Today we’re announcing the immediate availability of new Photoshop CC features for Creative Cloud members. This update to Photoshop CC (version 14.1) includes an exciting new technology, Adobe Generator, which allows new workflows, especially for web designers, screen designers, and anyone who needs to extract image assets out of a Photoshop document.
Real-time Image Asset Generation
Generator allows you to create image assets in real time as you work, eliminating the tedious steps of copying, slicing and exporting each layer manually, and saving you hours of time. Simply add a file extension to the name of your layer or layer group, and Photoshop will automatically create a JPG, PNG or GIF from the contents of that layer. If you make a change to that layer, the file is immediately updated. This means that you now have a folder of images that are always up-to-date with your Photoshop design.
We’re wrapping up Day 3 of Photoshop World in Las Vegas, and it has been one of the most exciting shows to date! Here are some highlights:
At the keynote on Day 1, we announced that our loyal customers who own a Photoshop CS3-CS6 license will be eligible to receive a Photoshop CC and Lightroom 5 bundle for $9.99/month. Read more about that announcement here. Also at the keynote, our own Jeff Tranberry was inducted into the Photoshop Hall of Fame.
For the first time at Photoshop World, we invited an artist to take the stage to inspire the passionate Photoshop community. The highly talented Brooke Shaden shared reasons to be true to your own photography style and workflow.
Since introducing Photoshop CC, we’ve listened to feedback from photographers who represent a spectrum of customers, from advanced professionals to casual enthusiasts. We appreciate that Photoshop’s success and growth has been sustained by the ongoing loyalty of customers like you, and so I’m delighted to announce a new offer for our Photoshop customers in the photography community that will be available during the week of September 16. One common request in your feedback was a solution specifically tailored for photographers.
A story that started with a family losing their dog ended with a furry adoption thanks to the Photoshop Elements Fur-tography contest.
Last Tuesday, Kevin N., grand prize winner of the Photoshop Elements Fur-tography contest, visited North Country Animal League in Morrisville, Vermont. As part of his grand prize package, Kevin selected North Country to receive $4,000 USD worth of pet food to feed the fur-tastic dogs and cats that currently reside in the shelter while waiting to find their forever homes. With the help of the delivery folks at Pet Food Warehouse, North Country received the first of several food deliveries.
North Country Animal League is a non-profit animal shelter with a passion for helping animals through adoptions, education and outreach and the sheltering of homeless animals. Currently, North Country is home to dozens of adoptable animals, including 15 dogs and 24 cats. They send about 700 animals per year to loving homes. The team at North Country was thrilled to be selected by Kevin as the recipient of the grand prize donation.
The beauty of art is that it can transcend the reality of the world we live in and take us to places accessible only through our imaginations. Swedish artist Erik Johansson has made a name for himself turning dreams and ideas into magical works of art in Photoshop. I recently met with Erik to discuss his experience in retouching, his creative process and what makes his brilliant (and eccentric) mind tick. Chatting with him fired up my creative brain and I hope that reading this will do the same for you:
Your image creation process is part photography, part Photoshop magic and part prop handiwork. Can you describe your evolution as a photographer?
I’ve always been interested in computers and drawing. When I got my first digital camera, I discovered photo manipulation by accident or chance. I always saw those interests as separate things, but now I could suddenly combine them. I started playing around with photographs, changing them to create something different because reality was just too boring. To me, photography has always just been a way to collect material. I want to create and realize what’s in my mind; capture an idea instead of a moment.
Where does your inspiration come from?
It’s from everywhere, I think it’s more about trying to look differently at the world. Trying to see how you can combine visual elements into something new and unexpected to create art from items that are normally not combined. I get inspired by all things I see, you just have to keep thinking and be open to the unexpected.
When you create commissioned art, does it interfere with your creative process?
Well, it can be a bit different. Sometimes I get a concept from an agency and just create it. It’s an interesting challenge as well, trying to realize someone else’s vision. But I think the main difference between the commissioned and personal work is the time pressure. I normally spend months on each image, from idea/sketch to final image. With commissioned work, I normally don’t have that luxury but it’s a lot of fun as well.
A massive amount of work went into last month’s release of Photoshop CC, and now that the dust has settled, I got a chance to meet with Principal Scientist Eric Chan to talk about what’s new and what role he played in creating the product. Eric’s a brilliant scientist who takes a deep personal interest in the software he helps to develop. I learned a lot from him and I’m stoked to share part of our conversation with you:
Tell us about yourself and your history at Adobe. What features have you helped develop?
I joined the Camera Raw team at Adobe in February 2008. My first project was to improve the color rendition for pictures developed in Camera Raw and Lightroom. Boy, that was a lot of work — and a lot of fun! Since then, I’ve tinkered with improving others aspects of picture quality, including tone mapping, noise reduction, and lens corrections. I also work on raw support for new cameras and I build profiles for lenses.
Photoshop CC includes the newest features in Camera Raw such as Upright. What kind of research went into the new Camera Raw features?
Both Upright and the improved Spot Healing Brush in Photoshop CC are based on research from Adobe’s Creative Technologies Lab (CTL). I’m very privileged to work with those folks: they’re really good at tackling common yet complex photographic problems.
In the case of Upright, the idea was to straighten pictures automatically — fixing not just tilted horizons, but also converging lines (keystone effect). To accomplish this, the research team developed a robust line-estimation method to extract the primary lines within an image, and a system for determining how best to straighten images with several competing goals in mind (e.g., aligned edges vs perspective distortion). The underlying techniques are rather complex, but we tried to make the feature itself easy to use.
Last week, we shared a conversation I had with a team from the Newseum that worked on restoring a series of Presidential family photos for an exhibit titled “Creating Camelot: The Kennedy Photography of Jacques Lowe.” That team was generous enough to share a small peek into the process they used to retouch Lowe’s historic photos. Here is an illustrated step-by-step guide to one part of their retouching process.
Some original photo prints are scratched and covered with blemishes. I’ll share an editing technique for removing the artifacts, without the healing or clone brush tool. This technique works in any tonal range. I selected a cropped photo from the Camelot theme below.
I live and work in Minneapolis, Minnesota. Adobe has a small engineering outpost in the Twin Cities with the majority of folks working on Lightroom, Photoshop, Revel and Premiere Pro. Prior to joining Adobe, I worked in advertising doing motion graphics and web development.
I originally joined Adobe as part of the Photoshop development team in 2001 focusing on quality and usability. My first assignment was working on our web graphics engine and helping migrate from OS 9 to OS X. Over the years, my main focus was Photoshop’s architecture and core functionality – helping re-architect the Layers panel for multi-select and adding non-destructive editing through Smart Objects and Smart Filters. I was also a quality lead on the 64-bit/Cocoa work in Photoshop CS5.
More recently, I’ve switched roles to focus on customer advocacy and customer engagement. I spend about half my time engaged directly with our customers in person or through social media. You may have exchanged comments with me on Twitter, Facebook for Photoshop or Lightroom, our Community Forums for Photoshop or Lightroom, or our Feedback site.
Photography is often an overlooked force in our understanding of history. Strong photography depicts how we feel about what is happening in the present and lasting images of historic events shape the way future generations experience the past. The photography of Jacques Lowe is at the intersection of two of the most important moments in United States history, separated by more than 40 years, and without Photoshop and a talented team of photo restorers at Washington D.C.’s Newseum, it might have been lost forever.
As a presidential photographer, Jacques Lowe covered John F. Kennedy and his family for three years, developing an intense relationship with the President and a first family that would capture the nation’s attention like no other. For three years, Lowe was given unparalleled access to the Kennedys at a time when they were taking over the American political scene. Lowe’s family members recount his meticulous dedication to preserving his images of the Kennedys for decades after his tenure as the presidential photographer. “There are no words to describe how attached my father was to his Kennedy negatives,” said his daughter Thomasina in 2003′s Remembering Jack.
Unfortunately for Lowe, his decision to store his prized collection of photo negatives in a vault in the World Trade Center (a decision he made in order to guarantee their security) would result in their destruction during the attacks on September 11, 2001. Around 40,000 of Lowe’s negatives were forever lost when the towers collapsed. All that remained of his legendary photography was a collection of around 1,500 faded, scratched and worn contact sheets, stored in another location.
Those contact sheets were never meant to be used as anything more than a reference for Lowe. The minuscule images were marked with wax, ink and paint to note which ones were valuable. More than 50 years after the original images were shot, a team of highly-skilled photo retouchers from the Newseum transformed those tiny contact sheet images into large, museum-quality prints to celebrate Lowe’s Kennedy photography in a display titled “Creating Camelot: The Photography of Jacques Lowe.” More information on the display can be found in the video below:
I had the opportunity to discuss the historic photos and the retouching process with the Newseum’s team of Indira Williams Babic, Sarah Mercier, Neil Petti and Brendan O’Hara. Their work on this exhibit has been truly inspirational to me and I’m happy to share our conversation with you.
What does “Creating Camelot” add to our historical understanding of the Kennedy family?
“Creating Camelot: The Photography of Jacques Lowe,” showcases intimate and iconic images of President John F. Kennedy and his family taken by Kennedy’s personal photographer. Jacques Lowe started photographing Kennedy when he was a Senator in DC and his coverage continued through his campaign for the Democratic nomination, his campaign for the Presidency, the historic and glamorous Inauguration and ended during the first months of Kennedy’s presidency in the White House. The role of “Personal Photographer” was new in the political world and, in that capacity, Lowe had unprecedented access to Kennedy and his family. This allowed him to produce intimate and compelling images; on many occasions, Lowe was the only photographer present to capture photographic history.