#CreativeFriday – Using Lightroom and Photoshop to Edit your Photos

The Creative Cloud Photography bundle offers the Photographer even more flexibility when it comes to editing their photographs and opportunities to make their images look even more amazing. Integration between the two products is a key benefit and is re-enforced with this bundle. The integration is not new and has been in place some time now, however, with the release of the Photography bundle and the ongoing updates to the Creative Cloud, this integration has become much stronger and offers even more possibilities to make images look even more beautiful.


The typical workflow between the two solutions is to let Lightroom render it’s adjustments and take the results into Photoshop. This is a great and well defined workflow, however, it does not offer an option to re-edit the Lightroom adjustments from within Photoshop. The integration between Lightroom and Photoshop in the Photography bundle has become much more flexible, by making use of Photoshop Smart Objects. The ability to open a Smart Object from Lightroom into Photoshop is not unique to the Photography bundle, but, there has been a number of significant improvements to the workflow and the ability to use more Photoshop Filters in a non destructive way on Smart Objects as well as the traditional adjustment layers.


With traditional Photoshop workflows, any Lightroom / Photoshop adjustment(s) had to be rasterised early in the workflow and reduced the options for any non-destructive work. There are classic ways of editing images in Photoshop and work a rounds to try create a non destructive process, however, this can result in workflows with a large number of layers and committing to adjustments early in the workflow with no way to re-edit previous enhancements.


The Creative Cloud Photography bundle, offers new workflows for the photographer to embrace a true non-destructive workflow, without having to commit to adjustments early in the process. Images now can be saved with all of their Lightroom or Camera RAW adjustments in tact, with supported ways to re-edit the original RAW adjustments from Camera RAW or from Lightroom. This new workflow is a savior for anybody that is wanting to tweak, enhance and re-tweak their pictures to get the best result at any time in the process.


To demonstrate this, here is a picture that I took in Bhutan. I like the way that the monks are running up and down the stairs, carrying food and other items, I think it nicely shows part of the Buddhists monks way of life. However, there are a few issues that I would like to solve, and after all, both Lightroom and Photoshop are tools to help fix any photographic problems with the picture. First of all, when I took the picture I was stood to the right of the scene, this angle has created awkward result. Also, to me the monk disappearing out of the frame is not something in my opinion that helps the photograph. Of course all of these issues might not be what you would look to fix in the photograph.


The objective of this walk through is to show the integration of image editing between Lightroom and Photoshop and another way to open pictures, keep the Lightroom adjustments active and create a non destructive workflow for any future enhancements.


N.B. This walkthrough uses the 2014 release of Photoshop CC.



Initial adjustments can be made in the Development module of Lightroom, we don’t need to worry if the results are not exactly what we are looking for, as we can modify them later once our work is inside Photoshop.



To enable the non-destructive workflow and the powerful features of Photoshop CC, the RAW image will need to be opened into Photoshop, and in the mean time keeping our Lightroom changes so that we can work on them later. Instead of using the ‘Edit in Adobe Photoshop’ option in Lightroom (CMD (Mac)+E or CTRL (PC)+E), the option ‘Open as Smart Object in Photoshop’ will be used. This menu option can be reached by right clicking on the image in the film strip or the middle window, or by using menu item ‘Photo / Edit in / Open as Smart Object in Photoshop’


Once in Photoshop you will see the same single layer result as in a traditional workflow. The difference is the small icon in the bottom right hand corner of the image on the layer. This icon denotes that a Smart Object is in use. The Smart Object is effectively a container, which is storing Photoshop Objects. In this example the Smart Object is holding the RAW file as well as the Lightroom adjustments (in the form of metadata). The Smart Object could also contain layers, masks, video as well as any other Photoshop object.


To access the contents, just double click on the image on the layer. Before the contents are opened in this example, a Photoshop Adjustment layer will be added to make an enhancement to the photograph.




Photoshop adjustment layers are accessed from the Layer menu option and are placed above the layer that is selected in the layers pallet.



The curves adjustment layer has been applied (as shown below) and the image has had a simple ’S’ curve applied to it (The ’S’ curve will deepen the shadows and lift the highlights, adding contrast to the image).




Even though the curves layer is applied to the image, the contents of the Smart Object can still be accessed by double clicking the original Smart Object layer. This action will open the Camera RAW filter and allow modifications to the original Lightroom edits. The values in Camera RAW interface will be the same as from the initial settings in Lightroom (both Lightroom and Camera RAW share the same technology).  The usual features in Camera RAW (Lightroom) are also available in this dialog, including lens corrections, radial filters, adjustment brushes, split tone, etc.



Once adjustments have been made/refined and OK has been pressed in the Camera RAW dialog, Camera RAW adjustments will then be re-applied to the Photoshop Smart Object layer. The Smart Object will always show the final result of its contents.




Previous to Photoshop CC only a few of the available Filters could be applied to a Smart Object and used in a non-destructive workflow. In Photoshop CC almost all of the Filters can be used on the Smart Object and provide a re-editable, non-destructive enhancement to the photograph.  Photoshop Filters can be found under the Filter menu item.



The Filter to be used in this example and one that will fix the perspective is the Adaptive Wide Angle Filter. To use this Filter, lines are drawn across the image, in both the horizontal and vertical positions, where required. This will tell Photoshop where in the image the straight lines are. If there was any barrel distortion (including fish eye lenses or wide angle lenses), then the lines that are draw will follow inherent lens curvature and Photoshop will draw a curved line instead of a straight one. For each line there is an option to right click and pull up a dialog that will straighten out and fix to the vertical/horizontal.



Once the correction(s) have been made, the result will be sent back to Photoshop and shown on the original Smart Object layer. Notice the Curves adjustment layer is still in place above the original Smart Object layer. The Filter is applied to the Smart Object and will be positioned underneath it (as shown below). The Filter adjustment will be created with a mask, the mask can be used to show/hide parts of the filter effect. Also, using the eye icons that are next to the mask, the filters can be turned. The filter adjustments can be re-edited by double clicking on the filter.



Everything at this point is re-editable including the curves adjustment, original RAW edits from Lightroom as well as the Adaptive Wide Angle, all by double clicking on the relevant object.



Once back in Photoshop the crop tool can be used to trim the picture up and remove the monk from the edge. The Crop inside Photoshop CC as well as Photoshop CS6 has the non-destructive crop feature. The non-destructive crop feature has a small icon on the tool bar which can be used to control the removal of pixels after the crop. In this example, the pixels will not be removed and can be re-edited at any time (this option may also be marked as ‘Delete Cropped Pixels’ on the crop toolbar).



Once the Photoshop file is saved (CTRL (PC)+S / (CMD (Mac)+S) the result will be placed in the same location as the original RAW file and will also appear next to the original file inside Lightroom.



Once the PSD file is inside Lightroom, it can stay there an be part of the search/index system and can be found during the Lightroom filtering process. If the PSD file needs to be re-opened inside Photoshop then the regular CTRL (PC)+E/CMD (Mac)+E keystroke can be used to send it to Photoshop. Additional Lightroom adjustments can be made inside Lightroom at this point and re-opened using the Edit a copy with Lightroom Adjustments (remember that Lightroom will never modify an original file). However, the benefit of having the Camera RAW filter inside Photoshop means that adjustments at this stage in Lightroom are no longer required, the file can be simply opened into Photoshop and made using the Smart Objects and Camera RAW filter. This approach can make the editing process non destructive even after the Photoshop file has been saved.




Once the file is opened as the original from Lightroom, then the file will be opened from where it was left.



If in Camera RAW, the PSD file can be opened by using the ‘Open With – Photoshop CC’.








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#CreativeFriday – Sandra Canning and 3D Printed Photographs

Lithophanes have been around since the 1820’s, and now 3D Printable lithophanes for use on desktop 3D Printers are starting make this technique more accessible for all. Pre-created and downloadable lithophanes have been published on content libraries like Thingiverse for a while as well. However, trying to make your own from your own Photographs or even artwork requires specialist skills and knowledge of 3D applications. Since earlier this year, Photoshop CC now has the ability to create 3D printable lithophanes from your own images and makes this process really easy. The way to use Photoshop CC to achieve this, is covered in depth in a previous blog.

3D Printed photographs are an exciting new concept for Photographers and a very unique way to show off your work. One such Photographer who is active in printing 3D lithophanes is Sandra Canning.

Sandra Canning BW

I asked Sandra if she would be interested in join me for an interview and share her thoughts and motivation for creating 3D Printable lithophanes for my readers.

Richard: Sandra many thanks for agreeing to take part in this interview and thank you for your time. Similar to yourself, I am very excited about the possibility of being able to print Photographs using 3D printers, both on the desktop as well as using an online services as well. Can I first ask what is your background as a creative / photographer?

Sandra: Fine art photography is my specialty. My preferred subjects are landscapes, seascapes, architecture (using long exposures). I am an amateur, but my goal is to eventually pursue my creative projects full-time. I am mostly self-taught and started to seriously develop my skills about 3 years ago.

Richard: What inspired you to invest time in photography and what is your focus when taking images.

Sandra: I pursue photography for purely selfish reasons. Creative expression is how I reconcile a world that seems to be going increasingly mad. By creating beautiful things I can balance the other negative emotions that are a part of everyday living. Photography is my first love. I desire to share the uplifting spiritual connection I get when creating. I believe that the world and its people are just as capable of miracles as they are mayhem. I simply choose to focus on the good. Sales are starting to pick up so it’s also nice to know that others appreciate the work. I am also grateful for the awards and recognition I have gotten.

Richard: What inspired you most to become interested in 3D and 3D printing photographs?

Sandra: Around May-June of 2014, I wanted to find something new to do with my pictures, and I stumbled on some articles about 3D printing. The creative possibilities blew my mind. I had heard about it prior, but it never seemed relevant to me. I remember gawking at the impossible design innovations in sculpture, fashion, jewellery etc. But when I looked for 3D Printed applications for photography there was much to be desired. I came across 3D printed lithophanes, but the pictures were not fine art quality. This breakthrough technology also seemed to have a content problem. The lithophanes I found were of Yoda and cats. At that moment, I got the bug to create 3D printed, fine art quality lithophanes of my photos. I have been on that mission ever since.

Richard: What do you think are the biggest obstacles in moving into and taking up 3D printing?

Sandra: I started this a few months ago with no background in engineering, design, or 3D printing whatsoever. So, I can only speak from my very limited experience. My biggest issues are: costly high-resolution printers, limited and expensive materials as well as the difficulty of creating printable 3D models. Spending thousands of dollars to make a small plastic item is not a compelling use case for an artist trying to sell “fine art objects”.

Richard: What do you think is missing in the move to 3D and 3D printing that would help others adopt this technology / technique?

Sandra: Unless you already are a 3D designer, creating a 3D model is a very time consuming, anger inducing, and expensive to outsource. Going from an idea to 3D model has to get easier, be more accessible and more fun. Thankfully this is being addressed. Lithophane actions (and the other 3D tools) in tools like Photoshop CC can make it fun to generate a printable model. I have not tried Photoshop CC yet as i have been using specialist people, but I have been following the advancements and plan to give it a test drive soon. If you are a professional photographer, I am not sure that you will make much of a profit just yet. Current at-home 3D printers are expensive and the build volume is small. Galleries want BIG. In the short term, I would rather pay for a maker space pass or use a service bureau for printing the final part. I think that in the next year the high-definition machines will be far more powerful, larger build volume, better reliability, better materials and will be half the cost of today’s machines.

Richard: I hear that you have had 3D photographic exhibition, can you tell us about that and what was the reaction of your guests?

Sandra: I never would have been able to do the exhibit without the help and support of Prototyping Solutions (http://prototypingsolutions.com/). What made the collaboration with them a success was that it was fun for these hard core engineers to get a chance to flex their artistic muscles. It was a treat for them to do something that was not the typical widget. They saw the vision and jumped in head first. Attendees at the exhibit were visibly impressed when I explained that the same machine used to make the 3D printed photographs could also build a small car or industrial prototype. The lithophanes were printed at 16 micron layer height in Vero White on a Stratasys Objet260 Connex 3D printer. Each part took around 30-45 minutes to build.

Richard: What would you like to see develop to further enhance this technique that you are now pursuing?

Sandra: The lithophanes I exhibited were beautiful, but my vision was to create a little time-machine and bring back lithophanes from the 1800’s. I need a different material (translucent porcelain). I would love to see the lithophanes in full-colour (for the next exhibit ;-). I also have some other ideas for 3D applications for 2D photos.

Richard: Do you think you will ever look at real 3D modeling or will this be your focus moving forward?

Sandra: I will do as much as I can with the limited time I have. I wish I could devote all of my time to the many ideas I have been getting since embarking on this journey. I have some new ideas for sculptures, tableware, and jewelry. It blows my mind that 3D/3D printing allows a non-traditional sculptor to create sculptures. Never before in history have creators had this kind of power. I plan to start taking classes in 3D design.

Richard: What creatives do you follow, and why do they stand out from others in your opinion?

Sandra: The lines between creative disciplines seem to be blurring if not completely disappearing. I refer to it as the BIG RETHINK. The people who inspire me are the revolutionary thinkers who are not afraid to venture into foreign territory. Iris Van Herpen’s collections are great explorations of so many specialties. By combining 3D printing, biology, engineering, architecture, and innovative materials, she is refashioning the boundaries. Neri Oxman is one to watch because she has the eye of an artist and the mind of a scientist. Her revolutionary ideas on “material ecology” have had a clear influence on design theory moving forward. The Metal Series of shoes by Bryan Oknyansky still has me speechless.

Richard: What social networks do you like most?

Sandra: I am actually suffering from social media fatigue at the moment. Reluctantly, I’m on Twitter, Google +, Facebook, Flickr, Instagram, 500px. I need to find time to work on my Google Gallery.

Richard: How do you think these networks will showcase artists and Photographers better in the future?

Sandra: We may have a problem. Remember when Taylor Swift said in her WSJ Op-Ed piece, “In the future, artists will get record deals because they have fans—not the other way around.” I think this is also true for photographers on social media. So many people have mastered social media and have a million followers although their work is just borderline. The networks have to pander to people with lots of followers regardless of the quality of work, and sometimes that means seeing the same people over and over. Not sure how this will play out.

Richard: What are you looking forward to in the future?

Sandra: Bringing to life some sculptures, jewellery, and tableware I have been thinking about. I also have to perfect the 3D printed lithophanes. Right now they are quite good, but they can be improved.

Richard: Do you have any future projects that you would like to talk with us about?

Sandra: 3D scanning and depth cameras are high on my list to investigate. I love the idea of going from 3D scan to 3D model. I intend to do quite a bit in the future with 3D scanning. When I realized there would be no going back for me and that as a creator I had to master these skills, I formed a Meetup group to share and learn with others. Check it out here http://www.meetup.com/ArtOf3Dprinting. The mission of this group is to popularise 3D printing through fun and engaging events. I have to thank 3D Systems for sending Megan Innes to Miami to demo the iSense 3D scanner on October 25th. I am always on the lookout for partners to lead workshops, so please contact me if you have compelling products or talents that would make a fun workshop. You will find an eager audience in South Florida. I am excited to create more events.

Richard: Is there anyone that you would like to thank in this shift to 3D and 3D Printing?

Sandra: I feel like I stumbled into 3D/3DP blindly. The real miracle is the incredible amount of people who reached out to grab me as I stumbled. In the end I didn’t do it alone. I am so happy I was not my usual stubborn self, Miss Independent. I am happy I did not let the fear of knowing absolutely nothing stop me from pursuing my vision. I have met some of the kindest, smartest, and creative people on this journey. Collaboration has been the key to my success so far. When we start regularly cross-pollinating engineers and artists, things will become even more exciting.


I owe 1000 thanks to Prototyping Solutions for 3D printing the lithophanes of my photographs for the exhibit. The full list of people who helped is on my blog.


Thank you, Richard, for giving me this opportunity to share my thoughts on these very exciting new tools for creators.
I would like to thank Sandra for this interview, if you would like to see more of Sandra’s work, then please head over to her website.

Sandra’s original photograph.

Tree in Key  Biscayne

The printed output on Vero White on a Stratasys Objet260 Connex 3D printer

Unlit Tree in Key Biscayne Lithophane

The final result is back lit and hung on the wall.



Sandra created many more examples and displayed them in a galley for her follows to view.

Proteus Rising From the Sea-Lithophane


Sea of Love Lithophane


3D Printed Lithophanes on display at Sandra’s exhibition.


Lithophane Art Exhibit Sandra Canning


Sandra Canning

This is the serendipitous journey of a female photographer unveiling beauty in all her disguises. Canning is noted for saying that sometimes she finds the pictures, but quite often they find her. Her mission is to go beyond the veil to reveal the beauty that is hidden in plain sight. Canning’s vision when creating an image is based on sharing our “Beautiful Whirled” as she sees it: through the prism of optimism, lit by hope, inspired by awe, and ruled by beauty.

Her belief is that when we commune with beauty, we touch the Divine. Her typical subjects include seascapes, landscapes, & architecture. Canning is mostly self-taught. Long exposure is her preferred technique. She says this is because it provides a photographic record of something that lies somewhere beyond “real life”.

Photographing the fourth dimension (time) allows her to transport the viewer to a world between worlds. Canning has been published in numerous magazines, won awards, sold to collectors and the hospitality industry. She was born in Trinidad, and grew up in St. Thomas USVI. She has lived all over the world, and I now resides in South Florida. www.sandracanning.com


3D Printed lithophanes from the Stratasys Objet Connex 3D printer can also be made in the UK by the good folks at IPF.

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EUROMOLD 2014 – Mike Scrutton Demonstrates Colour 3D Printing Potential

At Euromold this week Mike Scrutton of Adobe is presenting off the Stratasys stand, and showing the capabilities of how 3D models can be painted and customised inside Photoshop CC, then printed in full colour on the Stratasys Object 500 Connex 3. The TCT article can be found here.

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TCT 2014 – Mike Scrutton Talks about Printing 3D Objects in Colour

In November at the UK TCT 3D Printing show, Mike Scrutton from Adobe talks about the challenges of printing 3D Objects in full colour.

The full story can be found on the TCT web site

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Upcoming Lightroom Webinar with Adobe and DataColor

DataColor and Adobe will be hosting a free joint webinar on Tuesday 2nd December 2014 at 7pm GMT. The talk will be showing how to use Adobe Lightroom to edit your Photographs. If you would like to join and listen into this session, then all you have to do is register yourself by using this link.

The presenters will be myself and Richard West from Datacolor, and will be suitable if you are an Amateur, Semi Professional or Professional Photographer.

rc rw


Talk Details :

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.
The talk will also look at image output and export options from Lightroom and what to consider at this critical stage.


Richard West (Right above)

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


Richard Curtis (Left above)

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. He is a keen technologist and a photographer for over 20 years, with a focus on travel and portrait photography.

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#CreativeFriday – Lightroom 5.7 Commenting feature

Adobe Photoshop Lightroom 5 was updated this week (5.7 update) to include Lightroom Mobile Commenting. Essentially this enables you to collect your own comments from your mobile device or both your own/public comments via the Lightroom web based interface. Using the Lightroom web based interface, means that you can now collect comments and feedback from your clients, customers or your family and friends.

NB. Lightroom mobile is only available via the Creative Cloud Subscription (including the Creative Cloud Photography Bundle).

Within Lightroom on the desktop it’s simple to make your photographs (RAW, PSD, TIFF etc) files accessible on your iPad or iPhone or the web interface.

Let us take these images. They have all been selected (as you can see marked in yellow, as they have the light grey background).

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To add the selected images or to just create a new collection, click on the ‘+’ icon (marked in red) next to the Collection panel. A dialog box will be displayed, which will allow a Collection to be configured, and enable this Collection to sync to Lightroom mobile. In the dialog box, just give the Collection a meaningful name. The check box ‘include selected photos’ will make sure that all images that are selected in Lightroom desktop will be included, and the ‘Sync with Lightroom mobile’ check box will enable this Collection to take part in the Lightroom mobile activity.

Screen Shot 2014-11-21 at 06.22.22Once this has been actioned, Lightroom desktop will start to sync the files to the Creative Cloud (marked yellow), then publish to a private folder on Lightroom mobile. A new button has also been added (marked in blue), which will allow the Collection to be shared publicly. Anyone with the Public URL will be able to view the contents. (NB. the Collection will not be available to search engine crawlers, do you will need to provide the link to your viewers).

There is also a context menu available on the Collection, this is found by using a right click on the Collection name (marked in red above/below). Once the context menu is shown (see below), an option to access Lightroom mobile links can be used to turn on and control the mobile features. From here the collection can also be made public by selecting the ‘Share Collection’ or you can view the collection in the web view.

Screen Shot 2014-11-21 at 06.22.35 copy xx

Once the Collection has been shared, distributing the public URL from Lightroom desktop is easy. The public URL (as shown in green below) on on the Collection definition.

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The shared Collection also has a fly out menu (marked green below). Using a right click on the public URL, as shown below, allows copying it to the clipboard for pasting into other communication services (email, iMessage, twitter etc).

Screen Shot 2014-11-21 at 07.22.17 copy 4

In Lightroom mobile web view, the access type is shown by the Collection name. Notice the lock at the top of the page, this signifies that the collection is private and only available via your Adobe ID (both on the web and via Lightroom mobile on the mobile device).

Screen Shot 2014-11-21 at 06.51.10

This collection looks exactly the same on the mobile device. Functionality for each collection can be found by touching the 3 dots (marked in yellow below).


Once the 3 dots have been selected, a menu will appear.

image2 copy

A new option to Share the web collection in Lightroom 5.7 has been added. Touching this option will show and enable the sharing options.

image3 copy

Sharing will immediately make this collection viewable by anyone with the URL.

image4 copy

The link is sharable directly from the mobile device as soon as the collection has been made public. Sharing options will utilise the iOS options, services like email, twitter, iMessage are available (plus others, depending on the apps that you have installed).

N.B. The collection can also be made non public at anytime, by Unsharing it.

Once the collection has been made public, it can be used to collect comments from the viewers.

When a viewer opens the Public URL they will be able to navigate around the collection and view single images at any time. On the bottom right hand side (marked in red), viewers can add comments as well as likes the image(s).

Screen Shot 2014-11-21 at 07.34.29 copy

Likes can be created by clicking the heart icon (marked in red below), and comments created by typing into the comments field (marked in yellow below). Likes and comments are show in the list above (marked blue and green below).

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Comments can be removed by the viewer, by hovering over the comment and a trash option will be displayed.

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Once clicked, the comment(s) will be removed.

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Once a comment has been added to an image, the comments will be synced back to the collection in Lightroom Desktop. A notification in yellow will be shown in the top left (marked in red), also, a small comments icon will appear on the collection (marked in yellow). A context menu is available by right clicking on the collection (as shown in blue). Selecting the Review comments will show the comments that have been added.

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Comments will be shown in the comments panel (marked in red), for the image (marked in yellow).

Screen Shot 2014-11-21 at 07.55.17 copy

Any comments that are received are also available on the mobile device


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Lightroom 5.7 and Camera RAW ACR 8.7

Lightroom 5.7 is now available as a final release on Adobe.com and through the update mechanism in Lightroom 5. This release provides support for additional camera raw file support, new lens profiles as well as a couple of reported bugs.


Updates to Synced Collections:

Synced collections now show a more prominent share button at the top of the Toolbar. This allows you to quickly share your synced collection with friends, family, and clients using Lightroom web (http://lightroom.adobe.com).

Comments and likes left on Lightroom web now sync to the Lightroom desktop catalog. Comments and Likes will be shown in the “Comment” panel for the synced collections.

Images with comments and likes will display a badge icon, indicating that there are comments.  A colored badge  indicates that there are unread comments.

• Integrated utility to import images from Apple Aperture and Apple iPhoto libraries into Lightroom:

New Camera Support in Lightroom 5.7

Canon EOS 7D Mark II

Canon PowerShot G7 X

Canon PowerShot SX60 HS

Casio EX-100PRO

Fujifilm X30

Fujifilm X100T

Fujifilm X-T1 Graphite Silver

Leaf Credo 50

Leica D-Lux (Typ 109)

Leica M-P

Leica V-Lux (Typ 114)

Leica X (Typ 113)

Nikon D750

Olympus PEN E-PL7

Olympus STYLUS 1s

Panasonic DMC-CM1

Panasonic DMC-GM1S

Panasonic DMC-GM5

Panasonic DMC-LX100

Pentax K-S1

Pentax QS-1

Samsung NX1

Sony ILCE-5100


Newly supported cameras for Tethered Capture in Lightroom 5.7

Nikon D4S

Nikon D810

New Lens Profile Support in Lightroom 5.7

Apple iPhone 6

Apple iphone 6 Plus

Canon EF SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Canon EF SIGMA 150-600mm F5-6.3 DG OS HSM S014

Canon EF Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Canon EF Zeiss Otus 1.4/85 ZE

Fujifilm X Fujifilm X100T

Fujifilm X HandeVision IBELUX 40mm F0.85

GoPro Hero

GoPro Hero4 Black Edition

GoPro Hero4 Silver Edition

Leica M Leica SUMMARIT-M 35 mm f/2.4 ASPH

Leica M Leica SUMMARIT-M 50 mm f/2.4

Leica M Leica SUMMARIT-M 75 mm f/2.4

Leica M Leica SUMMARIT-M 90 mm f/2.4

Leica M SLR Magic 50mm T0.95 Hyperprime Cine Lens

Leica M Voigtlander VM 12mm F5.6 Ultra Wide Heliar ASPH.

Leica M Voigtlander VM 15mm F4.5 Super Wide Heliar II ASPH.

Leica M Voigtlander VM 21mm F1.8 Ultron ASPH.

Leica M Voigtlander VM 21mm F4 Color Skopar

Leica M Voigtlander VM 25mm F4 Color Skopar

Leica M Voigtlander VM 28mm F2 Ultron

Leica M Voigtlander VM 35mm F1.2 Nokton II ASPH.

Leica M Voigtlander VM 35mm F1.4 Nokton Classic

Leica M Voigtlander VM 35mm F2.5 Color Skopar

Leica M Voigtlander VM 40mm F1.4 Nokton Classic

Leica M Voigtlander VM 50mm F1.1 Nokton

Leica M Voigtlander VM 50mm F1.5 Nokton

Leica M Voigtlander VM 75mm F1.8 Heliar

Leica S Leica SUMMICRON-S 100 mm f/2 ASPH.

Nikon F Nikon AF-S NIKKOR 20mm f/1.8G ED

Nikon F Nikon AF-S NIKKOR 400mm f2.8E FL ED VR

Nikon F SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Nikon F SIGMA 150-600mm F5-6.3 DG OS HSM S014

Nikon F Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Nikon F Voigtlander SL 40mm F2 Ultron ASPHERICAL

Nikon F

Voigtlander SL 40mm F2 Ultron ASPHERICAL Close-up


Nikon F Zeiss Otus 1.4/85 ZF.2

Pentax HD PENTAX-DA 645 28-45mm F4.5 ED AW SR

Pentax HD PENTAX-DA 16-85mm F3.5-5.6 ED DC WR

Pentax HD PENTAX-DA 20-40mm F2.8-4 Limited

Sigma SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sigma SIGMA 150-600mm F5-6.3 DG OS HSM S014

Sony Alpha SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sony Alpha SIGMA 24-105mm F4 DG OS HSM A013

Sony Alpha Sony DT 18-55mm F3.5-5.6 SAM

Sony Alpha Sony DT 18-70mm F3.5-5.6

Sony Alpha Sony DT 55-200mm F4-5.6

Sony Alpha Sony 75-300mm F4.5-5.6

Sony Alpha Sony 300mm F2.8 G SSM

Sony Alpha Sony 500mm F4 G SSM

Sony E HandeVision IBELUX 40mm F0.85

Sony E SLR Magic 50mm F0.95 Hyperprime Lens

Sony E Sony FE 16-35mm F4 ZA OSS

Sony E Sony FE PZ 28-135mm F4 G OSS

Sony E Zeiss Loxia Biogon T* 2/35

Sony E Zeiss Loxia Planar T* 2/50

Bugs Corrected in Lightroom 5.7

The crop overlay displayed an intermediate step when progressing through images in the filmstrip with overlay displayed.

The lens profile for the Canon EF 16-35mm f/4 would not auto-select when using Lens Profile Corrections.

ICC profiles resulted in incorrectly clipped shadows and blacks in Lightroom. Note that this is related to the issue identified here and only occurs on Mac OSX 10.9 and later

Fixed crash when rapidly adding corrections with the Spot Removal tool.

Fixed bug that prevented the Filter Brush cursor from displaying while changing brush size when the Graduated and Radial Filter overlay is turned off.

Improved quality of Camera Matching color profiles for the Nikon D810. Fixes visible banding issues with the Camera Standard, Camera Vivid, Camera Landscape, and Camera

Monochrome profiles.


Context menu (right click on PC or control+click on Mac) was disabled for images contained in Lightroom mobile collections.

Fixed issue that prevented Lightroom 5 from reading Photoshop Elements 13 libraries.

Cover images set by Lightroom mobile were sometimes incorrectly reset by Lightroom desktop.

Sync with Lightroom mobile sometimes stalled when asset is added to same album on both Lr Mobile and Lr Desktop and later deleted

Resolved issue that caused Lightroom to crash when creating a Print and saving it to a mounted DVD directly inside Lightroom.

Publishing images to Behance using the Behance Publish Service has been restored.

Download Links:

Lightroom 5.7:



Adobe Camera RAW 8.7

Adobe Camera Raw 8.7 is now available as a final release for Photoshop CS6 and Photoshop CC. This release improves performance when batch processing images, both through the Save button in Camera Raw and when converting images to DNG in the DNG Converter. DNG Converter 8.7 is also provided.

N.B. Updates to Camera Raw 8 for Photoshop CS6 only includes new camera support, lens profile support, and bug fixes. The new features listed in the release notes are only available in Photoshop CC.

New Camera Support in Camera Raw 8.7

Canon EOS 7D Mark II

Canon PowerShot G7 X

Canon PowerShot SX60 HS

Casio EX-100PRO

Fujifilm X30

Fujifilm X100T

Fujifilm X-T1 Graphite Silver

Leaf Credo 50

Leica D-Lux (Typ 109)

Leica M-P

Leica V-Lux (Typ 114)

Leica X (Typ 113)

Nikon D750

Olympus PEN E-PL7

Olympus STYLUS 1s

Panasonic DMC-CM1

Panasonic DMC-GM1S

Panasonic DMC-GM5

Panasonic DMC-LX100

Pentax K-S1

Pentax QS-1

Samsung NX1

Sony ILCE-5100


New Lens Profile Support in Camera Raw 8.7

Apple iPhone 6

Apple iphone 6 Plus

Canon EF – SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Canon EF- SIGMA 150-600mm F5-6.3 DG OS HSM S014

Canon EF- Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Canon EF- Zeiss Otus 1.4/85 ZE

Fujifilm X- Fujifilm X100T

Fujifilm X- HandeVision IBELUX 40mm F0.85

GoPro Hero4 Black Edition

GoPro Hero4 Silver Edition

Leica M- Leica SUMMARIT-M 35 mm f/2.4 ASPH

Leica M- Leica SUMMARIT-M 50 mm f/2.4

Leica M- Leica SUMMARIT-M 75 mm f/2.4

Leica M- Leica SUMMARIT-M 90 mm f/2.4

Leica M- SLR Magic 50mm T0.95 Hyperprime Cine Lens

Leica M- Voigtlander VM 12mm F5.6 Ultra Wide Heliar ASPH.

Leica M- Voigtlander VM 15mm F4.5 Super Wide Heliar II ASPH.

Leica M- Voigtlander VM 21mm F1.8 Ultron ASPH.

Leica M- Voigtlander VM 21mm F4 Color Skopar

Leica M- Voigtlander VM 25mm F4 Color Skopar

Leica M- Voigtlander VM 28mm F2 Ultron

Leica M- Voigtlander VM 35mm F1.2 Nokton II ASPH.

Leica M- Voigtlander VM 35mm F1.4 Nokton Classic

Leica M- Voigtlander VM 35mm F2.5 Color Skopar

Leica M- Voigtlander VM 40mm F1.4 Nokton Classic

Leica M- Voigtlander VM 50mm F1.1 Nokton

Leica M- Voigtlander VM 50mm F1.5 Nokton

Leica M- Voigtlander VM 75mm F1.8 Heliar

Leica S – Leica SUMMICRON-S 100 mm f/2 ASPH.

Nikon F – Nikon AF-S NIKKOR 20mm f/1.8G ED

Nikon F – Nikon AF-S NIKKOR 400mm f2.8E FL ED VR

Nikon F- SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Nikon F- SIGMA 150-600mm F5-6.3 DG OS HSM S014

Nikon F- Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Nikon F- Voigtlander SL 40mm F2 Ultron ASPHERICAL

Nikon F – Voigtlander SL 40mm F2 Ultron ASPHERICAL Close-up

Nikon F-  Zeiss Otus 1.4/85 ZF.2

Pentax HD – PENTAX-DA 645 28-45mm F4.5 ED AW SR

Pentax HD – PENTAX-DA 16-85mm F3.5-5.6 ED DC WR

Pentax HD- PENTAX-DA 20-40mm F2.8-4 Limited

Sigma- SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sigma- SIGMA 150-600mm F5-6.3 DG OS HSM S014

Sony Alpha- SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sony Alpha- SIGMA 24-105mm F4 DG OS HSM A013

Sony Alpha- Sony DT 18-55mm F3.5-5.6 SAM

Sony Alpha- Sony DT 18-70mm F3.5-5.6

Sony Alpha- Sony DT 55-200mm F4-5.6

Sony Alpha- Sony 75-300mm F4.5-5.6

Sony Alpha- Sony 300mm F2.8 G SSM

Sony Alpha- Sony 500mm F4 G SSM

Sony E- HandeVision IBELUX 40mm F0.85

Sony E- SLR Magic 50mm F0.95 Hyperprime Lens

Sony E- Sony FE 16-35mm F4 ZA OSS

Sony E- Sony FE PZ 28-135mm F4 G OSS

Sony E- Zeiss Loxia Biogon T* 2/35

Sony E- Zeiss Loxia Planar T* 2/50

Release Notes

ACR 8.7 now supports HiDPI displays on Windows. Please use the following steps to enabled HiDPI on Windows:

Go to Photoshop -> Preferences -> Experimental Features

Click on “Scaled UI 200% for high-density displays”

Bug Fixes:

Fixed crash when rapidly adding corrections with the Spot Removal tool.

Fixed bug that prevented the Filter Brush cursor from displaying while changing brush size

when the Graduated and Radial Filter overlay is turned off.

Improved quality of Camera Matching color profiles for the Nikon D810. Fixes visible banding issues with the Camera Standard, Camera Vivid, Camera Landscape, and Camera

Monochrome profiles.

Please note – If you have trouble updating to the latest ACR update via the Creative Cloud application,

please refer to the following plugin installation:

The ACR Download is available for manual installation here.

Download Links

DNG Converter 8.7



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#CreativeFriday – Creating 3D Extrusions from Paths

This post starts off from last weeks post, where the birdhouse has been created using a circle and a polygon. Now to create the roof. A new path will be created using the pen tool. A simple path which follows the natural lines of the top of the current structure. When creating a new path, you should make sure that the path is created on a new empty layer, (shown in in red). Once the path has been made and closed, then a right click will bring up the context menu and ‘Convert Path to Extrusion’ should be available.


Once the 3D extrusion has been made it will be shown on a 3D canvas. Note, that there are now two 3D canvases and they are not interacting with each other yet. The 3D object can be moved about by clicking it once or until the move/navigator widget is displayed (as shown below).


To put the roof into the same 3D canvas as the bird house, select the bird house first (as we want to use the lights and ground plane configuration for the whole scene, and selecting it first will give it priority of the merge), then select the new 3D layer. From the menu item 3D, select Merge 3D Layers.


Once the objects have been merged, the objects will interact with each other, and can be moved into position by using the move / navigator tool widget.


If the shape that has been made needs adjusting, then Photoshop stores the original shape along with the 3D object. This source shape can be changed at any time by selecting the 3D object, or by selecting the object in the 3D menu (not the material). The properties panel for the 3D object will be show, and the ‘Edit Source’ button should be available (see below).

Screen Shot 2014-10-31 at 02.54.07

Clicking the Edit Source will open up the original path for editing. The direct selection tool (black arrow) can be used, as well as the other path modifier tools (ALT and CMD(MAC)/CTRL(PC)). If the shape is changed, the 3D object will reflect the change as soon as the source is changed (it can also stay open while it is refined. Also, moving back to the 3D object panel will cause the original shape to save and the update should be seen automatically).

Screen Shot 2014-10-31 at 02.54.14

To get the roof into the correct position, the camera may need to be moved around, this can be done by using the three icons down the left hand side (just above the coloured navigation axis). Whilst the move widget is in position, pressing the V key once will take the tool into the modified mode (twice into inflation mode). The middle section will extend/reduce the current extrusion, in this case it might need to be extended, depending on the size of the bird house below it (there are other options to play with outside of the extrusion (extrusion is shown below).


The camera can be moved around to make sure the roof fits nice and snug.


Texturing the surface is quite easy, in the 3D menu the Front inflation of the object can be selected (applies to all Photoshop created objects). The objects surface can be selected directly as well. The same as last week, choose the material(red and yellow) or make a new texture.


The extrusion (pink) can be selected as well and a new texture (red) applied or a new texture created (blue). In this example the texture actions will be used to create an asphalt type surface.


The asphalt is available under the textures actions (see last weeks post).


If a new Bump is required to give the surface a real world quality, then select a new bump mat (green) for the extrusion material for the surface (yellow). A dialog will appear (red) and notice, it’s the same size as the diffuse material.


If the same texture is to be used for the bump map than the diffuse texture, then as a quick solution. I tend to keep the diffuse window open and drag it to the side, and have the bump map canvas behind it, then select the diffuse layer and drag the layers into the bump canvas.

Then the bump can be  increased by moving the slider to increase the amount of bump texture.14

If the lights need to move to show the house in it’s best light. Click on the light in the 3D panel (yellow), then look at it’s properties. The light intensity can be increased or reduced using the slider in the green box (also the colour of the light). The light position can be moved by dragging it with the red handle. The shadow can be turned off as well by un checking the check box for shadow (sometimes a shadow isn’t required)


You may have noticed that the floor is shiny and has a wonderful reflection on it. This is configured in the environment properties (yellow). The Ground plane shadow is set to 60%, the reflections opacity is set to 67% and the roughness is set to 60%. These figues may not work for you, but experiment with them and see which effect you like. The reason that the shadow has been removed from the light, is that it doesn’t like quite right with the reflections, but you may like it, so by all means turn it on.


The last step is to render the scene, by clicking the render button (they are everywhere, but in the example above, it’s next to the delete icon on the properties panel and in the middle of the bottom of the 3D panel.

birdhouse v2.5

Here is the PSD file if you wanted to start with the finished item.

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#CreativeFriday – 3D Shapes and Bump Maps in Photoshop CC

This post is all about how to create a 3D object from shapes inside PhotoshopCC. Then look at texturing the object and creating some bump maps to give it a realistic effect.

First thing to do is create a new canvas and place a shape on it. Below a polygon has been used and will be used for a simple bird house for a bird table (the polygon tool is available under the shapes tool bar (marked in red)).


Before the Polygon is drawn a black fill and a white stroke (3pt) (marked yellow above), have been chosen. Also, the new layer (marked in purple) has been selected. A straight forward Polygon is created by holding down the SHIFT key (this will keep the format of the shape and not distort the vertical or horizontal).


The shape will grow in size fairly quickly so you may need to re-size it using the free transform tool ((CMD+T(Mac) or CTRL+T(PC) can be used once it’s committed), or to just move it, select the Path Selection tool (using the keyboard shortcut A), or by selecting the black arrow (marked in red).  The Path selection tool (Black arrow), can be used to move the shape around the canvas (but it won’t change the size, only the position). The direct selection tool is used by clicking on the edge of the shape that is required (they may be more than one), the black dots (marked in green) should be then displayed. With the ‘New Layer’ option turned on (marked in purple above), a new empty layer is created and the shape is placed on this by default (marked blue below). Once this has happened, the combine shapes option (marked in yellow) will be chosen automatically (it can be changed to another if required). The shape can now be moved around the canvas, and also have it’s size and format changed by pressing the free transform tool.

Screen Shot 2014-10-29 at 23.21.03 copy

The bird house will have a door way. This will be a circular hole punched through it. The shape tool or any other tool may be selected and the same layer where the polygon is should be selected in the layer panel.

This time an ellipse tool will be used in this example (marked yellow) to create a cutaway part to the existing shape (marked in green below). This can be done by holding the ALT key down (this will move the shape options into subtract front shape mode), as well as holding the SHIFT key down (to keep the original shape format), whist dragging a new circle on the canvas. A subtraction shape is made, which will be used as to cut a doorway.

Notice that a new layer has not been created, this is because the path tool was in the subtract front shape mode and not new layer mode.

Screen Shot 2014-10-29 at 23.35.25 copy

The shape can be moved freely by selecting the black arrow (Path selection tool) (shortcut key A), or by changing the shape using CTRL+T. Other shapes can be created, moved and changed as well, by just using the black arrow (Path selection tool), then selecting them directly. The white arrow (direct selection tool) is used to change the shape of the shape by exposing the handles of the bezier curves.


Screen Shot 2014-10-29 at 23.35.35

Once the shape has been moved into position, it can be extruded into a 3D object. To extrude the shape make sure the black or white arrows are enabled and the shape is selected. Then right click anywhere on the shape, to show the context menu. At the bottom of the list, Extrude path to Extrusion should be available.

Screen Shot 2014-10-29 at 23.51.36 copy

Selecting this option should convert the object to 3D.

Screen Shot 2014-10-29 at 23.53.35

Now it can be positioned in to the correct place and textured.

Don’t forget that by clicking on the object once will show the move widget, where the model can be moved left, right, up, down and rotated, as well as change the size of the model uniformly.

Screen Shot 2014-10-29 at 23.57.23 copy

The camera can be moved into different positions by using the three tools marked in red.

To apply a texture to the front of the bird house, click on the front face twice (marked in pink), or navigate to the 3D menu and choose inflation material of the shape (marked in red). This will show all of the properties of the material (marked yellow).

Screen Shot 2014-10-30 at 00.00.07 copy

Inside the materials list there are lots of built in ones (selecting the drop down arrow on the materials box will show what’s available. In the example below, a large list is shown, as this shows the names and the effect). There are materials like leather, glass, plastic etc and these make a great start. If they contain a colour then the colour will be loaded automatically into the diffuse property. In the example below, brown leather is chosen and applied to the front face.

Screen Shot 2014-10-30 at 00.04.41 copy

To add something more interesting, the diffuse folder can be opened and the texture opened for editing (marked in red).


Once opened the original 2D UV map and texture will be shown. At this point you can apply any texture to this surface. For this example the actions palette has been used (covered last week, in this post) and the action that is needed it run. In this texture action, it will run the texturizer and the parameters in the dialog box are applied.

Screen Shot 2014-10-30 at 00.14.26 copy

Screen Shot 2014-10-30 at 00.15.23

This can cover the whole canvas as it will only impact the surface. In the example below, a selection has been to the edge of the shape, the result of the action will fill the selection.

Screen Shot 2014-10-30 at 00.16.53

Keep the texture open for a few moments, and return to the 3D object. This time, head over to the properties panel and click on the folder on the bump map (marked red). A texture might not already exist, if not, then one can be created by using the create a new texture option.

Screen Shot 2014-10-30 at 00.27.44 copy

A dialog will be opened, that will create a canvas the same size at the diffuse texture. When opened the UV overlay should be shown (UV overlay visibility is marked in red). This is showing the unwrapped polygons that make up the surface.

Screen Shot 2014-10-30 at 00.30.37 copy

Open the original diffuse window (that contains the texture map) and select the texture layers that were created earlier. The textures can then be copied to the new Bump texture and will be used to create relief.

Screen Shot 2014-10-30 at 00.34.12

Both Diffuse and the bump should now be similar/same (it’s not imperative that this is the case and could even be a completely different texture to get an unusual effect). Navigating to the 3D panel and selecting the front inflation should access the properties of the material. The bump slider can then be increased and will create relief based upon the texture in the bump map channel (this can be changed at any time, by clicking on the folder and selecting edit texture).


To see what the results look like, you can press the Render button (marked yellow above), the render button is available in many places inside Photoshop CC (marked yellow above).




For Photoshop render settings, it will depend on the quality that is needed. I would use a minimum of 4 in Ray Tracer High Quality Threshold in the 3D preferences panel, a value of 5 will extract more information in the ray trace but will take substantially more time. The Photoshop CC Raytracer will create beautiful  high res renderings, photo quality.


N.B. For working with models in the Photoshop environment, I tend set my shadow quality to very low, this will increase performance.

Screen Shot 2014-10-30 at 00.53.57


After the initial render.


Screen Shot 2014-10-30 at 00.57.35

For the outside, a rusted metal effect which can be found under the texture actions panel is used. For this, the extrusion surface will be used. The same process is applied as before. The extrusion surface is located in the 3D panel and the diffuse on the material is opened and the texture applied. The bump on the same material is opened and the same texture is applied to this as well, and the Bump value increased by using the slider.

Screen Shot 2014-10-30 at 01.08.31

Notice on the example above, the extrusion surface applies to both inside and outside extrusions,  the outer shell has the colour applied to it and the inside is the same texture but no colour. This is because the texture in the bump and diffuse covers both the inflation for the outside and the inside.

The red area is the inside of the hole, the yellow is the outside. Textures and colour information don’ t have to cover the whole mesh, The texture can be transformed using the free transform tool and can cover an areas that you require, or multiple textures can be used. The UV Overlays (marked pink) are shown in black (red) in the example below.

Screen Shot 2014-10-30 at 01.10.51 copy

Removing the overlays is achieved by  turning off the UV on the properties panel.

Screen Shot 2014-10-30 at 01.10.54


Next week will look at finishing off the bird house by adding a roof, but there should be enough for you to play with here until next time.


Screen Shot 2014-10-30 at 01.45.04



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#CreativeFriday – Texture and Text Effect Actions

I recently found some nice actions tucked away under the actions menu, so wanted to share with you, just in case you haven’t found them.

To access the actions panel (if it is not shown) in your current Photoshop workspace, select from the menu bar Window / Actions. Once the actions panel is open, click the panel fly out menu (marked in red), you will find the textures and other effects located there.  For the examples in this post Textures and Text Effects will be used. To select each one, click on the corresponding name.

Screen Shot 2014-10-25 at 21.09.37 copy


The actions are activated by choosing the one that needs to be applied, then clicking the play icon at the bottom of the panel. The actions will fill the canvas, and may overwrite layers below it. In the following example a clipping layer is used to place the new texture within the letters. Activating the clipping layer is done by holding the ALT key down whilst positioning the cursor between the two layers in the layers panel. An icon will appear (small white box with a black arrow (in Photoshop CC), a mouse click will activate the clipping layer and will immediately transition the layer into the clipping layer and the underlying layer will show through.


Screen Shot 2014-10-25 at 23.05.44

Clipping layer applied.

Screen Shot 2014-10-25 at 21.10.52 copy


Example of Cold Lava texture


Screen Shot 2014-10-25 at 21.11.16 copy


Example of Rippled Oil texture


Screen Shot 2014-10-25 at 21.11.34 copy

The Text Effects Actions (available under the same fly out menu), gives some other interesting effects, as well (all of these effects can be created manually, but these actions will just save a load of time).

Screen Shot 2014-10-25 at 21.30.34 copy

Example of Brushed Metal

Screen Shot 2014-10-25 at 21.12.25 copy

Example of Clear Embossed. The clear embossed may need some additional elements adding to it, in the following example a Colour Overlay of Red has been added  as well as black background.


Screen Shot 2014-10-25 at 21.15.14 copy

Example of Die Cut.

Screen Shot 2014-10-25 at 21.16.27 copy

Example of Medium Outline.


Screen Shot 2014-10-25 at 21.22.35 copy

There is one other action that is worth exploring further, and is available under the same actions fly out menu. The LAB Black and White Technique is worth playing with.

Screen Shot 2014-10-25 at 22.45.52 copy


The action (as well as some of the previous ones), will stop half way through and ask for manual input. In this case the Hue/Saturation dialog box will be shown. This is a nice sandbox, so feel free to try to different values around the panel.

Screen Shot 2014-10-25 at 22.46.59 copy

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