#CreativeFriday – Create a simple 3D Design and 3D Print from just Photoshop and Illustrator

I’ve been working recently with more 3D Prints from Photoshop, and some ideas of a basic Photoshop 3D and 3D creation workflow. This time I wanted to show and create something super simple and explain how this can be achieved using Photoshop and Illustrator for Creative Cloud.

The idea was to make and print a 3D object which would carry a letter.  And I thought it would make an ideal gift.

The Letter is easy, with the introduction of TypeKit in all Creative Cloud plans, I can find a font that I like and make a 3D print out of it. The tricky bit was to suspend it on something interesting. Photoshop has got the Pen tool and it’s super simple to make something, however, illustrator has a more powerful and controllable engine for vector art work. So I decided that the workflow should start in Illustrator, as this would be the fastest way of working.

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Inside Illustrator I created a new canvas using File / New Canvas

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My object that I’d like to use needs to be curvy, and a spiral would be a good place to start.

Using the Spiral tool, available under the tool bar menu item marked in Red, a simple spiral can be created.

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Just by drawing it out on the canvas.

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Then, to give the spiral some shape, I applied the Variable Width Profile (marked in Green) and adjusted the size of the stroke (marked in Red).

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Then saved the Illustrator file and open it into Photoshop CC using the Place Linked Command into a new canvas. The Place linked command is new to CC, but as the ability of referencing the file as opposed to embedded it inside Photoshop. If the contents of the linked file change, then Photoshop will reflect any changes (If both applications are open, the changes will be instant, otherwise you will need to open the Photoshop file and apply any changes).

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Because the contents of the file are from a different application, Photoshop will ask which format is best. I chosen the default, ‘Page’.

Screen Shot 2015-01-30 at 15.18.55Once the file is linked in Photoshop, the object and the transform tools will be shown. You can then scale this as you like using the handles. Once the transform has completed (if any) then the tick at the top of the page can be clicked to commit any changes.

Now inside Photoshop we can finish the design by adding a letter, as well as a way for the object to stand up once it’s printed.

First let’s add the letter.

To add a letter, the Text tool (marked Red) can be chosen and then marked up on the canvas. Once this is in place, a letter can be entered by using the keyboard, then it’s characteristics can be changed, it’s font family, weight, size, etc.

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Even after the initial letter has been entered it’s easy to change. Just select the text layer ((cmd+click directly on the object) or the layer can be selected). It’s not important at this stage to edit the text, as we are going to use the new Photoshop text preview to see which font works the best.

Let us change the font for a Typekit font.

When the Text tool is selected, other fonts are available from the drop down combo box. There are options to filter the fonts by Typekit fonts (marked in Red), as well as adding fonts from Typekit (marked Yellow). You are probably asking, what’s so great about Typekit fonts and why would it benefit me. Typekit fonts are available for all Creative Cloud subscribers, as both web fonts and desktop fonts. This means that where ever you use the font it will have the same look and feel (think about your brand, logo’s and printed artwork). It’s also especially useful if the artwork ever goes to another Creative Cloud user. Photoshop is now able to search for Typekit fonts within a document and if the font does not exist on the computer, is able to download it for you by using the Creative Cloud Desktop App. This is a great way to work especially if you are collaborating with another user.

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Filtering by Typekit fonts will make it easier to distinguish fonts from regular desktop loaded fonts. If the font that you want to use does not exist, it can be downloaded using the ‘Add fonts from Typekit’ button.

Once the button is selected, you will be taken to the Typekit service, from where you can search for fonts and preview them. Once the right font has been found, the ‘+ Use fonts’ button can be clicked.

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You can then instruct the Typekit service to sync the fonts for you

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As long as the Creative Cloud desktop Application is running and the fonts sync is turned on, the fonts will sync to your computer and be available in your desktop apps.

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Once the fonts have been synced, you can preview them in Photoshop within your artwork. However, if the font list is long you may not be able to see the artwork.

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One of my favorite features that’s now available in CC is the Overscroll option.

Turning on the Overscroll option will turn on the scroll bars (both horizontal and the vertical) on the canvas, so that the canvas can be freely moved around. This will enable the canvas to be moved into position, so you are able to see what’s happening, especially when a menu item will covers document that you wish to preview.

Now, by moving over the fonts you should be able to see the preview in real time.

Screen Shot 2015-01-30 at 17.36.17we can move the text into position by just using the move tool (using the ‘V’ key).

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In this case, the output looks ok, however, if we need to modify to change it’s position, we can. Double clicking on the Spiral layer in the Photoshop layers panel, will open the file in it’s original application, in this case Illustrator. At which point the curves can be changed, by using the handles.

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Once the file is saved, it will be updated inside Photoshop (as long as Photoshop is open). If Photoshop is closed, then it will need to be opened to make the changes.

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To Finish the base so that the object will be self supporting, we most likely just need a flat section at the base that intersects with the object itself. This can be achieved by using a thin rectangle (marked in Green), using the 2D rectangle tool (marked in Red).

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The last thing to do is to convert this 2D layer into a 3D object.

Before we convert to 3D, the best thing i’ve found, is to convert all of the required components into a Smart Object. The Smart Object will place all of the selected layers into a single object, which can be edited at any time in the future (as long as the file is saved as a PSD or a TIFF).

To do this, multi select or just select the layers that are required to be converted (notice that the background white is not included). The Illustrator file was placed into Photoshop with a transparent background, which is what we need to successfully convert this object into a 3D object. Using the menu option choose Filter, Convert for Smart Filters, this will result in a single layer, with the others layers preserved inside it.

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The result should be similar to the following (marked in Yellow).

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To convert the contents as a single entity to a 3D object, make sure the Smart Object layer is selected, and choose the menu option 3D / New 3D Extrusion from Selected Layer. This will convert to a 3D Object and display the 3D mode of Photoshop.

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There will only be a few modifications made to the object before it’s printed. The extrusion/or the depth will be reduced to be around 2cm, and the way that the letter is supported by the spiral.

The extrusion of the whole object can be altered by selecting the 3D object and pressing the ‘V’ key once. Once the second widget in the series of 3 is shown (as shown below), hover over the middle area (extrusion) with the cursor, then either using something like a Wacom pen or mouse drag up/down which will in turn will increase /reduce the extrusion amount. The actual extrusion should be shown in real time. A small heads up display window will be shown, which will show the actual depth in the unit measure that has been selected (probably cm).

The other way of altering the extrusion, is to open the properties panel once the object has been selected and the navigation widget is shown. Then modify the extrusion depth (marked in Red below).

There are a couple of ideas left that we need to consider with the object. The ‘L’ letter is floating above the spiral, and if we printed this, it would be suspended in mid air and might create a failed print (depending on what is depending on it’s location/position).

One option is to lower the ‘L’ so that it intersects with the spiral. To do this, click on the 3D object, then open the properties panel and click on the ‘Edit Source’ button.

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This will re-open the smart object layer that we converted to previously. To open it’s content double click on the Smart Object layer. At this point, all the original layers will be available and the objects can be moved into position, just using the move tool. If the original spiral needs to be modified, then the Place Linked Illustrator Smart Object can be opened and re-edited inside Illustrator. The screen shot below is showing that the letter ‘L’ can be moved down, so that it intersects with the spiral (N.B it ideally needs to intersect with something, but depending on what the design is, it may be a requirement to print them separately, which of course is possible as well).

The Other option is to create some pegs that will hold the ‘L’ object into position.

The Photoshop standard 2D shape tools are an ideal way to create this type of object. The ellipse tool or an other shape tool can be selected. In the following screen shot, an ellipse/circle is created (Red) and a new Layer is created automatically (marked Yellow).

 

Once the 2S shape has been crated, a 3D object can be created from it by using the menu option 3D / New extrusion from Selected Path.

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This will create a simple 3D object in the shape of a pin (marked in Red below).

To move the camera that is viewing the object the controls marked in Yellow above can be used.

This object is not in the same 3D space as the original spiral shape, it’s within it’s own 3D environment. It can be merged with the main object, by selecting the main object first, then by holding the shift key down, select the pin object (many layers can also be selected using this method).

Once all 3D layers have been selected, they can be merged into the first selected layer using the menu option 3D / Merge Selected Layers.

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The result will be one 3D layer with at least 2 objects (depending on how many where selected during the merge process). Clicking on the object will result in the navigation widget being displayed. Using this widget, the object can be rotated and moved into position. In this case will be under the L.

The fastest way of making sure this object (marked in Red below), is in the correct position, the objects rotation (X/Y and Z axis, marked in Yellow) can be changed using the object position (marked in Green) on the properties panel.

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Objects may then be moved into position using the navigation widget (marked in Red below).

To place the pin in the correct location, the widgets marked in Yellow can be used to position the camera where the objects need to intersect. This will give a much better view of the model when working with this much precision. If you need to get closer, then the Dolly Camera (far right control in the yellow marked area) can be used, in conjunction with the camera up/down (middle control in the yellow marked area).

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In the example a second pin would be ideal. A duplicate of the first pin would be ideal for this use. Within the 3D menu (available on the menu item window/3D ), all objects in the scene can be seen. In here the single pin (marked in blue) is clearly visible. Right clicking on this object will being up the context menu, from here the duplicate or instance object can be selected to create another pin object.

A second object is then created and can then be moved into position. Notice that that pins are long enough so that they intersect the area below the letter, as well as into the letter ‘L’. When this object is printed, this whole section will become a single piece and will hold together, both during the print process, as well as in the finished piece.

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Now the objects have been secured together, it’s time to print it.

In this example below a simple FDM style plastic printer with a single extrusion head will be used.

To access the 3D print menu, open the menu item 3D / 3D Print Settings. The print options will be show (marked in Red). There are many printers available, either local printers, or printers provided by 3D Print services.

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Once the printer and resolution has been selected, the print button can be pressed (marked Yellow). The only issue that may occur and stop the next part of the process, is when the object is larger than the print bed, in this case it will need to be resized. If this is the case, the button ‘Scale to Print Volume’ can be selected, which will reduce the print to be the maximum size of the print bed. Or the model can be reduced manually by using the white square in the middle of the navigation widget from the main 3D view.

The Photoshop 3D print pipeline will be run and the print engine will look at fixing the model for any errors, create a single printable shell and make sure that the model is supported using scaffolding when required. This fixing, repair and scaffolding will be generated specifically to the printer that has been selected. As opposed to a generic fix and scaffolding process.

N.B. This unique process ensures that Photoshop will always create the correct model geometry to ensure a printable object.

Once the mesh fixing and scaffolding has been created (if required). The object and it’s scaffolding will be shown in the preview window.

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Marked in Red above, there are preview options. These options are to  display the mesh only, show the repairs (which are colour coded to the right hand side of these options). Or to show a Raytrace Preview. The Raytrace preview will attempt to show the resolution or the printer, so for example, you are able to what a 100micron print looks like compared to a 50micron print for example.

In this case, the chosen orientation of the model is not best way to print it. Printing this way will print the supports which takes up time and material that may not be needed. A better way is to print the model on it’s side, against the bed. This way, no scaffolding will be required because the object is self supporting.

To go back to the model and re-orientate it, just click cancel and click on the object.

To select all parts that need moving (including the pins, object and base), the 3D menu is used and all components are selected (marked in Red). The properties of the model (marked Green) can be modified, this change will have an impact on all selected components (marked Orange). In this example the X axis has been rotated by 90 degrees. The object can be manually moved into position using the navigation widget, direct on the model if required.

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Now when the 3D print pipeline is selected, the model is fixed and no supports are created because the model is self supporting, even when using a FDM printer. Having no supports will also allow the materials to be used more efficiently, with less waste, and the model will print much faster.

In the following example the object can be clearly seen on the print bed.

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Once the print pipeline has completed, the object and how it will be printed will be shown Screen Shot 2015-01-31 at 00.58.31

The actual output on the print bed

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Final piece

I hope this piece is useful and shows what can be achieved extremely quickly using Photoshop CC as a 3D creation tool, then using it’s powerful 3D print engine to print a highly effective object. Please get in touch by leaving a comment if there is something that you would like to see more about in the world of 3D printing with Photoshop CC.

 

 

 

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Adobe Seminar Room at The Photography Show 2015

We are pleased and excited to announce that the Adobe Seminar room will be returning to The Photography show this year. We have been working hard to make sure that there is something for all photographers who will be attending the show, as well as new topics and innovation that exist inside the Creative Cloud Photography plan, that we feel is exciting and would like to share with you. This year we will have one large seminar room at the event with each talk lasting for about 40 minutes, the schedules for each day are laid out below. Below the schedules you will find a more detailed description of each talk so you are able to make sure it’s the right talk for you, and to give you an insight into what you can expect from the talk and what you will take away.

Adobe would also like to offer you a discount code for the event, just enter ADOBETPS15 on the Photography show website. This reduces a pre-show booked adult ticket price from £13.95 to £10.95.

We are very much looking forward to speaking with you at the show.

Saturday 21st March

 Sunday 22nd March

 Monday 23rd March

 Tuesday 24th March

 

Detailed descriptions of each session

 

TPS 2015 Descriptions

 

Who’s speaking?

David Mallows

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David Mallows has over 20 years combined photographic industry experience in both hardware and software, coupled with first hand knowledge of the day to day practicalities of running his own commercial photography business. He has been a freelance presenter for Adobe Systems UK for the last 8 years, regularly presenting and delivering training at major UK photographic trade events.

Since 2007 David has photographed many of the biggest stars of the music industry as an official photographer for The Brit Awards, The Classic Brit’s, The Mercury Prize and the Music Industry trust Awards.

Gavin Hoey

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Gavin Hoey is a freelance photographer, writer and trainer of all things photographic. His easy to understand photo techniques combined with endless enthusiasm means you can find his work in books, magazines and across the web. Gavin is driven by a passion for sharing his photography and Photoshop knowledge.

In 2008 he started recording and uploading photo tutorials to YouTube, then in 2010 he was the winner of Adobe’s Next Photoshop Evangelist competition. Gavin is currently a regular presenter for Adorama TV where his mixture of camera tips and Photoshop tricks has proved a huge hit.

Eric Renno (AKA Tip Squirrel)

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As the founder of TipSquirrel.com and producing video and written photoshop tutorials for magazines and online titles, Eric enjoys sharing his love of Photoshop, computing and mobile photography. When not writing Eric can be found addressing camera clubs and teaching at his local media college.

Richard Curtis

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Richard is a Principal Solutions Consultant at Adobe with a focus on Digital Imaging. Richard is the UK contact for Photoshop, Lightroom, Elements and Imaging workflows around the Creative Cloud. Richard is also the primary contact for Adobe in the UK and EMEA for 3D and 3D Printing with Photoshop  He is a keen technologist and a photographer for over 20 years, with a focus on travel and portrait photography.

Tony Harmer

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Adobe Senior Solutions Consultant for Design products, Tony Harmer takes care of Photoshop, Illustrator and InDesign with a specialism in interoperability and workflows. Tony has worked in the creative industry for over 30 years on a range of design, illustration and web/screen projects. An Adobe Certified Expert and Instructor in several products (holding more than 160 certifications and one of only a small number to achieve status as a Creative Suite Master) Tony has delivered training all over the UK and Europe, as well as being a contributing writer to Computer Arts, various blogs and a Lynda.com author.

Tony has presented on both sides of the Atlantic for Adobe and as a guest speaker at industry events—one of his presentations was key in helping to influence the decision to integrate forms into InDesign—and he delivers on a range of subjects including Illustrator, Photoshop  and Creative Cloud topics. 

Richard West

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Richard’s career has spanned more than 20 years in the photographic, print and design markets. Originally working in a technical support role for what is today one of Kodak’s subsidiaries in the graphic arts market, he went on to spend almost ten years working in Business Development for Apple where he helped in the launch and roll-out of many products including Apple’s photographic offerings.

Further to this Richard ran Nik Software in the UK taking the company’s professional plugin products and Smart Device App, Snapseed, to market culminating in Nik’s purchase by Google.
Now Richard heads up Datacolor in the UK introducing professionals and hobbyists alike to Colour Management.

Richard has trained and presented to many of the largest professional publishing and broadcasting companies worldwide (including Publicis, Bauer, the BBC and Sky). He has a particular passion for promoting and encouraging creative skills in the classrooms of colleges and universities across Europe. During his time at Apple he played an instigatory role in their ‘Young Creative’ initiative, a program devised to help budding digital artists be inspired to enter today’s diverse world of media

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#CreativeFriday – Choosing Which Creative Cloud Shared Folders to Desktop Sync

A powerful features of the creative cloud, is to synchronise content from your desktop directly to the Creative Cloud and visa versa. This also means you are able to share this synchronised content with others, for collaboration or for sharing. This feature is available in the Creative Cloud Desktop version Version 1.8.0.447 (October 2014), and the File Sync must be turned on in the properties panel of the Creative Cloud Desktop App.

Screen Shot 2015-01-23 at 17.49.04The initial synchronise is easy to set up. When you install the Creative Cloud Desktop App a folder called ‘Creative Cloud Files’ is created, and most likely will appear in your Windows explorer window (Windows) or on the side bar on the Mac (as shown below).

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This folder will automatically be synchronised by the Creative Cloud Desktop App to your online Creative Cloud account. You can get access to the desktop folders or the web view direct from the Creative Cloud Desktop Application as shown below.

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You can also see the folder on the web view.

Screen Shot 2015-01-23 at 16.44.11Once content is placed in the desktop folder or in the web view folder, the content will be synced in both ways. The screen shot below shows the content placed into the desktop folder.

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On the Creative Cloud view you will see the same image (once the sync has completed)

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From the desktop or the web view, the folder can be shared with another user, by right clicking on the synced folder.

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Or from the web view using the collaboration option

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The desktop view will take you to the web view and open the collaborate with users window

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At this point the folder can be shared with other users that have an Adobe ID, also, other users can share with you as well.

When the folders are shared, the invited user(s) will receive a notification to let them know that they have been invited. Once they accept the invitation the new folder will appear in their Creative Cloud folder, both on the web, and if the Creative Cloud Desktop App is running, to the desktop as well.

Sometimes, the invited user, or if you have been invited, may not want to have everything synchronised as this will take up additional local storage.

A feature has been added which allows you or the invited user to control which folders are synced to the local desktop folder (N.B. Creative Cloud Desktop app must be running)

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The way to find the option is by navigating to the root folder of the ‘Creative Cloud Files’ folder. In the case above it’s at the user account level. Once you can see the ‘Creative Cloud Files folder’, a right click will show the context window, which will then show ‘Select Shared Folders to Sync’.

To stop the sync, remove the desktop folder and it’s contents, but to leave the content available for future use on the web. The folder can be un-ticked.

As long as the Creative Cloud Desktop App is running, it will start to work, remove the files and folder, then inform you using the notifications.

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This is a great way to take control over which folders and content will be sync to your desktop so as to aid file organisation. When the shared folder and or it’s content is required, it can be just be turned on again.

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Once the Creative Cloud Desktop App has finished it’s work, the folder and it’s contents will be added to your local desktop Creative Cloud folder.

 

The original blog is available here .

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Food Photographer of the year 2015..calling for your photos

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Hi Folks, the end date for submitting entires to the Pink Lady® Food Photographer of the year 2015 is almost here. It’s your last chance to have your Food Photography judged by Michel Roux Jnr.

Why not use or try the Creative Cloud Photography plan?

It’s an ideal opportunity to put the Creative Cloud Photography plan to work and make your photographs look incredible. If you are not currently subscribed to the Creative Cloud Photography plan, then it’s a good time to try and also enter this great competition. Subscribing to the Creative Cloud plan is easy, just follow this link, If you are not sure about subscribing, then you can try both Lightroom and Photoshop by following the links at the bottom of the associated pages. There are some quick and easy ways to get started with these programs. My Lightroom essentials workflow playlist is on Youtube, as well as the Adobe Photoshop YouTube  and Lightroom YouTube channels.

The closing date for entries is 8th February, so it’s time to get snapping for Pink Lady® Food Photographer of the Year 2015, a thrilling celebration of all that is special and significant about food photography.

The competition is open to everyone, professionals and amateurs, young to old, across the world, with a prize of £5000 for the overall winner. As a finalist you will also receive an invitation to attend the exclusive VIP awards ceremony in London in May 2015.

The awards cover fourteen categories, ranging from Food in Action, Food in the Field, Food for Sale and Food Portraiture, also three sub- categories for the Errazuriz Wine Photographer of the Year, a documentary and non-documentary category for the unearthed® Food in Film award and of course our three young categories.

New judges for 2015 include, Anglo-French culinary legend Michel Roux Jr, Emily Luchetti, Chair of the James Beard Foundation, USA, and George Motz, Founder and Director, Food Film Festival NYC, who are joining luminaries such as Jay Rayner, Chair, (The Guardian, Observer, BBC’s The One Show), Sanjeev Kapoor, India’s culinary superstar and Chris Beetles, of Beetles & Huxley, one of the world’s leading galleries specialising in photography.

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The Society of Wedding and Portrait Photographers annual convention update.

The weekend just gone saw the return of the Societies (SWPP) annual convention held at the London Hilton Edgware road Hotel. It was a another well attended and informative event with some amazing photography, as well as winners for the annual awards.

Adobe sponsored some of the awards, one of which was the Overall 3rd place, which was won by Trev Wilson. We would like to congratulation Trev on this award and pay tribute to his amazing photograph of this Kingfisher.

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Trev Wilson

I started photographing Wildlife purely as a hobby about 10 years ago then accidentally fell into equestrian events and set up quite a successful company covering events all over the North West as a result of this I was asked if Id shoot a couple of weddings and the lure of being fed, getting paid more and actually socialising whilst I worked got me hooked.  So no more standing in the rain for 12 hours shooting horses.  Since then Ive mentored by Damian Mcgillicuddy  for 4 years and run a successful portrait studio in Wallasey Merseyside.  The people side of my photography is pretty much self generating now so 18 months ago I decided to go back to where it started for me and shoot wildlife for me again.  Ambitions / future Id love to spend extended time photographing African wildlife and phase out the weddings & people completely. 

You can see more of Trev Wilson’s work at his website here.

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Adobe ‘Hidden Gems’ Demo Feed from the Societies Convention

Adobe UK were at the Societies Convention in the UK this week with our colourful seminar room. We had many sessions running all day, covering lots of different aspects of Lightroom, Photoshop, 3D, 3D Printing and Behance. Whilst we were presenting the sessions, Sandy Puc asked me to demo the ‘Photoshop Hidden Gems’ presentation on the live feed. The video is available to watch below.

Broadcast live streaming video on Ustream

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#CreativeFriday – Lightroom Mobile Deep Dive

Lightroom mobile, now available for Android Phone!

Lightroom mobile has been designed for both amateur and professional Image makers. Lightroom mobile has been designed to be a companion application and works seamlessly with Lightroom on the desktop and allow changes made on mobile devices to sync back to the desktop. Lightroom mobile supports a new, and more relaxed way of editing and managing photographs.

Lightroom mobile is included with the Adobe Creative Cloud and is available in the complete Creative Cloud as well as the Create Cloud for Teams and the Photography bundle. Users will be able to use it as part of their active subscription or as a 30 day trial. Lightroom mobile is currently available on both the iPad and iPhone as a free download from the Apple App Store.

Download Lightroom mobile

Visit the Google Play store and download Lightroom mobile.  Once you login with the same Creative Cloud account, you’ll see all of your synced Collections.

(Original Lightroom for Android phone Blog post from the Lightroom team).

The Mobile workflow 

The rise of the iPad and other mobile/tablet devices, created a shift in the way that people consume and access information. Recently this has been over taken, and the way that people consume and create content has also changed. Lightroom mobile is an application that embraces this change and allows photographers to adjust and enhance their images non destructively (i.e. original files are not physically changed), and have these changes and edits sync back to the originals on the desktop, including RAW, JPG, TIFF, PSD and PNG.

What is Lightroom Mobile designed to do

Lightroom mobile embraces the creative cloud to make sure that images from Lightroom desktop are synchronised to Lightroom mobile and vica versa, including photographs taken on the mobile device. Lightroom mobile can be used to select photographs for editing (using pick/reject flags and star ratings).  Images can be enhanced including exposure, white balance, shadows, highlights, clarity etc. Lightroom mobile also provides presets and the ability to crop your images. Lightroom mobile and the creative cloud makes sure that when an internet connection is available, any image enhancements that are made, either on the desktop or the mobile application will be reflected everywhere.

To use Lightroom mobile you will need to log in on the device using your Adobe ID. The Adobe ID will provide access to Lightroom mobile features, as well as any collections and images that have been synced from Lightroom on the desktop.  When any changes are made to synced collections on the desktop, including adding new photographs or removing them, or any adjustments have been made to the image(s) on the desktop or within Lightroom mobile, then Lightroom mobile and the creative cloud will ensure that they are synced to your devices/desktop as soon as an internet connection is established.

N.B. You will need to be running Lightroom Desktop 5.4 (5.4 is Mobile enabled), to have your images available on your iPad/iPhone and Android Phone via Lightroom mobile, and will also need an Internet connect for synchronising images. Lightroom 5.4 is available as an update to both Creative Cloud and to the box version of Lightroom 5.

Setting up Lightroom mobile is easy and is done from within the Lightroom preferences menu item.

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Lightroom preferences mobile tab allows you to login using your Adobe ID, once logged in it will provide information about your subscription status, along with the number of photographs that you have synced.

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Photographs are synchronised with Lightroom mobile using Collections. Collections are a way to define a set of photographs, and can be added to or removed from at any time. Collections can be created on the mobile app as well.

A Lightroom Collection can be created by clicking on the ‘+’ icon next to the Collections tab in Lightroom desktop, and selecting ‘Create Collection’.

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The Collection can be configured at this point and can include any already selected photographs. A Collection can be marked as being a target collection, which means that images can be added or removed from it by pressing the ‘B’ key on an image. To enable the Collection to sync with Lightroom mobile, the ‘Sync with Lightroom mobile’ option needs to be checked.

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Once the collection has been created, it will show the images that are contained within it. Once the Collection has been marked for sync and an Internet connection exists, the contents will be synced to Lightroom mobile.

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Any content that has been synced with Lightroom mobile is available via the Adobe.com website (www.adobe.com), which is your Creative Identity. Synced Collections can be found under the LR Photos menu item.

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Selecting ‘LR Photos’ will show any synchronised Collections within the web view.

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Clicking on each Collection will show the photos that have been synced.

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Then clicking on each thumbnail will show a much larger image. Slide shows can also be stared from here.

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Adding more photographs to Lightroom mobile can be done by selecting the ones that need to be included, and, either manually them to the collection in Lightroom desktop or by pressing the ‘B’ key if the collection has been configured to be a target Collection.

 

 

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A Lightroom Collection can also be viewed publicly by clicking on the up arrow (top left of the screen below). As you can see, the shared URL can be copied and sent to others (clicking on the ‘view’ option will show what the viewer will see).

 

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Clicking on the Collection name at the top of the screen, will allow you to filter the contents. There are more options available in the list, allowing you to also apply different sorting options to the pictures, as well as showing Badge Overlays.

 

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Navigating over to the iPad or iPhone and opening up Lightroom mobile (once downloaded), will also show the synced Collections.

 

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Initially the Collections are synced to the mobile device (iPad / iPhone) with thumbnails of the pictures. Editing these images will require an Internet connection, so that a larger resolution version can be downloaded when required. Larger resolution files (i.e. the RAW version), requires you to enable offline editing for the Collection.  The offline edit version is controlled by touching the ‘Offline Editing’ option, which can be found under the ‘…’ (Three dots), on the Collections thumbnail.

 

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Control of which method is used to sync content and adjustments from Lightroom mobile can be managed by touching the Lightroom icon. Using this panel, you can force Lightroom mobile to only sync over Wi-Fi, rather than use your 3G/4G data plan.

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Lightroom mobile can be used to choose pictures that need work or are part of a selected edit. There are two options to do this, the Pick system and the Star system. When the Pick system is in use, a flag will appear at the lower left of the screen, when the Star system is in use, a Star will be shown. When either system is in use, sliding your finger up and down the screen will show the other options that are available.

Example of the Pick system.

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Example of the Star system

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Swiping across the screen controls moving to the next or previous picture. Photographs can also be selected by touching the first icon in the group at the bottom of the screen, which will show the filmstrip. Photographs can be selected by touching them, or you can swipe the filmstrip to see more photographs in the Collection.

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The next icon in the group at the bottom of the screen, allows non-destructive adjustments to be made to the photograph. An adjustment can be selected by touching it with your finger, then swiping with your finger to the left and right to reach the appropriate value. The values on elements such as white balance, temperature, exposure, white, black point, shadow, highlight etc. can all be modified.

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When changing the exposure, white point, black point, shadows and highlights, two fingers can be used to show the clipping mask. The clipping mask can be useful to allow precise adjustments when altering these values on the image.

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Once adjustments have been made, two fingers can be used to zoom into the image.

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The third option in the group is the ability to apply presets, presets range from creative, colour, detail and effect etc.

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The last option in the group allows you to make a crop. Crop enables In-built aspect ratios that are selectable from the bottom of the screen and will stay fixed while the lock icon is closed. Free form aspect ratio cropping is also available by unlocking the lock on the right hand side of the screen.

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When adjustments are being made to the photograph, the synchronisation between Lightroom mobile and Lightroom desktop will be paused until the next image is selected. Once the next image is selected, the adjustments will be synced to Lightroom desktop (an internet connection will be required during the sync).

Touching the up arrow, when it is displayed, will allow you to share the image over different channels.

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Below the email operation is shown. Lightroom mobile will create the image for the email, as well as allow an option to enter the TO/CC and BCC email addresses.

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Adjustments from Lightroom mobile can be seen inside Lightroom on the desktop, once the sync has finished.

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Lightroom mobile is also available on the iPhone and works in the same way as the iPad.

 

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Lightroom on the iPhone or the iPad is also a great way to take photographs and sync back to Lightroom on the desktop. Photographs can be stored in any collection on the device, including ones that are created within Lightroom mobile. A Collection can be created on the device by touching the ‘+’ on the top right of the screen. This Collection will appear automatically in Lightroom on the desktop as soon as the sync completed.

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Once a Collection has been created, its behavior can be configured. Under the ‘…’ three dots, you can ‘Enable Auto Import’, this option will bring Photo’s in from the camera roll automatically when Lightroom is open. Pictures can also be added manually to the Collection by using the ‘Add from Camera Roll’ option.

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You can see one picture has been imported from the camera roll in the following screen shot.

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Images from the iPhone can be adjusted and enhanced in the same way as they can from the iPad.

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Once Lightroom mobile has completed the sync, photographs and changes will appear in Lightroom desktop.

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Adobe Shared Cloud Now SOC2- Security Type 1 Compliant

In December 2014 Adobe’s Shared Cloud became SOC2 – Security Type 1 Compliant. The Shared Cloud is the infrastructure component that supports the Adobe Creative Cloud.

What does this mean to you, essentially SOC 2 reports specifically address one or more of the following five key system attributes:

• Security
• Availability
• Processing Integrity
• Confidentiality
• Privacy

Source (Aicpa SOC20 Whitepaper).

An excerpt from the same Whitepaper about SOC2 describes the following :-

SOC 2 Report: What is it?

Reports on Controls at a Service Organization Relevant to Security, Availability, Processing Integrity, Confidentiality and Privacy: Many entities outsource tasks or entire functions to service organizations that operate, collect, process, transmit, store, organize, maintain and dispose of information for user entities. SOC 2 engagements use the predefined criteria in Trust Services Principles, Criteria and Illustrations, as well as the requirements and guidance in AT Section 101, Attest Engagements (AICPA, Professional Standards, Vol. 1). A SOC 2 report is similar to a SOC 1 report. Either a type 1 or type 2 report may be issued and the report provides a description of the service organization’s system. For a type 2 report, it also includes a description of the tests performed by the service auditor and the results of those tests. SOC 2 reports specifically address one or more of the following five key system attributes:

• Security — The system is protected against unauthorised access (both physical and logical).
• Availability — The system is available for operation and use as committed or agreed.
• Processing integrity — System processing is complete, accurate, timely and authorised.
• Confidentiality — Information designated as confidential is protected as committed or agreed.
• Privacy — Personal information is collected, used, retained, disclosed and disposed of in conformity with the commitments in the entity’s privacy notice, and with criteria set forth in Generally Accepted Privacy Principles (GAPP) issued by the AICPA and Canadian
Institute of Chartered Accountants.

 

Putting a SOC 2 Report to Work

A Software-as-a-Service (SaaS) or Cloud Service Organisation that offers virtualised computing environments or services for user entities and wishes to assure its customers that the service organisation maintains the confidentiality of its customers’ information in a secure manner and that the information will be available when it is needed. A SOC 2 report addressing security, availability and confidentiality provides user entities with a description of the service organisation’s system and the controls that help achieve those objectives. A type 2 report also helps user entities perform their evaluation of the effectiveness of controls that may be required by their governance process. Another example is a medical claims processing service organisation that processes claims for health insurers (user entities) and wishes to assure those users that its controls over the processing of claims will protect the information in those claims, which is subject to privacy laws.

 

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#CreativeFriday – Adobe UK November 2014 Create Now Event – On Demand

In November 2014, Adobe UK brought another Create Now online show to life. You can now watch the Imaging part of the show, on demand direct from the links below, or at the main page here.

The links below will give you direct access to each segment of the show, so you can focus on the areas that you are interested in watching.

CHAPTER 1: WHAT’S ON THE SHOW – 4 mins

CHAPTER 2: GAVIN HOEY – PHOTOSHOP CC CONTENT AWARE MAGIC & FASTER WORKFLOWS – 20 mins

CHAPTER 3: YOUR CREATIVE PROFILE – 16 mins

CHAPTER 4: KARL TAYLOR – PHOTOSHOP CC, FASTER & NON DESTRUCTIVE WORKFLOWS – 23 mins

CHAPTER 5: YOUR CREATIVE COMMUNITY – 10 mins

CHAPTER 6: CREATIVE CLOUD MOBILE APPS & SERVICES – 10 mins

CHAPTER 7: STEVE CAPLIN – CREATIVE FILTERS & COMPOSITING – 35 mins

(There is a full screen mode available within each video, just scroll on the video to the right (space is limited due to the width of the recordings and available space on the blog), then click on the full screen icon.

If you would like to join the Creative Cloud or the Creative Cloud Photography Plan, then all plans, options and descriptions are available by using this link.

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Merry Christmas from Adobe – Dissecting the Lightroom and Photoshop Workflow.

I would like to take this opportunity to say thank you for visiting my Adobe Blog and I hope you have found it interesting and informative thought 2014. We are looking forward to creating and sharing lots of new content in 2015 and very much looking forward to your comments and feedback.

Until then, I would like to leave you with this video that Richard West (DataColour) and myself made in December on Dissecting the Lightroom and Photoshop workflow.

‘In this joint Webinar from Datacolor and Adobe Richard Curtis (Adobe) and Richard West (Datacolor) will look at the Photographic editing process from start to finish when using Adobe Lightroom. We will dissect key points in the workflow and look how they affect each stage of the editing process. From key considerations when importing images, such as capture options to which options make the biggest difference in the development module.’

 

Finally, I would like to wish you and your family a Merry Christmas from all of us at Adobe and a very happy new year.
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