Discover how to quickly find the images using Filters in Lightroom.
Posts tagged "Filters"
Discover how to quickly find the images using Filters in Lightroom.
Did you know that Photoshop CC has the ability to create really cool trees? Although the feature was first available in the CC release, it was greatly improved for the 2014 release and was made much more discoverable by moving it (from the hard-to-find option under scripted patterns within the Fill dialog), to the Filter menu. Living in the filter menu, it is able to create a live preview and can render the trees 5-15 times faster than before. In addition, you can choose from over 30 tree types and refine them using several new parameters including the ability to change the size and type of leaves as well as the height of branches. It’s important to note that these trees are not clip art. They can be altered (randomized) to create slightly different, unique trees every time the filter is run!!
Here are examples of some of the different types of trees (shown with their default leaves). If you would like to see all of these examples larger (and with more detail), click here to download the PDF.2015 Trees
Here are the different types of Leaves Type that you can apply to the branches of the trees:
And, you can change the angle of the light.
The camera angle can be changed as well.
You can choose anywhere between bare branches to thick, bushy, leaves.
The leaf size is also adjustable.
You can alter the branches height (where the branches begin extruding from the tree), as well as the branches thickness.
Of course you can create your own tree/leaf (not-of-this-world) combination as well as customize the leaf color.
Leaves can be “locked” so that they don’t rotate (this can result in more of an illustrative look). Leaves and Branches can have natural or flat shading and leaves can be rendered with additional contrast. Even the color of the branches can be modified.
If you check the “Randomize Shapes” option, the branches and leaves change every time (even if you keep all other options the same). In other words, you have no control over the branch/leaves shapes – it’s completely random. (even if you keep all of the other options the same). This can be very useful if you want to make a number of trees that are are similar to one another, but not identical. For example, if you automate the Tree filter using Actions, each tree will be unique in the forest.
After you have created the desired tree, use the Custom menu at the top of the Trees dialog to save those settings to use in the future or share with friends. And, a little known fact, the Tree filter can follow paths! For example, using the custom shape tool to create a heart and then creating a Willow or Pine tree without any leaves is illustrated below.
I have also found that Puppet warp can be very helpful when trying to make small adjustments to a tree to reshape them.
Photoshop CC (v14.1) added 32-bit image support for a number of filters including:
• Blur -> Blur and Blur More
• Distort -> Displace, Pinch, Polar Coordinates, Ripple, Shear, Spherize, Twirl, Wave, and ZigZag
• Pixelate -> Color Halftone, Crystallize, Facet, Fragment, Mezzotint, Mosaic, Pointilize
• Render -> Fibers
• Sharpen ->Sharpen and Sharpen More
• Stylize -> Diffuse (anisotropic is disabled in 32 bit), Trace Contour
• Other -> Custom
Note: in some of the examples above, changes have been made to opacity and blend mode.
The video below demonstrates two new technologies in Photoshop that can help you to get the highest possible quality out of your image. The first is found in Image size where you can not only expand the preview but also utilize the new edge preserving algorithm when you select the Preserve Details (enlargement) option for Resampling. Note, this option is also used when the image is upscaled and the Resampling option is set to Automatic. The second technology refines the way that we sharpen images using the Smart Sharpen Filter. Notice the reduced noise in the image, especially in the shadow areas as you compare the current technology to the legacy algorithm (tap the “L” key to toggle between them).
15/50 – Using Adobe Camera Raw as a Smart Filter in Photoshop CC to Create a High Dynamic Range ( HDR) Image
In the video below, we’re going to discover how easy it is to take multiple, bracketed exposures of the same scene and combine them into a single 32-bit HDR image that can then be edited nondestructively using Adobe Camera Raw as a Smart Filter in Photoshop CC. In addition, we’ll discover how powerful Camera Raw can be when applied to multiple layers as a Smart Object.
And just in case I wasn’t clear in the video, I want to point out why Adobe would include Camera Raw as a filter in Photoshop CC. Well, here are the first three reasons that I can think of, but I’m sure that there are more!
• First of all, not everyone had the luxury of working with raw files so it can be a huge benefit to be able to apply options like clarity and perspective correction to non raw images (a Photoshop layer for example).
• Sometimes we forget to do things in the right order and we don’t have time to go back to the beginning and fix them when on deadline. Yes, this might not be optimal, and yes, we would be better off making changes earlier in our workflow (processing our raw files directly in Camera Raw before opening them in Photoshop), but Camera Raw as a filter can help to make corrections or add creative effects to layers later in your workflow and/or with legacy files.
• Camera Raw as a filter can be applied to multiple layers at one time (by selecting multiple layers in the Layers panel and converting them to a single Smart Object). Plus, working with Camera Raw as a Smart Filter enables blend mode and opacity options as well as a Smart Filter mask to selectively show and hide the filter.
Additional information can be found in this post.
Note: The following features are not available when using Camera Raw as a Smart Filter (that are normally available in Camera Raw), primarily because they don’t make sense in the filter context: Workflow options and preferences, crop and straighten tools, rotation tools (rotate left/right buttons), snapshots, camera and lens profile corrections.
In this Quick Tip for Lightroom (How to Find your Files Quickly in Lightroom), Julieanne shows you how to quickly filter your photographs in Lightroom.
Photoshop CS6 introduced the ability to search/filter layers based on a number of parameters using the filter bar at the top of the Layers panel. Photoshop CC took search/filtering one step farther by adding the ability show only selected Layers (while temporarily hiding non-selected layers in the Layers panel), by choosing Select > Isolate Layers.
However, when “toggling off” or exiting Isolation mode, Photoshop CC simply turned off the filter in the Layers panel, instead of resetting the Layer Filter. Now, in Photoshop CC (v14.1), toggling Isolation mode “off”, resets the Layer Filter to default values .
Note: Isolation Mode is inactive when using the Direct/Path Selection tools in Active Layers mode.
In this episode of The Complete Picture, Julieanne demonstrates how nesting Smart Objects enables each filter applied to have its own unique Smart Filter mask.
The key to the Dust and Scratches filter (Filter > Noise > Dust & Scratches)is that you want to keep the Radius as low as possible and the Threshold as high as possible.
If you have an active selection in your image and choose Filter > Liquify, the Liquify filter will automatically turn the selection into a mask allowing you to manipulate the area within the original selection while masking (or freezing) the unselected area. If you need to manipulate the area outside of the original selection (instead of the inside), in the Liquify dialog, be sure to have the Advanced Options showing and click the “Invert All” button under the Mask Options.
There are two new filters for Photoshop CS6 (currently for Mac only) that have been posted to Adobe Labs – Interpolate and Match Edge. The Interpolate filter fills the transparent areas of the current layer with a smooth mix of the colors in the opaque areas while the Match Edges filter changes the colors at the edges of the targeted layer to match those of the layer below it, and smoothly distributes this change through the layer. Like other technologies on Adobe Labs, these tools are not finished products, but rather beta or prototype utilities that may work in your particular environment. To download the plug-ins and for more information, please visit Adobe Labs.
In the Book Module in Lightroom 4, you can easily see what images have yet to be added to the book by selecting “Unused” from the Filter presets. You can also chose to view only the “Used” images. Note: the Filter options can be found in the lower right of the application, in the black bar, above the filmstrip.
In the new Adaptive Wide Angle Filter in Photoshop CS6, shift-dragging will constrain the line to be either a vertical or horizontal constraint (depending on the direction that you drag).
If you have already drawn an arbitrary line and want to convert the line to a vertical or horizontal constraint, Control -click (Mac) / Right Mouse -click (Win) on the selected line and select Horizontal or Vertical from the list. Note that the color of the line changes from Teal (when the line is Arbitrary) to Yellow (horizontal) or magenta (vertical). You can use the Adaptive Wide Angle Filter Preferences to change the colors of the constraints (choose Preferences from the flyout menu to the right of the Correction option.)
In previous versions of Photoshop, many of the more “artistic” filters were not only available through the Filter Gallery, but were also listed in the Filter menu in categories such as Artistic, Brush Strokes etc.. In previous versions of Photoshop, when any of these “artistic” filters were selected, they invoked the Filter Gallery (where multiple filters could be added and individual Filter options could be customized). In order to clean up this “duplication” (filters being accessible via the Filter menu as well as the Filter Gallery), in Photoshop CS6, the “artistic” filters have been hidden from the menus yet are all available via the Filter Gallery.
If you prefer to see each one of the “artistic” filters in the FIlter menu, choose Preferences > Plug-ins > Show All Filter Gallery Groups and Names.
One of the benefits of the new interface that the Blur Gallery use is that you can work on one layer (in this case, adding a blur) yet still see all of your other layers while applying the filter. In addition, you can choose to show your Layers panel while in the Blur Gallery (Window > Layers) to change Opacity, Fill and Blend modes. When finished interacting with your layers, you can choose to hide the Layers panel (and any other panels that are showing), click and select “Reset Workspace” from the Blur Gallery workspace (in the upper right of the interface).
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).