The new Spin Blur filter creates non-destructive, realistic, motion effects including the ability to spin an object at variable angles, as well emulate traditional strobe effects (including the ability to define the strength, number of flashes and duration). This video will show you how:
Tip: Command + Option -drag (Mac) | Control + Alt -drag (Win) the pin to duplicate it.
Similar to the Liquify filter, the Field, Tilt and Iris Blur Filters can now be applied as Smart Filters in Photoshop CC. The benefit of applying the Blurs as a Smart Filters is that as a result, the manipulations are nondestructive. Not only can you re-edit the filters at any time, but you have access to the Smart Filter mask to selectively show and hide the filter, the Smart Filter Blend Modes and Opacity options and, since you can create a smart object from multiple layers, you can now apply the Field, Tilt and Iris Blur filters to all of those layers at once. In addition, the ability to apply the Blurs as Smart Filters means that we can apply these filters to video clips in Photoshop!
Because the video was recorded before the 2014 Release of Photoshop, the video shows them appearing under Filter > Blur however they were relocated in the 2014 release to Filter > Blur Gallery. And, when in Blur Gallery, the Spin Blur and Path Blur aren’t visible in this video because they hadn’t been created when I recordedthe video!
Tip: because blurring a layer removed a certain amount of noise from the image, you might want to export the mask created in the Lens Blur filter. This will save the mask to a channel. Then, you can convert the layer a Smart Object, load the channel as a selection and add noise back into the smooth, blurred areas using the Noise filter or, add noise using Camera Raw as a Smart Filter. Note: you will need to invert the mask to apply the noise to the area that was blurred.
The video below demonstrates how to selectively blur an image using the Field, Tilt and Iris Blur Filters:
And here are a number of shortcuts and tips for working with the Field, Tilt and Iris Blur Filters:
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).
The Photoshop team has made a significant number of enhancements to the Liquify feature over the years. In Photoshop CS6, they added larger brushes, faster performance (by doing the calculations on the GPU instead of the CPU) and the ability to load the last created Mesh (so that you can apply it to multiple layers or documents). But the icing on the cake happened in Photoshop CC when they made Liquify a nondestructive filter by enabling it as a Smart Filter. This means that not only can you re-edit the filter at any time, but you have access to the Smart Filter mask to selectively show and hide the filter, the Smart Filter Blend Modes and Opacity options and, since you can create a smart object from multiple layers, you can now apply Liquify to all of those layers at once. This video will show you how:
In addition (since the video above was created), Photoshop also added the Smooth tool to help “smooth out” the mesh when moving a portion of the image using many small warps. In the past, many small strokes applied to the mesh could result in scallops or discontinuities in the warp. The Smooth Tool will remove the scallops but leave the overall warp undisturbed. I think of it as if the Smooth tool runs a Gaussian filter over the warp mesh vectors. Note: to view the mesh, check Advanced Mode, then under View Options check Show Mesh.
Another new addition is the ability to “Pin Edges” when using Liquify. This can help eliminate any gaps near the edge of the file when warping the image. The video below shows a quick demonstration:
And don’t forget you can also apply Liquify to a video layer if you convert the video to a Smart Object first.
In addition, here are a few shortcuts when working with Liquify:
• “W” – Forward Warp tool
• “R” – Reconstruct tool
• “C” – Twirl Clockwise tool
• “S” – Pucker tool
• “B” – Bloat tool
• “O” – Push Left tool
• “F” – Freeze Mask tool
• “D” – Thaw Mask tool
• “H” – Hand tool
• “Z” – Zoom tool
In addition, Option + (Mac) | Alt + (Win) toggles between the:
• The Twirl Clockwise and Twirl Counter Clockwise tools
• The Pucker and Bloat tools
• The Freeze Mask and Thaw Mask tools
And, when working with the Push Left tool, clicking and dragging up pushes the content under the brush to the left. Dragging down pushes the content to the right.
Since Adobe’s transition to Creative Cloud, Photoshop has delivered five major updates containing dozens of new tools, feature enhancements, and productivity improvements. Looking back at the content that I’ve created during this time, I realize that I had done a very poor job of naming the tips, tricks, and tutorials that I’ve posted (for example, I have multiple videos called “What’s new in Photoshop” and “Hidden Gems”), that cover multiple (different) new features – it’s very confusing!
In light of this, I’ve selected my top 50 features since Adobe transitioned to CC and am going to be posting them over the next 10 weeks. So, if you want to get up to speed with the latest and greatest incarnation of Photoshop, check out these posts and you’ll have mastered all of the new features by the end of summer!
Today, we’ll start with the refinements made to the Crop tool. For me, the most significant enhancement is that you can now change crop dimensions/aspect ratio with out backing out of the crop. I also like that after using the Crop tool to crop an image – and applying (or committing to) that crop, Photoshop automatically hides the crop marquee even though the Crop tool is still selected. Of course even with the marquee hidden, if the first crop was incorrect and you need to use the Crop tool again, simply drag with the Crop tool in the image area to redefine the crop. The new Overlay options (Rule of Thirds, Grid, Diagonal etc.) as well as Overlay View options are really useful as well. The video below will walk you through them.
And although not all of the following shortcuts are new, they certainly save me time when working with the Crop tool:
• To access the Crop tool, tap the “C” key
• Tap the ““X” key to swap the Width and Height values (or click the arrow between them in the Options bar).
• Tap the “I” key to auto-populate the Width, Height, and Resolution values using the properties of the front image (which can then be used to crop another image, define a preset etc.).
• “O” cycles through the different View overlays.
• “H” hides the image area that is beyond (outside of) the Crop marquee.
• “P” enables “Classic Mode” where the Crop marquee behaves as in previous versions: you move the Crop marquee, not the image under the Crop marquee. Note: you must make an adjustment to the Crop marquee before tapping the “P” key, otherwise tapping the “P’ key will select the Pen tool.
With the Hand tool selected, checking Scroll All Windows (in the Option bar) will scroll (or pan) all open documents at once. Shift -drag (or pan) with the Hand tool to temporarily toggle the Scroll All Windows option.
Double-clicking the Hand tool in the Tool Panel is the same as selecting View > Fit on Screen (Photoshop will display the entire image as large as possible on screen. Note: Command + 0 (Mac) | Control + 0 (Win) also displays the image as large as possible.
I’m pleased to announce that my book Window Seat – The Art of Digital Photography and Creative Thinking is now available as an eBook via the iTunes store! First published as a soft-back book, this redesigned and revised eBook was published as a Fixed Layout EPUB directly from the newest release of InDesign CC (2014). It has been enhanced with new photographs as well as updated image processing techniques in Adobe Bridge, Camera Raw and Photoshop.
Part manifesto, part artist’s portfolio and part technical manual, Window Seat, The Art of Digital Photography and Creative Thinking is guaranteed to awaken, delight, and inspire the creative spirit that lives in all of us.
Photographer, creativity guru and Adobe digital imaging evangelist, Julieanne Kost travels by plane 200+ days a year. For the past decade, she’s been shooting photographs from those airplane windows, recording the extraordinary world that lies beyond the everyday drudgery of business travel on a commercial jet.
She urges us to consider – and embrace – that which is outside of our daily experience. To see all that we do in our lives as creative acts. To continually strive to stay awake and aware, challenging ourselves to go beyond the status quo.
As some of you might have noticed, there are a number of presets available on Lightroom mobile that are different from the default presets available in the Lightroom desktop app. This is because some of the presets for Lightroom mobile were redesigned to be optimized for images originating on mobile devices. Click this link - Lightroom mobile presets, if you would like to download, unzip and install these presets in the Lightroom desktop app.
To install: download and unzip the “Lightroom mobile presets.zip” file and place the subfolders (01 CREATIVE, 02 COLOR etc.), in the following location:
• Mac (user)/Library/Application Support/Adobe/Lightroom/Develop Presets
There are a number of different techniques for displaying a photograph within type or other graphics. In this quick tip, you’ll learn how to apply a clipping mask to a layer group enabling you to mask multiple layers at once while keeping the type, the graphics and the photograph re-editable.
Most of you are probably noticing that when you install the 2014 release of Creative Cloud (Photoshop, InDesign, Premiere etc.), via the Creative Cloud desktop app, you’re actually installing NEW versions of the application. Yes, that’s correct, the new 2014 versions of CC apps will be installed in addition to (and can run along side of) the previous CC versions (they will not replace them). So, unlike the past few updates, the 2014 release will install a new, stand-alone version of most applications – such as Photoshop, InDesign etc.), and that’s also why it lists them separately in the CC desktop app).
Note: there are a number of different reasons that customers ask Adobe to create versions, including both hardware and software compatibility issues, access to features that are no longer supported as a result, support for external plug-ins etc.
In addition, some applications (Photoshop CC for example) might display an update option in the CC desktop app so that it can make updates to Camera Raw or other features.
If you are a subscriber to Creative Cloud, the new versions are included in your subscription.