), otherwise it will zoom to the previous zoom level.
    • Release the H key (the originally selected tool remains unchanged).
    • Note: Birds Eye View is only available when GPU is enabled in the Camera Raw Preferences > Performance > Use Graphics Processor.

The Hand Tool

  • Tap the H key to select the Hand tool.
  • Double click the Hand tool to quickly zoom to Fit in View. 
  • With most other tools selected, press the Spacebar to temporarily access the Hand tool.

Navigating Through a Document Screen By Screen

  • Tap the Home key to move to the top-left corner of the image.  Tap the End key to move to the bottom-right corner of the image.  
  • Tap the Page-down key to move down one full screen.  When you reach the bottom of the image, tapping the Page-down key again takes you to the top and to the right by one full screen. Tapping the Page-up key does the same thing, but in the opposite direction.
  • Note, on a laptop, use the function key and the let/right arrows to move to the top left and bottom right (Home/End) and the up/down arrows to naviage screen by screen (Page Up/Down).

White Balance Tool

  • Tap the I key to select the White Balance tool.
  • With most other tools selected, press and hold the Shift key to temporarily activate the White Balance tool.
  • The White Balance Tool’s sample area is dependent on zoom level (zoom in to sample a smaller area).
  • Double click the Eyedropper tool to reset the White balance to “As Shot”.

Color Sampler Tool

  • Tap the S key to select the Color Sampler tool. 
  • Click in the image area to add a maximum of 9 Color Samples per image.
  • Option -click (Mac) | Alt -click (Win) on a color sample to delete it (the icon changes to a pair of scissors). 
  • Click Clear Samples (next to the color readouts) to remove all Color Samplers at once.
  • With the Color Sampler tool selected, press and hold the Shift key to temporarily access the White Balance tool.
  • To change the Color Readouts to LAB color mode, Control click (MAC) | Right -click (Win) in the Histogram and choose Show Lab Color Readouts.

Targeted Adjustment Tool 

  • Tap the T key to select the last used  Targeted Adjustment Tool (TAT).
  • Option + Command + Shift + T (Mac) | Alt + Control (Win) Shift + T selects the Parametric Curve.
  • Option + Command + Shift + H (Mac) | Alt + Control Shift + H (Win) selects the Hue.
  • Option + Command + Shift + S (Mac) | Alt + Control Shift + S (Win) selects the Saturation.
  • Option + Command + Shift + L (Mac) | Alt + Control Shift + L (Win) selects the Luminance.
  • Option + Command + Shift + G (Mac) | Alt + Control Shift + G (Win)  Black and White Mix.
  • Note: the image Treatment option in the Basic panel must be set to Black & White to select the Black and White Mix.

Crop and Straighten Tools

  • Tap the C key to select the Crop tool. 
  • Tap the A key to select the Straighten tool. Double click the Straighten tool to automatically straighten the image (this works best with images that have a strong horizontal line).
  • With the Crop tool selected, hold the Command (Mac) | Control (Win) to temporarily activate the Straighten tool.
  • Shift -drag the crop handles to constrain proportions.
  • Option -drag (Mac) | Alt -drag (Win) the crop handles to transform the crop from the center.
  • Position the cursor outside of the crop marquee (the icon will change to the double headed arrow), and drag to rotate the Crop marquee.
  • Choose another tool, double-click within the crop marquee, or tap Return (Mac) | Enter (Win) to apply the crop. 
  • Tap Escape to remove the crop (or resets it to start of editing session of current image).
  • In order to set an aspect ratio for the Crop tool, click and hold the Crop tool icon. Choose from the list or, select Custom and enter values.  
  • Tap X when using the Crop or Straighten Tool to flip the crop aspect ratio (landscape to portrait, portrait to landscape).
  • The Crop tool is solely responsible for defining the aspect ratio of the crop. Use Save Image and Workflow Options to determine the 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 drag the crop in the image as desired. Then, when using  Save Image or Workflow Options, check Image Sizing, select Short Size from the drop down menu and enter 8 inches and a resolution 300 ppi.
  • To display a preview of the rule of thirds, click and hold the Crop tool icon and enable Show Overlay.
  • Command -click  (Mac) | Right -click (Win) within the crop marquee to access many of the Crop options via the context sensitive menu.

 

Transform Tool

  • Shift + T selects the Transform tool. 
  • For best results, in the Lens Corrections panel, enable Remove Chromatic Aberration and Enable Lens Profile Corrections before applying Upright Transforms and Guided Upright. 
  • The Transform tool will generally work better on raw files because it can take advantage of more reliable metadata (e.g., focal length).
  • Shift + G toggles the Grid overlay.
  • Shift + L toggles the loupe on/off. Note: displaying the loupe requires GPU support.
  • Option -drag (Mac) | Alt -drag (Win) displays a loupe and activates precision cursors (enabling a slower drag for accuracy without having to zoom into the image).
  • Tap the V key to toggle the Guided Upright tool’s overlay (the guides). 
  • Additional refinement can be made with the manual perspective adjustments in the Transform panel:
    • The Aspect slider (in the Transform panel) can help remove vertical and horizontal distortions if an image is overly squished or stretched.
    • When using the Transform tool to correct perspective, the resulting image is often cropped in order to avoid displaying blank areas around the edges. To help retain necessary information from the  original image that would otherwise be cropped use the Scale, X Offset, or Y Offset slider in the Transform panel to reposition the image within the canvas. Command + Option | Control + Alt -drag to reposition the image in the preview area via the Offset X/Y sliders. Add the Shift key to constrain to horizontal/vertical directions. 
    • Rotated crops and manual perspective corrections on existing images will usually interfere with Upright transformations. For this reason, selecting one of the Upright modes (with the transform tool) will reset the crop and manual perspective adjustments (Horizontal, Vertical, Rotate, Scale, and Aspect controls). Resetting the crop has the benefit of showing the user the maximum amount of image area remaining after an Upright adjustment. To preserve these settings, Option + (Mac) | Alt  + (Win) -click when choosing an Upright transformation.  

Spot Removal Tool

  • Tap the B key to select the Spot Removal tool. 
  • Tap the V key to toggle the visibility of the spot overlays. 
  • Shift -drag constrains the brush spot to a horizontal or vertical stroke.
  • Shift -click connects the selected spot with the new spot via a straight brush stroke.
  • Command -drag (Mac) | Control -drag (Win) will create a circle spot and allow you to drag to define the source.
  • Tap the Forward Slash key (/) to select new source for existing circle or brush spot.
  • Press Delete to delete a selected spot. 
  • Option -click (Mac) | Alt -click (Win) on a spot to delete it (the cursor will change to a pair of scissors).
  • Option -drag (Mac) | Alt  -drag (Win) in the image area over multiple spots to batch-delete.
  • Tap the “Y” key to toggle on/off Visualize spots.
  • Tap the left and right brackets to decrease/increase brush size. Add the Shift key to decrease/increase the feather.
  • Use the Opacity slider to decrease the opacity of a retouched spot (to minimize a distracting element instead of removing it).

Red Eye Removal Tool

  • Tap the E key to select the Red Eye Removal tool.
  • The Red Eye tool can also correct bright pupils in animals. For Type, select Pet Eye and use the Pupil slider and Catchlight options as desired.

Shared Shortcuts Between the Adjustment Brush, Graduated Filter, and Radial Filter

  • Tap V to toggle the visibility of the tool’s interface. 
  • Hover the cursor over the pin to display the mask overlay or, tap the Y key to toggle the visibility of the mask overlay.  
    • Click the color swatch to the right of the Mask option to choose a different color to display as the mask overlay.
  • Command + Option + R (Mac) | Control + Alt + R (Win) will reset the options for the tools. This shortcut will work, regardless of whether you have a local correction selected or not. If you don’t have an adjustment selected, the shortcut will  simply reset the sliders to zero for the next correction that you create.  
  • Tap the N key to commit to the adjustment. 
  • Press the Delete key to delete the selected adjustment or, Option -click (Mac) | Alt -click (Win) an adjustment’s pin to delete it.  
  • Command + Option -drag (Mac) | Control + Alt -drag (Win) the pin to duplicate the adjustment. 
  • Right -click on the adjustment’s pin to select tool specific options form the context sensitive menu (i.e. Duplicate, Delete, Fill Image, Reset Local Settings, Clear Brush Modifications).

When painting using the Adjustment Brush, and/or the Graduated and Radial Filter’s modification brush:

  • Option+ “[“ or “]”  (Mac) | Alt + “[“ or “]” (Win) decreases/increases brush size. Add the Shift key to decreases/increases Feather (edge softness). 
  • Tap “+ “ (plus) or “-”  (minus) to increase/decrease Flow. 
    • The Flow sets the speed at which the brush applies an adjustment. Lowering the Flow amount enables a slower build up of an effect and can reduce the number of individual pins needed to modify an image as one can apply different amounts of the same adjustment in different areas without having to create a new pin for each different amount. 
    • Density caps the amount of the adjustment that can be applied (even with multiple strokes)
  • Control -drag left/right to decrease/increase the brush size. Control + Shift -drag left/right to decrease/increase the Feather ((edge softness).
  • Option (Mac) | Alt (Win) toggles the Brush/Eraser for the Adjustment Brush and the Add To/Subtract From for the Filter’s modification brush.
  • To keep the brush and eraser size the same, click the fly-out menu and disable “Separate Eraser Size” from the menu.
  • Camera Raw supports pressure-sensitive devices such as Wacom and Microsoft Surface Pro tablets. Pressure applied to the pen affects the Flow. Turning the pen over and using the “eraser” side automatically switches the brush to the eraser mode (if your pen supports this feature).

Adjustment Brush

  • Tap the K key to select the Adjustment Brush.
  • Shift -drag constrains the Adjustment Brush to a straight line. 
  • Tap the  M key to toggle on/off Auto Mask (Auto Mask automatically detect edges based on contrast and color to help selectively apply adjustments to a desired area).  

Graduated Filter

  • Tap the G key to select the Graduated Filter.
  • Shift -drag with the Graduated filter constrains it to 15 degree angles. 
  • The length of the gradient determines how quickly the adjustment fades. To adjust the Gradient:
    • Drag the red or green dot to adjust the length of the fade range. 
    • Drag the black dashed line to reposition the Graduated Filter. 
    • Drag the red or green dashed lines to rotate it. 
  • Shift + K toggles between editing the Graduated filter and the Brush modification mode (used to edit the mask).  

Radial Filter 

  • Tap the J key to select the Radial Filter.
  • Shift -drag constrains the Radial Filter to a circle.
  • With a Radial Filter selected, press the X key to toggle the effect direction from outside to inside.
  • 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 reposition 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.
  • Double-click in the image area to set the bounding box of the Radial filter to “Fill” the image bounds.  
  • Double-click on existing Radial Filter to expand the bounding box of the Radial Filter to “Fill” the image bounds.
  • Shift + K toggles between editing the Graduated filter and the Brush modification mode (used to edit the mask).  

Camera Raw Preferences 

  • Command + K (Mac) | Control + K (Win) displays the Camera Raw Preferences.
  • When moving back and fourth between multiple images, it can be a performance advantage to increase the Camera Raw Cache when working with raw files. The larger the cache, the greater the number of images Camera Raw can hold onto for quick access – making it faster to load recently viewed images. If you are simply moving from one image to the next (without returning to the previously viewed images), then you may not see a benefit from increasing the Camera Raw Cache.  

Rotating and Flipping Images

  • Tap the R key to rotate an image clockwise or use Command + “[“ (Mac) | Control + “[“ (Win) 
  • Tap the L key to rotate counter clockwise or use Command + “]” (Mac) | Control + “]” (Win). 
  • Option (Mac) | Alt (Win) toggles the Rotate icons to Flip Horizontal and Flip Vertical.

The Histogram

  • Control -click (Mac) | Right -click (Win) in the Histogram to enable Lab color readouts.
  • Click -drag on the interactive Histogram to adjust the Blacks, Shadows, Exposure, Highlights, and Whites slider adjustments in the Basic tab.
  • Tap the U key (underexposed) to preview areas in an image that are clipped to pure black by displaying a blue overlay. 
  • Tap the O key (overexposed) to preview areas in an image that are clipped to pure white by displaying a red overlay. 
  • The Clipping Warning triangles turn different colors to show that different channels are being clipped.
    • If no values are clipped, the triangles are black.
    • If values are clipped in the red channel the triangles are red.
    •  If values are clipped in the green channel the triangles are green.
    • If values are clipped in the blue channel the triangles are blue.
    • If values are clipped in the red + green channel the triangles are yellow.
    • If values are clipped in the red + blue channel the triangles are magenta.
    • If values are clipped in the green + blue channel the triangles are cyan.
    • If values are clipped in all channels, the triangles are white.

Resetting settings

  • Command + Z (Mac) | Control + Z (Win) will toggles (Undo/Redo) the last change made.
  • Command + Option + Z (Mac) | Control + Alt + Z (Win)  goes back in time (Multiple Undo).
  • Command + Shift + Z (Mac) | Control + Shift + Z (Win)  goes forward in time (Multiple Redo).
  • Double clicking the “tick” on the slider will reset the slider.
  • Click in any text entry area to enter specific numeric values. Tap the Tab key to move to the next text entry. With text entry highlighted, use the up/down arrow keys to modify existing values. Add the Shift key to move in larger increments.
  • Holding the Option (Mac) | Alt (Win) key toggles the “Cancel” button to “Reset”. Clicking Reset reverts the image settings to the beginning of the session (this may or may not be the camera defaults if it’s not the first time the image is opened in Camera Raw). 
  • To reset an images (remove all changes), use the fly-out menu on the panels and choose Camera Raw Defaults.

Displaying Panels

  • Option + Command + 1, 2, 3-9 (Mac) | Alt + Control + 1, 2, 3-9 (Win) displays the corresponding panel (Basic, Tone Curve,  Detail etc.). Note: Mac users must disable Universal Access in the OS in order to display the Calibration panel (Option + Command + 8). 

The Basic Panel

  • White Balance
    • Camera Raw displays a list of “preset” White Balance settings (Auto, Daylight, Cloudy, Tungsten etc.). This list differs slightly from camera to camera. When working with JPEG files, As Shot, Auto, and Custom are the only menu options. 
    • The White Balance values displayed for RAW and JPEG files will differ. The Temperature and Tint sliders will display numeric values from -100 to +100 for JPEG files as opposed to Temperature (2000-50000) and Tint (-150 – +150) values for RAW files.
    • Shift -double click the Temperature or Tint adjustment sliders to apply Auto Temperature and Auto Tint controls separately from one another.
  • Toning (Exposure, Contrast, Highlights, Shadows, Blacks, Whites)
    • Command + U  |  Control +  U (Win) applies Auto Tone adjustments to an image. 
    • Shift -double click an individual slider (Exposure, Highlights, Shadows, Whites, or Blacks ) to apply Auto settings to just that slider.
    • Option -drag (Mac) | Alt -drag (Win) the Exposure, Highlights, Shadows, Whites, or Blacks sliders to preview clipped values in an image on a per channel basis.
  • Presence adjustments (Clarity, Dehaze, Vibrance, Saturation)
    • Clarity is biased to increases/decreases midtone edge contrast (not full-range or overall contrast).
    • The Dehaze technology is based on a physical model of how light is transmitted, estimating the amount of light that is lost due to absorption and scattering through the atmosphere. For the best results, set the white balance for the image before using Dehaze. Move the slider to the right to easily remove the haze from the original scene. Move the slider to the left to add a creative haze effect. When moving the slider, there is very little change in the highlight area of the image, while the shadows and lower portion of the histogram is clearly being changed. If you are concerned that the darker values in the image are being clipped to pure black, Option (Mac) | Alt (Win) -drag the slider to see the black point clipping visualization. When you see black areas appear in the image, you know that you’re starting to clip areas to pure black.
    • Vibrance is a relative and biased slider – it increases/decreases the amount of color in an image based on how much color there was to begin with and, it adjusts orange, red, and yellow values less than other colors. It can be very useful when increasing saturation in blue sky, green grass etc., while avoiding most shifts in skin-tones. 
    • Saturation is an absolute adjustment. Moving the slider to -100 will remove all color from an image, +100 will fully saturate colors in an image. 

The Tone Curve Panel

  • There are two curves in the Tone Curve panel: the Parametric and the Point curve. On the Parametric curve: 
    • Drag the Highlights, Lights, Darks, and Shadows sliders on the Parametric curve to lighten/darken the image. 
    • To change the tonal range affected of any of these sliders, reposition the triangles directly under the curve. 
    • To make on-screen adjustments, select the Targeted Adjustment tool (Command + Option + Shift + T (Mac) | Control + Alt + Shift + T (Win)), and click -drag up/down in the image preview to lighten/darken the value clicked upon.  
  • On the Point Curve:
    • Command -click (Mac) | Alt  -click (Win) in the image area to set a point on the curve. 
    • Drag to reposition the point in the Tone Curve panel or use the up, down, left, right arrow keys to precisely reposition the point as necessary. 
    • A maximum of  16 points can be added to each curve to make color corrections and/or add creative effects. 
    • Adjust the composite image or individual red, green, and blue channels (accessed via the Channel  drop-down menu).
    • Control + Tab moves from one point to the next along the curve (including the black and white points). 
    • Shift -click to select multiple points in the Curves panel at once. 
    • Tap delete to do delete individual points on the Point Cure, or click -drag the point off  the curve. 
    • To reset the Point Curve, chose Linear from the Curve drop-down menu.  

The Detail Panel

  • Zoom into 100% to accurately view the effects of Sharpening and Noise Reduction.  
  • When sharpening, the amount is the amount of contrast added to edges and the Radius determines how many pixels along the edge are effected. The Detail and Masking sliders suppress sharpening in the lower contrast areas of an image. As a rule of thumb, the Detail slider is better at suppressing sharpening in high-frequency images such as landscapes while the Masking slider is better when working with portraits.
  • Option -drag (Mac) | Alt -drag (Win) the Radius, Detail and Masking sliders (as well as the Luminance sliders in Noise Reduction), to display a greyscale preview of the slider’s effect. Previewing the edges of the masks (the Detail and Masking sliders), is helpful in determining which option is best for the image that you’re working on.  
  • Luminance and Color Noise reduction are controlled using separate sliders. Typically images can handle larger reductions of Color Noise than Luminance Noise without detrimental effects to the image. To help reduce (or even remove) low-frequency color mottling (small clumps of magenta or green areas in an image for example), increase the Smoothness slider in Noise Reduction.

HSL Adjustments Panel

  • Use the tabs to select Hue, Saturation, and Luminance to make edits either by using the sliders, or by selecting the desired Targeted Adjustment tool and click-dragging up/down (or left/right) in the image area to increase/decease the adjustment.
  • Use these shortcuts to access a the different Targeted Adjustment Tools: 
    • Command + Option + Shift + H (Mac) | Control + Alt + Shift + H (Win) selects Hue.
    • Command + Option + Shift + S (Mac) | Control + Alt + Shift + S (Win) selects Saturation.
    • Command + Option + Shift + L (Mac) | Control + Alt + Shift + L (Win) selects Luminance.
  • If an image’s Treatment is set to Black & White (in the Basic panel), the HSL Adjustments panel changes to Black & White Mix. Command + Option + Shift + G (Mac) | Control + Alt + Shift + G (Win) selects the Black and White Mix Targeted Adjustment tool.
  • When converting to B/W, use the Camera Raw preferences to set the Default Image Settings to “Apply auto mix when converting to black & white” if desired. 

Split Tone Panel

Option -drag (Mac) | Alt -drag (Win) either Hue slider in the Split Toning panel to temporarily view the colors at 100% saturation (making it easier to choose the desired hue). Then, release the keyboard modifier and use the Saturation slider to dial in the desired amount of color.

Option -drag (Mac) | Alt -drag (Win) the Balance slider in the Split Toning panel to temporarily preview the Split Tone colors at 100% saturation (making it easier to see where the colors split in the image). 

Lens Correction Panel

  • To achieve even vignette when cropping an image, apply Enable Profile Correction in the Lens Correction panel to remove vignetting caused by the lens and then, in the Effects panel, use the Post-Crop Vignetting options to apply vignetting based on the cropped image. 
  • To create your own lens profiles (for unique lens/camera combinations, use the free Adobe Lens Profile Creator Tool. All of the information that you need to know is here: https://helpx.adobe.com/photoshop/digital-negative.html

Effects Panel

  • There are three Post Crop Vignetting Styles:
    • Highlight Priority – enables highlight recovery but can lead to color shifts in darkened areas of a photo. It is suitable for photos with bright image areas such as clipped specular highlights and behaves more like a traditional exposure burn.
    • Color Priority – minimizes color shifts in darkened areas of a photo but cannot perform highlight recovery. This style also behaves more like a traditional exposure burn.
    • Paint Overlay – similar to an overlay of black or white paint. Although this style might look fine on screen, I wold recommend using the other two styles for any printed work. 
  • Both Highlight Priority and Color Priority styles include a Highlights slider. Increase the slider’s value to reintroduce contrast in the highlights (and avoid muddy areas in images). The sliders effect is most noticeable if the vignetting is applied over bright areas such as highlights in a sky. 
  • The Grain effect deliberately varies from image to image to facilitate editing time-lapse and video frame sequences.

Presets Panel

  • Control -click (Mac) | Right -click Win) on a custom preset to access a wide variety of options including: Preset Info, Add to Favorites, Hide Presets, Move Preset, Rename Preset, Delete Preset,  Hide/Rename/Delete Preset Set, Manage Presets, Reset Favorite and Hidden Presets, and  Import Profiles & Presets.  
  • Presets are stored by default here:
    • Windows: Win (user)/Application Data/Adobe/Camera Raw/Settings.
    • Mac: Mac (user)/Library/Application Support/Adobe/Camera Raw/Settings. Note: on Mac, hold the Option key down while selecting the “Go” menu in the Finder to reveal the Library folder.
  • To apply a preset to an image in Bridge, first, in the Preset panel, click the star icon to tag the preset as a Favorite. Then, in Bridge, select the desired file(s) and choose Edit > Develop Settings > (your preset). Or, Control -click (Mac) | right -click (Win) and use the context sensitive menus to select Develop Settings > (your preset).
  • The quickly clear Camera Raw Setting from images in Bridge, choose Edit > Develop Settings >Clear Settings or, Control -click (Mac) | right -click (Win) on desired file(s) and use the context sensitive menus to choose Develop Settings > Clear Settings.

Snapshots Panel

  • One of the benefits of saving Snapshots is that they’re available when the file is opened as a Smart Object in Photoshop. This makes it easy to move back and fourth between different sets of processing instructions when designing a layout or making a multi-image composite. 

Before and After Previews options

  • Click the Cycle between Before/After Views  button to cycle through left/right and top/bottom side-by-side and split-view modes.
    • Tap Q to cycle through the Before/After Views .
    • Click-and-hold the Cycle between Before/After Views button to quickly select a specific Preview mode from the menu.
    •  Click-and-hold the Cycle between Before/After Views button to access and customize Preview Preferences.
  • Click the Swap Before/After settings button to swap settings.
    • Tap the P key to swap Before/After settings for the primary selected image only. 
    • Tap Shift + P to swap Before/After settings for all selected images.
  • Click the Copy button to copy the After settings to the Before settings (useful for establishing a temporary “checkpoint” for an editing session).
    • Option + P (Mac) | Alt  + P (Win) copies After settings to the Before settings for the primary selected image only.
    • Option + Shift + P (Mac) | Alt + Shift + P (Win) copies After settings to the Before settings for all selected images.
  • To toggle the preview for only the active panel, click the Per-Panel Preview icon (This temporarily resets the settings in the selected panel to their defaults). Click the icon again to reset the options to the previous settings. 
    • Command + Option + P (Mac) | Control + Alt + P (Win) toggles the Per-Panel Preview.

Adding Ratings and Labels in Camera Raw

  • The following shortcuts are available when multiple images are open in Camera Raw.
    • Command + 1, 2, 3, 4, 5 (Mac) | Control + 1, 2, 3, 4, 5 (Win) will add star ratings. 
    • Command + 6, 7, 8, 9 (Mac) | Control + 6, 7, 8, 9 (Win) will add color labels.
    • Command + “.” or “,”  (Mac) | Control + “.” or “,”  (Win) will increase/decrease star ratings.

Save Image Options

  • Use the Save options to quickly save derivatives of your edited images. Save Image options include Location, File Naming, Format, Color Space, Image Sizing, and Output Sharpening options.  
  • Option (Mac) | Alt (Win) key toggles “Save Image…”  to “Save Image” (with out the ellipse) which saves the image bypassing the Save Options dialog (it automatically uses the last settings).
  • Renaming files – it might help to append the current filename (LR = low res, FS = Flat Sharpened etc.)
  • Color Space – when saving files as JPEG to distribute to clients or to use in social media, I use sRGB as my color space. When saving an image to be edited, I use AdobeRGB and/or ProPhoto for greater color latitude when editing.   
  • When resizing images, the Long and Short side options can be useful when saving files with different orientations. 
  • Output sharpening is based on a number of factors including output device, size of original, size of output and more. Choose Screen, Glossy or Matte paper and dial in the amount according to the content of the image and personal preference. 
  • Use the Preset menu to save presets for frequently used settings. 

Workflow Options

  • Set the workflow options before choosing Open Image(s). Workflow options include Color Space, Image Sizing, Output Sharpening, and Open as Smart Objects options.
  • Use the Presets menu to save Workflow options for frequently used settings. 
  • After creating custom workflow presets, Control -click (Mac) | right -click (Win) the workflow hyperlink to quickly switch between them. 
  • Option (Mac) | Alt (Win) toggles “Open Image” changes to “Open Copy” which opens a copy of the image (useful for opening multiple copies of the same file processed in different ways).

Open as Smart Objects

  • Hold the Shift key to toggle “Open Image” to “Open Object” in order to open an image in Photoshop as a Smart Object without having to edit the Workflow options. If the Workflow settings are set to Open as Smart Object, the Shift key will toggle to Open Image.  

Syncing Edits Across Images

  • To make changes to more then one image at a time, select them in the filmstrip. 
  • With multiple images selected, Option -click  (Mac) | Alt -click (Win) the thumbnail of a selected image to make it the active image while keeping all of the other images selected. 
  • Command + A (Mac) | Control + A (Win) selects all images. 
  • Command +Option +  A (Mac) | Control + Alt + A (Win) selects all rated images.
  • With multiple images selected, Option + S (Mac) | Alt  + S (Win) displays the Synchronize dialog in order to choose what settings to synchronize.
  • With multiple images selected, moving a slider will set the same value for each image. However, some settings will be applied based on the image content including: Lens Correction (Remove Chromatic Aberration and Enable Profile Corrections) Auto Upright Modes, Auto Tone, and Auto Black and White Mix.  Note: to apply the same numeric settings across all selected images, apply the settings the first image, then choose Sync from the filmstrip’s drop-down menu and choose the items to be synchronized (White Balance, Exposure, Contrast, etc.). 

Setting New Camera Raw Defaults

  • In order to change the default rendering of your raw files, open an image in Camera Raw and choose Camera Raw Defaults from the flyout menu (next to the panels) to reset the image. Then, make the changes that you want to be your default settings (a different profile for example or automatically applying Lens Profiles and Removing Chromatic Aberration). Return to the fly-out menu and choose  “Save New Camera Raw Defaults”. From that point on, every time you open raw file from that camera the new default settings will be applied.
  • Use the Camera Raw Preferences, to make Camera Raw Defaults specific to Camera Serial Number and ISO setting. 

Using Camera Raw without launching Photoshop

  • For most people, the fact that Camera Raw is a plug in that works in both Bridge and Photoshop is completely transparent. The most common workflow is to find the desired image in Bridge, double click to open it in Camera Raw and start making edits. When finished editing, clicking the Done button will close Camera Raw and leave you in Photoshop. If, instead, after selecting images in Bridge, you choose File > Open in Camera Raw, click the Open in Camera Raw icon, or Command+ R (Mac) | Control + R (Win), Bridge launches the Camera Raw plug-in so that it runs within Bridge (not Photoshop). The advantage to this workflow is that you can make edits using Camera Raw without having Photoshop open and, when you are finished making edits in Camera Raw, clicking the “Done” button, returns to Bridge. 

Bypass the Camera Raw Dialog

  • Shift-double clicking on a RAW image in the Bridge will bypass the Camera Raw dialog, applying either settings that have been saved with the file, or if there are no setting applied, opening the file with the camera defaults into Photoshop.

Merge to HDR 

  • Not all adjustments made to individual images carry over when selecting  Merge to HDR in Camera Raw. For example, if you have made local adjustments on individual exposures, those adjustments will not be applied to the merged file. Because of this, I would suggest that you don’t spend a great deal of time making adjustments to each of the individual exposures but instead, merge the images and then make adjustments to the resulting,  HDR image. The settings that are NOT copied over from individual exposures to the merged file are: 
    • Crop and Upright transformations
    • The primary tone settings in the Basic panel (Exposure, Contrast, Highlights, Shadows, Whites, and Blacks) and the Tone Curve
    • Local Corrections (The Adjustment Brush, Graduated and Radial filters, Red Eye, and Spot Healing)
    • Process Version (if set to anything other than the most recent)
  • If you make adjustments to an individual exposures that can be copied over to the merged file (such as conversion to B/W or Split Toning adjustments) , make sure that the exposure with the adjustments is the  active or “most selected” image. 
  • Tap the A key to toggle the Align Images feature.
  • Tap the T key to toggle Auto Tone.
  • Tap the Y key  to show the Deghost Shadow Overlay. 
  • HDR merging requires exposure metadata. If aperture and ISO information is available, then it is used as well. Camera Raw will  show an error if you try to merge photos of different sizes, focal lengths, etc.
  • Option + Shift + M (Mac) | Alt + Shift + M (Win) will run Photo Merge > HDR based on the last used Merge settings (bypassing the dialog).
  • By default Camera Raw appends the resulting image’s file name with -HDR. 
  • The resulting (merged) HDR files will always default to the current Process Version.

Merge to Panoramas

  • If you have made adjustments to the individual images prior to choosing Photo Merge > Panorama, not all of them carry over to the merged file. For example, if you have made local adjustments on individual exposures, those adjustments will not be applied to the merged file! Because of this, I would suggest that you don’t spend a great deal of time making adjustments to each of the individual exposures but, instead, merge the images and then make adjustments to the resulting Panorama image. The settings that are NOT copied over from individual exposures to the merged panorama are: 
    • Lens Corrections (with the exception of Defringe settings), Crop and Upright transformations
    • Local Corrections (The Adjustment Brush, Graduated and Radial filters, Red Eye, and Spot Healing)
  • If you make adjustments to an individual exposures that can be copied over to the merged file (such as conversion to B/W or Split Toning adjustments) , make sure that the exposure with the adjustments is active or “most selected” image. 
  • Command + Shift + M (Mac) | Control + Shift + m (Win) will run Merge to Panorama based on the last used settings (bypassing the dialog).
  • By default Camera Raw appends resulting image’s file name with -Pano. 
  • Post-merge, lens profiles don’t make any sense to apply to panoramas, so the feature is disabled.
  • To quickly select different projection options, tap “1” to select Spherical, tap “2” to select Perspective, and tap “3” to select Cylindrical.
  • Tap the C key to enable Auto Crop.
  • Use the Boundary Warp slider to adaptively stretch or reshape the edges of a stitched panorama to fill the rectangle boundary.
  • There is a size limit of 65,000 pixels on the long side of a file or, 512 MP – whichever comes first.

Soft Proofing

  • Camera Raw includes the ability to select RGB, CMYK and LAB ICC profiles to soft proof images. To select a profile, click the Workflow Options hyperlink at the bottom of the Camera Raw window and, in the Color Space section, choose the desired profile 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. There is not an option for Black Point Compensation because it is always enabled in Camera Raw. 
  • Grayscale color profiles will only appear in the Space popup when processing a monochrome image or when converting a color image to grayscale. 
  • When using a Lab or CMYK color space, the histogram and color readouts will change accordingly. 
  • 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.

Enjoy, and please let me know if I have left out your favorite shortcut and/or if you find a mistakes!

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