When working on intricately composited, multi layered documents, I often find it useful to check each of the layer masks before finalizing the image. To do this, Option (Mac) / Alt (Win) -click on the mask thumbnail in the Layers panel to display it. With the mask visible, check to see if there are any unwanted awkward transitional areas that might not have been visible in the complex composite (a sharp edge from a selection or hard edge brush for example).
Option (Mac) | Alt (Win) -clicking a preset on a panel (Brush Presets, Swatches, Tool Presets etc.), will delete the preset (the icon swaps to a pair of scissors).
In order to reorder presets, select Edit > Preset > Presets Manager. Under Preset Type, select Brushes, then drag and drop the brush icons into the desired order. Note: this shortcut also works with any of the preset lists in the Preset Manager (Swatches, Gradients, Styles etc.).
If you have an active selection in a document and you select the Crop tool, the Crop tool conveniently appears around the selection. If you reposition the crop, it will deselect the area. Artboards don’t share this behavior.
In addition, if you have a selection and choose Image > Crop Photoshop will crop your image.
I prefer using the Crop tool as it can hide (instead of delete) cropped pixels as well as other options.
Sorry to be late to the party on this one – I missed this announcement while I was out, but am so happy to have discovered it today! Camera Raw now provides support for pressure-sensitive devices such as Wacom and Microsoft Surface Pro tablets.
Pressure applied to the pen affects the Flow slider within the Local Adjustment Brush. You can set your flow to a maximum value, and then use your pressure sensitive pen to fine tune. Lighter pen strokes result in decreased flow, and heavier pen strokes increase flow.
Adobe also supports the erase mode if your pen supports this feature. Turning the pen over and using the “eraser” side automatically switches the brush to the eraser mode, as if you had held down the option key.
I’ll be speaking at Photo Plus Expo in New York on Friday October 21, 2016 from 2pm – 4pm:
Adobe Photoshop + Lightroom + Creative Cloud = Unlimited Creativity
In this action-packed seminar, you’ll discover how you can elevate your creativity and enhance your productivity. Adobe’s Principal Digital Imaging Evangelist, Julieanne Kost, walks through her complete workflow starting with managing, editing, and toning photographs in Lightroom. Then, she’ll move beyond the single image and demonstrate how to enhance and blend images using complex selections, masking and compositing in Photoshop. Finally, she will explore several different publishing options, mobile apps and services including Adobe Portfolio, Behance, Spark, Stock and Creative Sync. You’ll leave with new techniques to take your work further than you thought possible, saving time in the process.
I just found out that you can receive a 20% discount on registration through this page:
The promo code will be applied automatically. Offer valid for the first 100 people.
I hope to see you in New York!
If you use a Smart Filter’s mask to hide the effects of a Smart Filter, Photoshop will still make selections based on the filtered content – even though it is hidden.
Here is the original photo of an Iceberg. I’ve converted it to a smart object so that I can add the Path Blur filter as a Smart Filter.
Below shows after adding the Path Blur (listed as Blur Gallery on the Layers panel) as a Smart Filter. Notice that the entire layer is blurred.
I drew a linear gradient in the Smart Filter’s mask to reveal the Path Blur in the water, but hid it from the iceberg.
Using the Quick Select tool, I expected Photoshop to easily select the sky, but it selected the iceberg as well (because Photoshop applies the blur to the entire layer – the mask was only hiding the filter).
Hiding the Path Blur (by toggling off the eye icon next to Blur Gallery), enabled the Quick Select tool to easily select the sky.
In the final image below, I added the new sky layer, used the selection to add a mask so that they sky wouldn’t overlap the iceberg, and toggled back on the visibility next to the Blur Gallery to display the Path Blur filter in the water.
To help with the placement/alignment/scale of an object that is being placed (File > Place Embedded and/ or File > Place Linked), the placed layer’s Opacity, Fill, and Blend Mode can be modified in the Layers panel. Note: a layer’s Opacity, Fill and Blend Mode can also be modified while being transformed (Edit > Free Transform).
To copy and paste Layer Effects (Styles) from one Layer to another, Control (Mac) | right -click (Win) the “fx” icon on the Layers panel and select Copy Layer Style from the context sensitive menu. Then, select the layer(s) that need the Layer Style applied and Control (Mac) | right -click (Win) to the right of the layer name in the Layers panel and select Paste Layer Style.
Or, it might be easier to place all of the layers into a Group and then add the Layer Style to the Group (instead of adding the Layer Style to each layer). That way, if you have to make changes to the Layer Style, you only have to make the change to the Layer Style on the Group.
Any layers that I add to that Group will automatically have the Layer Effect Applied.
One word of caution: if you have layers within the Group that overlap one another, Photoshop is going to act as if all of the layers within the Group are merged and then applies the Layer Style. In the illustration below, see how repositioning the two shapes in the Layer Group so that they overlap creates a very different result than when the Layer effects are added to each individual layer.
To move Layer Effects from one layer to another, drag the fx icon (or the word Effects). To copy Layer Effects from one layer to another, Option -drag (Mac) | Alt -drag (Win) the fx icon (or the word Effects).
To move an individual Layer Effect from one layer to another, drag the name of the individual effect (Stroke, Drop Shadow etc.). Add the Option (Mac) | Alt (Win) key to copy the individual effect from one layer to another.
When Layer Effects are applied to a layer, the effects are displayed in a list under the layer in the Layers panel. Depending on how many effects are applied, as well as how many layers have these effects, the Layers panel can quickly become crowded.
To collapse the Layer Effects stack, in the Layers panel, click the disclosure triangle to the right of the fx icon.
To collapse all Layer Effects, Option-click (Mac) | Alt -click (Win) the disclosure triangle to the right of the fx icon.
To collapse Layer Effects when they’re added, from the Layers panel fly-out menu, select Panel Options and uncheck Expand New Effects.
Last week, both Lightroom and Bridge launched upload functionality for the Adobe Stock Contributor workflow.
In Adobe Bridge CC, drag JPEG files from the Content area directly to the Preview area to upload your images. You can then finalize your submission using the online Adobe Stock Contributor portal by clicking “Go to Adobe Stock” in the Publish Panel.
From Lightroom CC, use Publish Services to publish images. Click on the Adobe Stock service, drag images into the collection, and click Publish. Then, use the online Adobe Stock Contributor portal to tag and finalize your submission.
Here are additional resources that you may find informative:
While working on images from Antarctica, I used the Clone Stamp and Healing Brush constantly, but found it distracting to see the sampling point icon each time I tapped with my pressure sensitive pen. While I realize this might otherwise be helpful, because I was constantly resetting the source point based on the contents of the image, I knew where the sample point would be and, as a result, wanted to hide it.
Command + H (Mac) | Control + H (Win) toggles the View > Extras feature to hide the sampling point icon.
Note, the first time you use this shortcut on the Mac, Photoshop will display a dialog asking “Would you like to use Command + H to hide Photoshop (Mac standard), or to hide/show selections, guides, etc. (Photoshop traditional)? Click “Hide Extras” unless you want to “Hide Photoshop” every time you use the shortcut. If you do choose to “Hide Photoshop”, you can change this behavior later by choosing Edit > Keyboard Shortcuts. Set the “Shortcuts For” to Application Menus and toggle the disclosure triangle for the View menu. Scroll down to Extras, change the Shortcut back to Command + H and click Accept and then OK.
Often when using the Clone Stamp tool, I would also unchecked the Show Overlay option in the Clone Stamp panel (this hides the preview of the source content in the brush preview). Holding Option + Shift (Mac) | Alt + Shift (Win) to temporarily display the overlay when you need to see it.
I’m back, and I have to admit that I enjoyed my time off immensely – primarily due to the fact that I was able to spend the majority of time working in Photoshop! I know that might seem a bit odd to many of you, but even through I work in Adobe products on a daily basis, I seldom carve out large chunks of time to work on my own photography. Having time to tone, retouch, and publish photographs for my gallery as well as create a body of work from my visit to Antarctica, was certainly a gift. In the next few weeks I hope to share my thought process, techniques, and shortcuts used to tone and enhance the images from Antarctica that I’ve been posting to my Behance and Adobe Portfolio site.
But for today (while I catch up on email and all-things Adobe), here are links to the four galleries that I’ve posted thus far: