#CreativeFriday – Photoshop 2014.1 update

The Photoshop CC 2014.1 update has now been released. This post will walk you through the enhancements that have been made in this release.

Most of the enhancements to the 2014.1 release of Photoshop CC are in the 3D module, and mostly address workflow, 3D printer support and better navigation for 3D painting.

The move tool (accessed using the V key), allows you to navigate and work with a 3D model/layer. You have been always been able to use the navigation tools on the top tool bar, but the new navigation tools (marked red) are more intuative and easier to move the model around, especially when using the paint brush.

When the brush tool (B key), is selected the navigation tools were not available, therefore when the model needed to be moved around you needed to goto the move tool, then move the model with the navigation tools in the tool bar (as defined above), then back to the brush mode.

In this version of Photoshop CC, you can now move the model directly within the brush tool by using the navigation tools (marked red).

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I have taken a video of the above to explain how this works, you can watch it here.

What else has been added to the 2014.1 release ?
When working with the brush tool (pink),  painting in 3D the painting properties panel (yellow), now includes the unlit mode (red), to make it easier to turn on and off when painting. Painting in unlit mode will also increase painting performance.
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However, when you are painting on the model in unlit mode you may not be able to see the geometry or the mesh. If need be, you can turn on lines or points by using the “scene” tab of the properties panel (yellow), (this option is also available on the 3D menu under scene). The lines (red) and points (purple) can be now be turned on and selected (see below). Each option has a style selector that you can configure if required.
If needed you can change the colour (the lines are now blue in the following example), this can be acheived by clicking on the colour box marked yellow below.
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Photoshop CC 2014 now supports additional 3D formats for input :-
PLY
PLY is a computer file format known as the Polygon File Format or the Stanford Triangle Format
The format was principally designed to store three-dimensional data from 3D scanners. It supports a relatively simple        description of a single object as a list of nominally flat polygons. A variety of properties can be stored including: color and transparency, surface normals, texture coordinates and data confidence values. The format permits one to have different properties for the front and back of a polygon.
VRML

VRML is a format where, for example, vertices and edges for a 3D polygon can be specified along with the surface colour, UV mapped texturesshininess and transparency.

U3D

The U3D format was defined by a special consortium called 3D Industry Forum that brought together companies including IntelBoeingHPAdobe SystemsBentley SystemsRight Hemisphere and others whose main focus had been the promotional development of 3D graphics for use in various industries, specifically at this time manufacturing as well as construction and industrial plant design. The format was later standardized by Ecma International in August 2005 as ECMA-363.

The format is natively supported by the PDF format and 3D objects in U3D format can be inserted into PDF documents and interactively visualized by Acrobat Reader (since version 7).

(Formats defined from Wikipedia).
We also support new formats for 3D export. To export a 3D layer, right click on the 3D layer and choose Export 3D Layer. Once this option is selected, the 3D formats are available, including the new U3D and VRML.
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The Makerbot 5 is now also supported in this release and can be found under the local print settings. The 3D print properties are marked in yellow. The Makerbot 5 is available in the drop down list (marked red).
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Once selected and the print button has been selected the preview will be shown. When printing with any of the makerbot’s you don’t need a raft, so this has been turned off on the example below. But to ensure this the model must have no gaps between the base and the model.
There are now two preview modes, the original preview and the ray trace mode (the example below is the standard preview).
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Once the Raytrace preview (marked red), is selected, the lights and shadows can be represented. Once the export button is pressed Photoshop will output the .makerbot file. As part of the preview and export, Photoshop is actually creating the supports as well as the slice file, ready for the printer processing.
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UK 3D Print Show with Adobe

The London leg of the 3D Print show is almost upon us again. The show will be running from September 4th to 6th at Old Billingsgate, London.

Screen Shot 2014-08-05 at 10.40.30

This time Adobe are taking the centre stage and sponsoring the show with Stratasys. If you are interested in learning more about how Adobe is able to improve the 3D Printing pipeline then this is defiantly a show to come to. We will be there with a stand and will have some speakers talking about Adobe 3D Print capabilities, as well as how our customers are using 3D Printing from Photoshop to radically enhance their workflow and making 3D printing much easier than it has been in the past.

Adobe people will be there for your to talk to and answer any questions that you may have, also Adobe’s Winston Hendrickson (VP for Adobe Digital Imaging), will be talking about creativity and Pete Faclo (lead 3D Printing engineer), will be talking about preparing models for print with Photoshop. The UK will be there and i’ll be talking about customer case studies, as well as some other Photoshop 3D printing talks in the booth.

Screen Shot 2014-08-05 at 10.39.43

Why not come down and see what’s going on with 3D printing in general and see what these makers and manufacturers are up to.

 

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#CreativeFriday – Long exposure on video in Photoshop

In photography there is sometimes a need to make moving objects look all creamy and smooth. This is typical used for anything with water, like waterfalls, the sea, as well as people moving in a crowd for example, and there any many more scenarios where this technique can be used. And it can look very effective.

To do this we would need to slow down or restrict the amount of light coming into the lens, and at about 1/4 second is where this effect will start to occur.

Below are a couple of my images where I have used this effect to create calm and also a blurry effect of the clouds in the sky.

L1004661 as Smart Object-1

Norway

_DSF3700-Edit

 

Iceland

(More of my work can be found at www.be.net/richard-curtis)

To achieve this, especially in the day light we will make use of a filter. The filters will reduce the light by darkening down the scene by using stops. Such a filter is the 10 stop filter (the Lee Big stopper or Little Stopper being suitable candidates, however there are many similar ones on the market). You will also need a solid base, like a tripod to keep the camera still during the exposure.

For those that are not familiar with these types of filter, a big stopper filter looks like the following, and is placed in front of the lens. The Lee system required a bracket as the filters are lens independent, you can also get filters that screw on to the front of your lens.

Screen Shot 2014-08-01 at 09.23.37

 

and courtesy of Lee Filters, there is a time conversion chart when using either the Big or Little Stopper.

Screen Shot 2014-08-01 at 09.25.13

In Photography it’s pretty simple to get the effect. However, in video it’s not so easy. This is primarily because there isn’t the luxury of long exposures. Video is based on 25 or more frames per second and each frame lasts for 1/the frame rate. However, in the magical world of post production, there is quite a simple way of making this effect occur on video.

 

Take a look at this video that I shot in Iceland last year.

 

Here is the video with the long exposure applied

 

when you examine the video everything that was still will stay still and everything that moves will generate a blurred or long exposure effect (the same as in photography).
This effect was achieved by using the video timeline in Photoshop or Photoshop CC.
1. First of all you will need to open a video into Photoshop
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You can also assemble video clips in Photoshop as well, or you may have used Premiere Pro to do this. In Photoshop, once the time line is open, you can click on the + icon to add more clips (marked in Red for video and yellow for audio).
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2. You will need to turn the sound off from the track(s). You can do this by applying a right click to the timeline(marked in red below), then choosing the audio tab on the dialog that is displayed (marked in yellow), then turning the “mute audio” on (marked in pink).
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Once you have the clip(s) loaded into Photoshop, you can then either trim them by dragging either the start or the end of each clip, or by applying the scissors at the play head.
3. If you are using multiple clips then you can convert the whole set of clips to a Smart Object (this will make the management of the next steps much easer). If there is just one clip then you have the choice of keeping as it is, or converting to the smart object. N.B by converting to a Smart Object you won’t be able to slow the motion down at the track level (this can be used this for creative effect for each track in the sequence, especially if 25fps is too fast).
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To convert the clips to a Smart Object, select the clips that you would like to include, then right click on the layers (marked Red) or use the Layers panel flyout menu to select the ‘Convert to Smart Object” marked in pink.
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The result will be a single layer (marked in red below), however, at any time you can double click on the Smart Object layer and edit the individual clips.
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The next step is to create the long exposure,
1. Move the Smart Object layer outside of the Video Group by dragging the layer above the video group layer (marked Red)
2. Change the opacity of the Smart Object layer to be 10% (marked Orange)
3. Create a new layer beneath it that contains just black (marked Yellow). Make sure that the black layer is the same duration as the clip . You can do this by dragging the corresponding video layer within the timeline (marked yellow), then, if need by, adjusting the duration of the clip by dragging the end of the clip (marked blue).
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Why do we need to do this? Essentially we will be duplicating the video clip 25 times more and each one will have a 10% opacity, which means the transparent background will show though, which will affect the playback. The black layer will give the opaque layers a background.
4. Duplicate the Smart object 25 times.
5. using the  zoom in/out buttons (marked in red), zoom into the time line (the right hand side button). Zoom to the frame level (all of the way). The zoom will use the location of the playhead, so keep the playhead at the start of the time line.
6. Select all of the layers, except the first one and move them by one frame (see below).
Screen Shot 2014-08-01 at 10.35.07
7. Using the CMD (mac) / or CTRL (pc) key, deselect the top most layer of the recently moved set (in the example above number 44), then advance the group by one more frame. Repeat this until all 25 frames have been moved by one frame each (see below).
Screen Shot 2014-08-01 at 10.38.22
8. If you want to add some audio to the video, you can by selecting the audio track (marked in red) and adding an audio clip (marked in yellow). Remember we have turned off the audio for each track as 25 clips will create a noise, not music.
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9. Export the video out of Photoshop using  File / Export
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Then play the resulting video.
There are many variables on this process that can be changed and worth experimenting with. I.e. the opacity of the layers and the frame duration (1frame). Feel free to experiment with different types of clips as well, not just water, but people moving in a city.
I would like to thank Gavin Hoey (@Gavin_Hoey) for support during the making of this post, he was the one that made it all happen and worked out the final details. You can find more of Gavin’s work and tutorials here.
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Camera Raw 8.6 and DNG Converter 8.6 Now Available

Camera Raw 8.6 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 8.6 is provided for customers using versions of Photoshop older than Photoshop CS6.

As mentioned here, updates to Camera Raw 8 for Photoshop CS6 only include 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 8.6

  • Nikon D810
  • Panasonic LUMIX AG-GH4
  • Panasonic LUMIX DMC-FZ1000

New Lens Profile Support in Camera Raw 8.6

Mount Name
Canon Canon EF-S 10-18mm f/4.5-5.6 IS STM
Canon Canon EF 16-35mm f/4L IS USM
Canon Tamron 28-300mm f/3.5-6.3 Di VC PZD A010E
Canon Tamron 18-200 f/3.5-6.3 DiIII VC B011EM
Nikon Nikon 1 NIKKOR VR 70-300mm f/4.5 – 5.6
Nikon Tamon 28-300mm f/3.5-6.3 Di VC PZD A010N
Pentax Sigma 18-35mm f/1.8 DC HSM A013
Phase One A/S Schneider Kreuznach LS 40-80mm f/4.0-5.6
Sony Alpha Sigma 18-35mm f/1.8 DC HSM A013
Sony Alpha Sony 28mm f/2.8
Sony Alpha Sony 16mm f/2.8 Fisheye
Sony Alpha Sony 100mm f/2.8 MACRO
Sony Alpha Sony DT 16-105mm f/3.5-5.6
Sony Alpha Sony DT 18-200mm f/3.5-6.3
Sony Alpha Sony DT 18-250mm f/3.5-6.3
Sony Alpha Sony 70-200mm f/2.8G
Sony Alpha Sony 70-300mm f/4.5-5.6 G SSM
Sony Alpha Sony 70-400mm f/4-5.6 G SSM
Sony Alpha Sony 70-400mm f/4-5.6 G SSM II
Sony Alpha Sony 135mm f/2.8 [T4.5] STF
Sony Alpha Sony 300mm f/2.8 G SSM II
Sony E Zeiss Touit 2.8/50M

Please note – the profile for the newly added Canon EF 16-35mm f/4L IS USM lens is not automatically located when applying lens profile corrections.  This is a bug and we will fix it in a future release.  The workaround is to:

-        Manually select the profile and choose “Save New Lens Profile Defaults” in the Setup menu on the Profile tab. From then on, the lens should automatically select when the profile is enabled.

Release Notes

Camera Raw 8.6 adds camera matching color profiles for the following camera models:

  • Sony DSC-RX100 III
  • Sony A7S (ILCE-7S)
  • Sony Alpha SLT-A77 II (ILCA-77M2)

Camera Raw 8.6 introduces the following new features for Photoshop CC customers:

-        Improved performance when batch processing images via the Save button (in Camera Raw) and when converting images to DNG (in DNG Converter).  The performance improvements are available only on 64 bit systems.

Bug Fixes:

  • Fixed crash on launch in some cases on Hi DPI (Retina) systems.
  • Fixed crash when opening some Sigma SD9 raw files.
  • Fixed issue with JPEG images saved by Camera Raw not readable in some external applications.
  • Fixed automatic lens profile selection for Leica M (Typ 240) when using most recent firmware version.
  • Fixed issue with some Hasselblad H5D-50c and H5D-60 3FR raw images appearing slightly too dark. Unfortunately, this fix may affect the appearance of existing images captured with this combination of settings. It is recommended that you (1) purge the Camera Raw cache via the Camera Raw Preferences dialog, and (2) review previously captured images for unexpected brightness changes.
  • Fixed bug with converting Nikon D810 and Nikon D4S sRaw files to DNG.
  • Tweaked and updated the Adobe Standard color profile for the Nikon D810.  Please note that this only impacts customers that used Camera Raw 8.6 RC with the Nikon D810.

Please note – If you have trouble updating to the latest ACR update via the Creative Cloud application, please refer to the following plugin installation:

http://helpx.adobe.com/x-productkb/multi/camera-raw-plug-in-installer.html

Download Links

DNG Converter 8.6

Mac – http://www.adobe.com/support/downloads/detail.jsp?ftpID=5824

Win – http://www.adobe.com/support/downloads/detail.jsp?ftpID=5825

Official blog post

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Lightroom 5.6 now available

We are pleased to announce the release of Lightroom 5.6, now available via the Creative Cloud or via the the stand alone updater.

Download Links for the stand alone updater:

Lightroom 5.6:

Mac – http://www.adobe.com/support/downloads/detail.jsp?ftpID=5822    

Win – http://www.adobe.com/support/downloads/detail.jsp?ftpID=5823

 

New Camera Support 

  • NikonD810
  • Panasonic DMS-­‐FZ1000
  • Leica T (Typ701)
  • Samsung NX mini

New Lens Profiles 

Mount Name
Canon Canon EF-S 10-18mm f/4.5-5.6 IS STM
Canon Canon EF 16-35mm f/4L IS USM
Canon Tamron 28-300mm f/3.5-6.3 Di VC PZD A010E
Canon Tamron 18-200 f/3.5-6.3 DiIII VC B011EM
Nikon Nikon 1 NIKKOR VR 70-300mm f/4.5 – 5.6
Nikon Tamon 28-300mm f/3.5-6.3 Di VC PZD A010N
Pentax Sigma 18-35mm f/1.8 DC HSM A013
Phase One A/S Schneider Kreuznach LS 40-80mm f/4.0-5.6
Sony Alpha Sigma 18-35mm f/1.8 DC HSM A013
Sony Alpha Sony 28mm f/2.8
Sony Alpha Sony 16mm f/2.8 Fisheye
Sony Alpha Sony 100mm f/2.8 MACRO
Sony Alpha Sony DT 16-105mm f/3.5-5.6
Sony Alpha Sony DT 18-200mm f/3.5-6.3
Sony Alpha Sony DT 18-250mm f/3.5-6.3
Sony Alpha Sony 70-200mm f/2.8G
Sony Alpha Sony 70-300mm f/4.5-5.6 G SSM
Sony Alpha Sony 70-400mm f/4-5.6 G SSM
Sony Alpha Sony 70-400mm f/4-5.6 G SSM II
Sony Alpha Sony 135mm f/2.8 [T4.5] STF
Sony Alpha Sony 300mm f/2.8 G SSM II
Sony E Zeiss Touit 2.8/50M

Please note – the profile for the newly added Canon EF 16-35mm f/4L IS USM lens is not automatically located when applying lens profile corrections.  This is a bug and we will fix it in a future release.  The workaround is to:

-        Manually select the profile and choose “Save New Lens Profile Defaults” in the Setup menu on the Profile tab. From then on, the lens should automatically select when the profile is enabled.

Bugs Corrected in Lightroom 5.6

  • Collections with a custom sort order would sometimes not properly sync with Lightroom mobile.
  • Updated the “Adobe Standard” color profile for the Nikon D810.  Please note that this only impacts customers who used Camera Raw 8.6 or DNG Converter 8.6 to convert NEF raw files from the D810 to DNG
  • Star ratings set in Lightroom mobile did not properly sync to Lightroom desktop.  Please note that this only occurred on images that were added to Lightroom mobile from the camera roll
  • Resolved the issues causing the persistent “Syncing … images” state that some of our customers have reported.”
  • Star ratings would sometimes not sync from Lightroom desktop to Lightroom mobile.  Please note that this only occurred when attempting to sync a Collection that contained more than 100 photos that already contained star ratings.
  • Added information to the “System Info” dialogue to help designate if the customer installed Lightroom from the Creative Cloud.
  • Unable to open sRaw files from the Nikon D810.  Please note that this only impacted customers that converted D810 sRaw files to DNG in either Camera Raw 8.6 RC or DNG Converter 8.6 RC.
  • Images with invalid GPS coordinates would not properly sync with Lightroom mobile
  • Lightroom occasionally crashed when changing image selection on Windows. Please note that this only occurred on the Windows platform.
  • JPEG files exported from Lightroom would not open or be available to edit within Canon Digital Photo Professional application software.
  • Lightroom would run in reduced functionality mode when it should not.

Official blog post

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#CreativeFriday – CreateNow 2014 Imaging Update

You may have seen the Adobe UK leg of the  world wide CreateNow 2014 tour and the Digital Imaging Update. If you didn’t you can re-watch it here. It’s defiantly worth while to see an overview of the new features, but also to watch the inspiring talk with Madame Peripetie (http://www.madameperipetie.com). It was a lot of fun to be part of this event and we are very excited about the 2014 release of Creative Cloud. I have posted the Photoshop and Lightroom update film here as a separate video (20 mins long), so if you are short of time and Photoshop/Lightroom is your thing, then maybe this video is for you.

 

 

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#CreativeFriday – Import 3D, 3D Painting and 3D Printing

This short video will show you how to import a 3D object into a Photoshop canvas, then how to unwrap the model and create a new UV map. The model will then have some parts painted using the regular bush on the UV map, then how to paint directly onto the 3D model using the same brush.

We will work with the new Adobe Sketch iPad application to design an idea of a background for the model that I would like Tony to draw for me in Adobe Illustrator. We will use the new private folder sharing capability in the 2014 release of Creative Cloud to collaborate on the final image, as well as adding other effects in to the illustration.

The model will be placed in to the 2D illustration using the Photoshop vanishing point grid and how to move the 3D model into position.

I’ll also talk about integrating the model in to the scene, by updating the IBL for more realism,  adding reflections and lighting to blend it in nicely.

The other opportunity here is to actually print the model using, either an online service like a Sculpteo or a Shapeways, in a variety of materials (including full colour sandstone, ceramic, wax or even various types of metal). In this video i’ll talk about printing to a local Makerbot 2 printer. Using the Makerbot required the model to have  it’s walls thickened, create a single shell, have the normals corrected, irregular faces as well as floating polygons removed. The final 3D model will be shown in the Photoshop 3D printing preview window.

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What happens to Lightroom after my membership ends?

Since the launch of the Creative Cloud, Adobe has engaged in an ongoing dialog with the photographic community. We’ve tackled mobile workflows, provided ongoing enhancements and lastly, provided a membership plan tailor made for all levels of photographers. With the latest update to Lightroom 5.5 I believe we’ve also addressed a lingering concern in the community: What happens to my photographs after my membership ends?  With Lightroom 5.5, at the end of a membership, the desktop application will continue to launch and provide access to the photographs managed within Lightroom as well as the Slideshow, Web, Book or Print creations that we know many photographers painstakingly create. The Develop and Map modules have been disabled in order to signal the end of the membership and the need to renew in order to receive Adobe’s continuous innovation in those areas. Access to Lightroom mobile workflows will also cease to function. We hope this meets the expectations of our customers and we look forward to an ongoing dialog.

 

Original post on the Lightroom Blog.

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Creative Cloud Market

A few weeks ago Adobe released the Creative Cloud market. Creative Cloud Market enables folks that are using the full Creative Cloud to download design graphics and art work to your computer (with a maximum of 500 per month) for use in your creative work. The Creative Cloud market is available via the Desktop App, which you should have had a request for update for already.

Screen Shot 2014-07-04 at 11.17.56

Once the Creative Cloud Desktop application has been installed you will see that there is a new tab called Assets.

Screen Shot 2014-07-11 at 10.20.20

Under this tab you will find Files, Fonts and market. The designs that are available for download are curated from the Behance site by the teams over there.

Screen Shot 2014-07-11 at 10.21.17

If you are a full Creative Cloud user, then the files can be downloaded via the Desktop App’s sync mechanism and the assets (marked in pink), will appear in the Creative Cloud folder on the desktop (marked in Red, the location of the folder is marked in Yellow and is available under the current user on both the Mac and the PC.

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You can see this in this case the asset is a .PSD file, with simple instructions in the layers in Photoshop CC.

Screen Shot 2014-07-11 at 10.28.52

We hope you enjoy the Creative Cloud Market. More information about Creative Cloud Market can be found here as well as on the Adobe help page.

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#CreativeFriday – Smart Guides in Photoshop CC 2014

On of my favourite enhancements in Photoshop CC 2014 is Smart Guides. I have used this a few times now and it’s saved me so much time and provided an ability to get very accurate results very quickly.

Smart guides are also now turned on by default, and are available under the view / show / smart guides menu option. If you need to turn this option off, you can, just be deselecting the smart guides menu option.

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How can smart guides be used to speed up our design and accuracy. Let us take this example below. I have created 3 rectangles on the canvas and I would like to align them up so that the distance between them are the same.

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Notice the lower left hand lower rectangle (highlighted in blue dashes), is selected in the layers panel (highlighted in yellow), and the move tool is selected. To get the measurements, hold down the CMD key on the Mac or CTRL on a PC then by moving the cursor over the top left hand rectangle (highlighted in red), Photoshop CC will show the purple distance marker between the two objects, the number shown in the pink box is the distance in CM.

If CM is not the required measurement, then it can be changed in the preferences panel.

3.7

If we scoot back to the canvas, we can also check the distances to other objects as well, by using the CMD key (Mac)/CTRL (PC). In the following example, the rectangle marked with blue dashes, is selected in the layers panel (marked yellow). As the cursor is moved over the other rectangles the distances will be shown, in this case, the top right rectangle (marked in red), notice that there are two distances measured, this will help lining up. While the cursor is over the top right rectangle, the arrow keys can be pressed to nudge the objects around, in this case, it can be moved left until the correct distance is reached.

3.8

The distances to the edge of the canvas can also be read by moving the cursor out of the canvas area, while any object is selected in the layers panel.

3.9

In the example below, the blue icon (marked in pink) is out of alignment from the others on the page. The layer that relates to the icon can be found by selecting the move tool (marked in red), then right clicking on the canvas. The tree of objects (marked in yellow), will be displayed. Selecting the ‘icon-genre-electronic.png’ in this case will select the layer marked in orange (as shown below).

Once selected in the layers panel, the CMD key (Mac) / CTRL key (PC) can be used to hover over the next closest icon to find the  distance. Using the arrow keys, the object can be moved. Assuming that at least 2 objects are next to each other (and if more they are also equally spaced), then the moving object will snap into place, then all distances will be shown.

3.92

In the following example, all distances are shown that are equal, the icon is now in the correct place.

3.93

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