#CreativeFriday – Starting out with painting in Photoshop CC with Stratasys Creative Colours

Last week we started to look setting up the painting environment within Photoshop CC for working with the Stratasys Creative Colours, see the post here. In the post, we introduced the concept of a new colour gamut for some of the colour combinations that can be loaded into the  Connex 3. This post will show how to move to the next step to start the painting on a 3D model using just Photoshop CC’s 2D tools, by making sure that the environmental lights are turned off and the correct colours are being shown on the model (during the painting process).

Let us take the simple moustache once again,

In this document, you can see that the colour gamut/profile is set to Pure White / Magenta and Yellow. These are the colours that will need to be loaded into the Connex 3 to ensure that the correct colours are used during the printing process. Photoshop’s Color picker will show the continuous colour combinations that will make sure that the printer is able to process and print the colours correctly.Screen Shot 2016-02-19 at 14.33.56

At the current time, and by default, Photoshop has lights turned on. This is great when rendering and making a scene for a 2D print. But in 3D print world, the lights are going to get in the way and provide you with incorrect colours on the model/screen. Turning the lights off is particularly useful when you needed to sample a colour that was previously used on the model, even more important to pick up a blended colour.

To turn off the lights, make sure the 3D panel is open (it can be opened from the Photoshop’s toolbar menu and navigating to Window / 3D). Selecting this will show the 3D panel.

Once the 3D panel is open, select the “Scene” (marked in red below). Once the scene has been selected, the properties for this will be shown in the properties panel. To turn the lights off, make sure that the “Surface” check box is turned on and the style is set to “Unlit Texture” and Texture is set to “Diffuse”.

Screen Shot 2016-02-19 at 14.36.27

At this point Photoshop’s lighting mechanism will be turned off, and the RAW colours will be shown. Having the lights turned off will allow sampling colours from anywhere on the model, without picking up colours that have their hue values changed by any lights or shadows, which can/will result in an incorrect colour being selected.

That’s all for this week, but hopefully this demystifies how to correctly set up your colour environment in Photoshop CC for painting on a 3D object going to the Connex 3 for printing.

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#CreativeFriday – Getting ready to paint with Stratasys Creative Colours and Photoshop for the Connex3

You may have seen last week that Stratasys released the Stratasys Creative Colours painting system with the Stratasys Connex3 printer inside of Photoshop CC. I wanted to get you up and running with this exciting technology in small steps, over a series of blog posts. This one is around making sure that you have the correct colour palette selected inside Photoshop CC.

Before you start to paint in Photoshop CC, you need to tell it how to represent the colours which the painting engine will use. Before you start to paint, you will need the Photoshop profiles and install them, the profiles can be found here and should be fairly straight forward to install by following the guide on the website.

First things first, open the model that you wish you paint on. In the example below, it’s a simple fake comedy moustache.

Screen Shot 2016-02-12 at 17.38.27

The next step is to select the colours that are loaded in the printer, ultimately this colour set will determine the colours used by the printer to print the painted 3D object.

To make sure that Photoshop knows about the colours of the materials loaded into the printer, the working profile of the current environment will need to be changed.

  1. Select from the Photoshop Menu / Edit / Assign Profile
  2. Once selected, Photoshop might say that the colours can change the appearance, click ok
  3. Choose Profile from the next dialog, then choose the colour combination that is loaded into the printer. The one selected here is Pure White, Magenta and Yellow.

 

Once selected the 3D view port inside Photoshop will change to represent this colour profile.

(N.B. When using RGB colours, either sRGB or Adobe RGB and interchange between them, you most likely won’t notice much of a difference inside Photoshop. In this instance you will, due to the 3 colour range, as opposed to the complete colour range in RGB + white and Black. Also the Connex colour are not a direct map to the RGB colour range. This is why this stage is extremely important when painting in Photoshop for the Connex3).

Everything turns a bit strange (as shown below), because in this case of the white and black mappings. White and Black are at the extremities of both ends of the colour spectrum, therefore in this case white will stay white and black will turn red. Some profiles will show different colour ranges here. The best thing to do next is to selected a colour for the background, so you can see what you will be painting on.

 

In this case the white areas will stay white (because white is within the profile range), however Black will be turned to red (this is because there is no black in the profile and it’s nearest neighbour is red).

You can test this by resetting the foreground and background colour swatch by pressing the ‘D’ key. You will see the lower and upper most (white and black) range.

Some times the white might not be present, therefore the background might obscure the object. In this case i would create a new empty layer behind the 3D model (by using a new empty layer), and painting it a different colour to the model (as below)

Screen Shot 2016-02-12 at 18.00.39

 

Now you can carry on painting, using the foreground and background colours with the paint brushes of Photoshop. We will get on to painting next, but for know, please experiment with this setup to get comfortable.

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#CreativeFriday – Adding a Photoshop Group to a Creative Cloud Library

I was working on a demo this week, and found a much better way of applying a standard set of Photoshop Adjustment layers to an image. I’ve been working for a while on a certain look to my images that I always apply at the end of a Lightroom edit, in Photoshop CC. Historically to apply the effect, i’ve opened up a previous .PSD file with the same adjustments and dragged the adjustments across manually. Doing this takes a little bit of additional time, as the file is over 600mb.  Also, the files exist on my Photo computer, but sometimes need to use another computer as well (this means i need to copy the file across, which also takes time).

You can see below that there are multiple Layer Adjustments with defined groups in the layers panel (two groups). These are the effects that I use for my images to give a platinum and palladium effect. Most of my images come into Photoshop from Lightroom, once the basic image balance has been achieved. Once in Photoshop CC  and the effects have been added, i then use the Lightroom Smart Object and re-adjust the Lightroom settings using the Camera RAW engine inside Photoshop CC.

 

Screen Shot 2016-02-05 at 13.49.59

Ideally I would like to store the layer adjustments centrally, in their defined groups. CC Libraries now allows me to do this.

(CC Libraries can store a multitude of things, from Layers, to shapes, 3D objects, Fuse animations etc etc)

In the example above, each group can be dragged to the Library and Photoshop will automatically store this data for me (as a Smart Object, see below). These groups are clearly labeled in the Libraries panel, using the name of the group that was added.

Screen Shot 2016-02-05 at 13.58.08

Of course, with a system of more than one group, it can lead to confusion (especially if i shared this technique with another Creative Cloud member). So a better way would be to store a single group with these groups inside of it.

I can place these two groups inside another group, by selecting them using the CTRL (PC) or CMD (mac) keys and select “New Group from Layers” (Pink), (from the fly out menu, marked in yellow), then give the new Group a meaning full name (red).

Screen Shot 2016-02-05 at 14.01.49

A new single Group layer, containing the adjustments in the correct order will be shown, called in my case “Platinum Palladium Tone”. Once this has been created, it can be dragged to the Libraries panel. Once it’s been dragged, Photoshop will automatically place it into a Smart Object (for safe keeping) and will be available where ever this library is (either private, or shared with collaboration, or shared by a link to another person).

Screen Shot 2016-02-05 at 14.06.15

To use this effect on another image, the object can be just dragged whilst holding down the ATL key into the canvas, Photoshop will automatically extract the contents and place the groups and adjustments into this document (ALT must be used to apply the layer adjustments, because by default a Smart Object will be used to apply the adjustment, however, layer adjustments can’t be applied outside of a Smart Object).

Screen Shot 2016-02-05 at 14.34.39

This is a another great feature that is available as part of the Creative Cloud subscription (Photography plan and Creative Cloud Complete).

 

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Stratasys Creative Colours powered by the Adobe 3D Color Print Engine technology

Stratasys Creative Colours powered by the Adobe 3D Color Print Engine technology

 

At the Adobe Max event in October 2015, Stratasys and Adobe unveiled a joint vision for re-producing fully managed continuous colour 3D prints from the Stratasys Objet 500 Connex 3 3D Printer using Photoshop CC. Since then Adobe and Stratasys have been working hard to deliver this vision, and we are now pleased to announce the release of Stratasys Creative Colors powered by the Adobe 3D Color Print Engine technology.

 

Challenges of printing in continuous color

Before this innovation it was challenging to paint and texture digitally within the bounds of a 3D Printers color range, then to accurately soft proof preview in software before the print was made. The result of this was that it was difficult to re-create the same consistent colour from the original 3D design in software applications into a physical 3D print.

Screen Shot 2016-01-27 at 11.56.26

The Adobe and Stratasys joint vision for re-creating continuous color 3D designs into a 3D print, will allow any creative user, conversant with Photoshop CC to paint and texture 3D models with beautiful rich colors and textures, within the colour range of the Stratasys Connex 3 3D printer. Photoshop CC’s powerful 2D tools provides the designer freedom to paint in a non destructive way within the range of the Connex 3’s color spectrum, using projection or texture modes across models with single or multiple shells using brushes, photographs, vectors, illustrations, gradients etc. These designs can be immediately be soft proofed using Photoshop CC, then seamlessly transferred to the printer for printing. The Stratasys Creative Colors powered by the Adobe 3D Color Print Engine technology, will, for the first time bring designs to life, in the way that the artist intended.

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This innovation in delivering a consistent and easy to use color pipeline to both the designer and the print operator is a huge leap forward for the 3D printing industry, and the first of it’s kind to deliver a fully colour managed workflow from 3D design/paint to the actual 3D print.

 

Printing

 

Before the 3D model can be printed, it needs to be prepared and possibly reduced in size. The uniqueness of Photoshop CC and it’s part in the 3D printing pipeline, is too not only fix/repair models and prepare them for the printing process, but to also provide intelligent mesh simplification tools that will reduce the polygon count, without changing any geometry and preserve any textures.

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Preparing the model for printing

 

Photoshop CC includes automated print preparation and model fixing/repair that intelligently looks at the model geometry (custom built for the printer and material combination). This automation will identify and correct any design flaws that would prevent an object from being successfully printed. Not only does this analysis make printing more reliable, but our service bureau partners have noted that using Photoshop CC 3D printing engine, speeds up the process of getting a model ready to print, as well as reducing the amount of unprintable models and increasing customer satisfaction. In some extreme cases, this automation has reduced fixing/repair and printing times from many weeks to minutes.

 

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Before submitting the model for printing, Photoshop CC will automatically fix the models geometry and provide an indicative price for printing. As part of the 3D printing preparation process, Photoshop CC will provide a soft proof and preview in color with the ability to see any areas of the model(s) that were repaired during the process.

Photoshop CC will show any model repairs that have been automatically made to the mesh (marked up using Green for original mesh, blue for walls that have been thickened (based on the printer/material minimum wall thickness parameters) and red for any holes that have been closed).

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With Stratasys Creative Colors in place for re-creating color 3D prints, it makes it super simple for designers to paint/texture, soft proof and review the model with it’s actual colours on the screen and make sure the print will be created as intended. The printing bureaus and printer operators will also reap the benefit, as making the final prints on the Connex 3 is much simpler, removing the need to apply color to the model based on the artists wishes, as well as a simpler printing process.

Print formats

Stratasys Creative Colors employs Adobe’s effort with the PDF format, and it’s ability to preserve content. Stratasys Creative Colors utilizes the 3D PDF, which has been part of Acrobat and Adobe reader since 2007, and is an ISO standard. 3D PDF is an ISO standard by itself, called PDF/X. 3D PDF is already in use by many organizations and 3D artists across the world, and is a perfect format for 3D and 3D printing.

Photoshop CC includes the ability to consume and create native 3D PDF documents by using the U3D format, supporting complex geometry, multiple shells, lights, large meshes and textures.

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Stratasys Creative Colors, draw’s upon the existing 3D PDF creation support from Photoshop CC and once the model has been fixed and processed, it will be placed into the 3D PDF, enabling the next step of the process. Stratasys Creative Colors and the 3D PDF will enable the 3D printer operating staff to not only preview the model, but also manage multiple 3D PDF objects on the printer bed. Having the ability to manage multiple models on the print bed, will create maximum usage of the 3D printer volume and thus creates cost efficiency for the customer, with more effectiveness of print time for the Connex 3 service bureaus.

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3D PDF for 3D printing solves many of the current issues of 3D and 3D printing in a single format: –

 

            Ubiquity – Ubiquity of the PDF reader removes the need to have a propriety 3D format viewer on the desk of the user to view 3D contents. This also means the viewer is able to experience the 3D model within it’s natural environment, as opposed to the 3D designer using just screen shots. Usage of 3D models in the PDF format has had support since 2007 and is already used within the industry to view models in this way.

 

            Size – 3D models can be large in size, especially complex ones with fine details. 3D PDF was designed to solve the problem of large file sizes and transportation, 3D PDF is able to compress the file without loss of date, similar to the standard .ZIP format, allowing for the model to take up less storage space and take part in easier digital distribution.

 

            Security – A weakness in current 3D formats is the ability to store and protect the contents when being distributed outside of the firewall. The PDF inherently offers AES256 encryption for both the document and the 3D object using password protection.

 

Output

Once the 3D PDF has been processed by Stratasys Creative Colors, it is sent direct to the Stratasys Objet 500 Connex 3, and is ready for printing. Any support material that is required for the print to be successful, will be managed by the printers internal processing.

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If you would like to download the Stratasys Creative Colours Photoshop CC profiles, you can download them from the Stratasys Direct Manufacturing site.

You can download a review guide from this website by clicking on the area marked in Red. To download the profiles for Photoshop CC, which allows you to paint in gamut (or as the printer will consume the paint colour information) by clicking on the area in purple.

I’ll be writing an in depth article on painting for this printer in Photoshop CC over the upcoming weeks.

Screen Shot 2016-02-08 at 08.18.30

 

 

 

 

 

 

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#CreativeFriday – Adobe’s theatre schedule at the UK Photography show

Adobe is once again extremely excited to be running the Adobe Theatre at the Photography Show this year. We’re delighted to have the opportunity to showcase what the modern day Photographer needs to know, covering all aspects of a photographic journey. We’ll share with you how to add value to the image capture within your camera, image editing techniques and best practices at the computer, as well as many options to publish your work to the internet and across your social channels. We believe that armed with your camera, the Adobe Creative Cloud Photography plan and content from these talks, you will be able to take your images to the next level.
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Session Descriptions
Combining Lightroom and Photoshop CC in your retouching workflow
In the past few updates in the Creative Cloud, Lightroom and Photoshop have seen various improvements for photographers. This session, hosted by a re-touching expert, will look in detail at the new tools and explain how to improve your post production/re-touching workflows, to create even more beautiful images.
Objectives
  • Learn about improvements with both Lightroom and Photoshop for Creative Cloud
  • Explore workflows between both Lightroom and Photoshop
  • This session will show how you can get the best from both solutions

Hidden gems in Photoshop CC for Photographers

This talk will explore often overlooked features inside Photoshop CC that we think are both underused and valuable to photographers or anyone that would like to learn more about the application.

Objectives

  • Learn about features that are often overlooked in Photoshop CC
  • Explore features that you may have missed in the newer released of Photoshop CC
  • Explore Tools used by the Professionals

Making your Photos look amazing with Lightroom

In this session you’ll discover new ways of correcting common photo issues and enhancing and combining images to give them the wow factor.

Objectives

  • Learn new ways to correct common Photo problems
  • Learn how to enhance images to give them a wow factor
  • Explore techniques used by the Professionals

3D Printing with Photoshop CC and the Photography Plan

3D Printing is taking the world by storm, and this technology is opening up new creative ideas for Photographers. In early 2014 Photoshop gained the ability to create/print 3D objects using a variety of printers, materials and services. This talk will walk you through 3D printing in Photoshop with examples of how Photographers can embrace it in their work.

Objectives

  • Explore the Photoshop 3D Interface
  • See a practical example of Printing a 3D Object
  • Learn about 3D Printable options for Photographers

Colour Management – Perfecting your workflow

This session is brought in conjunction with Adobe and Datacolor and will provide an end to end solution for colour management.  We will explain how colour management can easily be incorporated into your workflow from ‘in the camera’, to the screen and finishing at the printer and transform your workflow forever. This session will ensure that you are able to make perfect looking prints every time.

Objectives

  • Explore how to colour manage your screen and printer with the Datacolor suite of solutions
  • Learn how to soft proof photographs in Lightroom or Photoshop to get the perfect print
  • See a practical demo of how colour calibration with Datacolor works

Lightroom – Mastering the basics

This session is perfect for the person this is just starting out with Lightroom. The speaker will walk you through the key benefits of the program. The session will touch on how to import, organise and find your images as well as the tools that are available to you.

Objectives

  • Explore the benefits of Lightroom
  • Learn how to start using Lightroom for organising your pictures and making some basic image adjustments
  • See a practical demo of to use Lightroom

Video Editing with Photoshop CC and the Photography plan

We all have cameras that are able to create stunning photographs, and many can now record stunning HD quality video too. This session will show how you can import your video clips into Photoshop and use your existing Photoshop skills to edit and create a compelling short film.

Objectives

  • Explore the common tools that are used inside Photoshop to Edit a video
  • Learn how to use the Photoshop Video Interface as well as the tools to make a successful edit
  • See a practical demo of how a short film is made

Using Mobile apps in the imaging workflow

The Adobe Creative Cloud including the Photography plan includes the Desktop apps, as well as mobile apps across devices. In this session, Eric explores these apps and examines how the photographer might benefit from them in the imaging worklfow.

Objectives

  • Learn which apps are available with the Creative Cloud Photography Plan
  • Learn how to use the Creative Cloud mobile apps in conjunction with the desktop apps
  • See a practical demo of how the mobile apps can be used

Fundamental imaging techniques of Post Production with David Noton – Guest Speaker

This year we are extremely pleased to welcome by Canon Explorer and one of the world’s leading landscape and travel photographers David Noton to the Adobe Seminar room. David’s talk, the Fundamentals of Post-Production will cover new developments and techniques within the Adobe Photography plan that have supported his imaging processing needs in 2015. This promises to be a not to be missed session and a highlight for Adobe seminar room this year.

Objectives

  • Top techniques from a working professional Photographer
  • See a practical examples of world class image editing
  • Learn about new features used by David in his workflow

Travel Photography editing workflow with the Photography Plan

The Creative Cloud Photography Plan offers photographers a wide range of tools and services to support the management of their images, the editing process, as well as a defined and industry standard worfklows. One such workflow is travel photography. This talk will demonstrate how Lightroom and Lightroom mobile can support the travel photographer and maximise their time when travelling, but also show a non destructive workflow that will streamline the photo editing process between Lightroom, Lightroom Mobile and Photoshop.

Objectives

  • Explore how the Photography plan can support travel photographers
  • Learn tips for maximising time when out in the field
  • See a practical demo of a non destructive editing process using Lightroom / Lightroom mobile and Photoshop

Organising your Photography with Lightroom and the Photography plan

This session is for anyone that would like to understand the best way to organise their content in Lightroom. The talk will cover importing, keywording, as well as ways to find your content. One focus area on the talk is how to orgnaise your content and workflow options when you move your work from Lightroom to a Photoshop workflow and top tips how this works in the real world.

Objectives

  • Explore how Lightroom’s Library module helps with organising your work
  • Learn tips for import, keywording, backup and image editing strategies in the Photography plan
  • See a practical demonstrations of different workflows and solving some common workflow problems

Photoshop CC for Photographers

Want to find out which new features of Photoshop will boost your creativity and save you time? In this session freelance photographer Gavin Hoey will share a variety of real world Photoshop tips and tricks to fire up your photography enthusiasm. You’ll find out Gavin’s favourite Photoshop tools for creating simple but eye-catching visual effects and how and why he shoots with Photoshop mind.

Objectives

  • Explore how Photoshop can boost your creativity
  • Learn real world tips to excite your Photographs
  • See a practical demonstrations of Photoshop in action

Using Adobe Slate & Behance to publish your work

Adobe Slate is a new way to create and publish wonderful online content. Adobe Slate will allow you to turn your ideas and photos into engaging visual stories. This session will walk you though creating an Adobe Slate project. To get an idea of what can be created, here is one that I prepared earlier (http://bit.ly/EagleHunters). This session will also talk about Behance as another option to exhibit your work online, to a large community of Creative professionals.

Objectives

  • Explore how to publish content in multiple ways
  • Learn tips for presenting your work online
  • See a practical demo of building a Slate app, as well as placing content in Behance

For more information on the show itself, including how to get there, directions as well as other things that are happening, please visit the Photography show web site.

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Lightroom CC 2015.4 / 6.4 now available

Lightroom CC 2015.4 / 6.4 are now available

Lightroom CC 2015.4 and Lightroom 6.4 are now available on Adobe.com. The goal of this release is to provide additional camera raw support, lens profile support

and address bugs that were introduced in previous releases of Lightroom. This release also includes a new Boundary Warp feature for Creative Cloud members.

Thank you for all your feedback and passion for Lightroom.

Introducing Boundary Warp

Stitched panoramas are often created with areas of white or have no image data on the outer edges (as shown below)

Screen Shot 2016-01-27 at 10.34.56

There are several ways to handle these results. A crop could be applied to the image either inside Lightroom or Photoshop. However, this can potentially result in loosing some important image details near the edges of the image. Another approach is to use Content Aware Fill in Photoshop and create new pixel data from surrounding areas of the image. However, this process may require several attempts to obtain a satisfying, smooth, artefact free image.

Lightroom CC 2015.4, introduces the Boundary Warp feature. Boundary wary has been designed to analyze the  edges of the working stitch, and allows warping of the image so that removes the areas where no data exists. In the following image, Boundary Warp has been applied to make a great panoramic result.

Screen Shot 2016-01-27 at 10.41.54

Final result after anther 2 minutes of effort

Screen Shot 2016-01-27 at 10.45.47

 

New Camera Support in Lightroom CC 2015 and Lightroom 6.4

  • Fujifilm X70
  • Fujifilm X-E2S
  • Fujifilm X-Pro2
  • Leica M (Typ 262)
  • Leica X-U (Typ 113)
  • Panasonic DMC-ZS60 (DMC-TZ80,DMC-TZ81,DMC-TZ85)
  • Phase One IQ150
  • Sony ILCA-68 (A68)

Additional Updates in Lightroom CC 2015 and Lightroom 6.4

  • Nikon 1 J4 Camera Matching Profile added
  • The panorama merging process should complete roughly twice as fast as Lightroom 6.3
  • Improved quality when applying Auto Straighten and Upright “Level” mode
  • A preference was added to the Mac to prevent accidental “speed swiping”
  • Metadata is added to merged panoramas to support Photoshop’s Adaptive Wide Angle filter
  • Customers can now set the location of where photos are stored when downloaded from Lightroom mobile or Lightroom web in the preference panel or contextually in the folder panel
  • Thumbnails update much quicker when copying and pasting settings in the grid view
  • Images load faster in the Library module when you are zoomed in and navigating images
  • Tethered support added for the Nikon D5500 and Nikon D7200

New Lens Profile Support in Lightroom CC 2015 and Lightroom 6.4

 

Canon EF Mount

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC

Canon EFM Mount

  • Canon EFM 55200mm f/4.56.3 IS STM
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Fujifilm X

  • Bower 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Leica M

  • MS Optical Perar 28mm f/4 Super Triplet
  • MS Optical Sonnetar 50mm f/1.1 MC
  • Nikon F Bower 14mm f/2.8 ED AS IF UMC

Nikon F

  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Nikon AF-S NIKKOR 200mm f/2G ED VR II
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC

Olympus

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Panasonic

  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f1.4 AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Pentax K

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC
  • smh PENTAX-DA 18-270mm F3.5- 6.3 ED SM

Pentax 645

  • HD PENTAXDFA645 35mm F3.5 AL [IF]

Samsung NX

  • Bower 8mm f/2.8 UMC Fisheye
  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.4 AS UMC

Sony A

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC

Sony E

  • Bower 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 50mm f/1.2 AS UMC CS

Sony FE

  • Rokinon 12mm f/2.8 ED AS NCS Fisheye
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 50mm f/1.4 AS UMC
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.4 AS UMC

Parrot

  • Bebop Drone 2.0

Fixed Bugs

  • Auto Sync of some settings failed when using smart previews
  • Lightroom would ignore model specific custom default settings for some cameras, including some Leica and Sony models.
  • Crop resets to image bounds when adjusting rotation via slider
  • In Lights Out mode, an image would “disappear” if a customer uses the Undo functionality
  • SIGMA 50mm f1.4 ART lens was incorrectly identified as Zeiss Milvus 50mm f1.4
  • Soft Proofing RGB readout values differed for same file between 5.7.1 and 6.x
  • Import from iPhoto would result in all photos receiving a “pick” flag
  • Comments from Lightroom web come in to Lightroom on the desktop as already “read.”
  • Lightroom would not display the correct EXIF metadata for some video files generated by Canon, Fuji and Panasonic cameras
  • Vertical panoramas created using Merge could appear with the wrong orientation
  • The video cache did not respect the maximum size specified in the preferences
  • Customers experienced issues importing video files in some scenarios
  • Tethering Nikon cameras on Mac OS X 10.11(El Capitan) did not work properly

Installation Instructions

Please select Help > Updates to use the update mechanism in the Creative Cloud app.

Give us feedback

Once you’ve updated to the latest version of Lightroom, don’t forget to leave us feedback about your experiences. Lightroom wouldn’t be what it is today without our passionate and loyal customers around the world. Giving us regular feedback helps us to find and fix issues that we may otherwise not know about. We are listening.

Here are a few ways that you can send us feedback:

Report bugs and suggest features

Discuss workflow and get help with how-to questions or basic troubleshooting

 

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Camera Raw 9.4 Now Available

Camera Raw 9.4 is now available through the update mechanism in Photoshop CC and the Creative Cloud application.

As mentioned in an update to our camera support policy here, Camera Raw 9.4 is only available in Photoshop CC or later. Customers using older versions of Photoshop can utilize the DNG Converter for continued camera support.

Introducing Boundary Warp

Stitched panoramas are often created with areas of white or have no image data on the outer edges (as shown below) (Images were created from Lightroom CC 2015.4 / 6.4)

Screen Shot 2016-01-27 at 10.34.56

There are several ways to handle these results. A crop could be applied to the image either inside Lightroom or Photoshop. However, this can potentially result in loosing some important image details near the edges of the image. Another approach is to use Content Aware Fill in Photoshop and create new pixel data from surrounding areas of the image. However, this process may require several attempts to obtain a satisfying, smooth, artefact free image.

Lightroom CC 2015.4, introduces the Boundary Warp feature. Boundary wary has been designed to analyze the  edges of the working stitch, and allows warping of the image so that removes the areas where no data exists. In the following image, Boundary Warp has been applied to make a great panoramic result.

Screen Shot 2016-01-27 at 10.41.54

Final result after anther 2 minutes of effort

Screen Shot 2016-01-27 at 10.45.47

New Camera Support in Lightroom CC 2015 and Lightroom 6.4

  • Fujifilm X70
  • Fujifilm X-E2S
  • Fujifilm X-Pro2
  • Leica M (Typ 262)
  • Leica X-U (Typ 113)
  • Panasonic DMC-ZS60 (DMC-TZ80,DMC-TZ81,DMC-TZ85)
  • Phase One IQ150
  • Sony ILCA-68 (A68)

Additional Updates in Lightroom CC 2015 and Lightroom 6.4

  • Nikon 1 J4 Camera Matching Profile added
  • The panorama merging process should complete roughly twice as fast as Lightroom 6.3
  • Improved quality when applying Auto Straighten and Upright “Level” mode
  • A preference was added to the Mac to prevent accidental “speed swiping”
  • Metadata is added to merged panoramas to support Photoshop’s Adaptive Wide Angle filter
  • Customers can now set the location of where photos are stored when downloaded from Lightroom mobile or Lightroom web in the preference panel or contextually in the folder panel
  • Thumbnails update much quicker when copying and pasting settings in the grid view
  • Images load faster in the Library module when you are zoomed in and navigating images
  • Tethered support added for the Nikon D5500 and Nikon D7200

New Lens Profile Support in Lightroom CC 2015 and Lightroom 6.4

Canon EF Mount

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC

Canon EFM Mount

  • Canon EFM 55200mm f/4.56.3 IS STM
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Fujifilm X 

  • Bower 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Leica M 

  • MS Optical Perar 28mm f/4 Super Triplet
  • MS Optical Sonnetar 50mm f/1.1 MC
  • Nikon F Bower 14mm f/2.8 ED AS IF UMC

Nikon F

  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Nikon AF-S NIKKOR 200mm f/2G ED VR II
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC

Olympus

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Panasonic 

  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 12mm f/2 NCS CS
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f1.4 AS IF UMC
  • Samyang 50mm f/1.2 AS UMC CS
  • Samyang 50mm f/1.4 AS UMC

Pentax K 

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC
  • smh PENTAX-DA 18-270mm F3.5- 6.3 ED SM

Pentax 645 

  • HD PENTAXDFA645 35mm F3.5 AL [IF]

Samsung NX 

  • Bower 8mm f/2.8 UMC Fisheye
  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.4 AS UMC

Sony A 

  • Bower 14mm f/2.8 ED AS IF UMC
  • Bower 16mm f/2 ED AS UMC CS
  • Bower 24mm f/1.4 ED AS IF UMC
  • Bower 35mm f/1.4 AS IF UMC
  • Bower 85mm f/1.4 AS IF UMC
  • Rokinon 10mm f/2.8 ED AS NCS CS
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 16mm f/2 ED AS UMC CS
  • Rokinon 24mm f/1.4 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 85mm f/1.4 AS IF UMC
  • Samyang 10mm f/2.8 ED AS NCS CS
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 16mm f/2 ED AS UMC CS
  • Samyang 24mm f/1.4 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 85mm f/1.4 AS IF UMC

Sony E

  • Bower 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye
  • Rokinon 8mm f/2.8 UMC Fisheye II
  • Rokinon 12mm f/2 NCS CS
  • Rokinon 50mm f/1.2 AS UMC CS
  • Samyang 8mm f/2.8 UMC Fisheye
  • Samyang 8mm f/2.8 UMC Fisheye II
  • Samyang 12mm f/2 NCS CS
  • Samyang 50mm f/1.2 AS UMC CS

Sony FE 

  • Rokinon 12mm f/2.8 ED AS NCS Fisheye
  • Rokinon 14mm f/2.8 ED AS IF UMC
  • Rokinon 35mm f/1.4 AS IF UMC
  • Rokinon 50mm f/1.4 AS UMC
  • Samyang 12mm f/2.8 ED AS NCS Fisheye
  • Samyang 14mm f/2.8 ED AS IF UMC
  • Samyang 35mm f/1.4 AS IF UMC
  • Samyang 50mm f/1.4 AS UMC

Parrot 

  • Bebop Drone 2.0

Fixed Bugs and Other Changes

  • Fixed issue where vertical panoramas created using Merge could appear with the wrong orientation.
  • Addressed a bug that would ignore modelspecific
  • custom default settings for some cameras, including some Leica and Sony models.
  • Corrected occasional crash using Crop tool after a Merge operation completed.
  • Fixed an issue where state of HSL controls would be rendered incorrectly in GPU mode when applying Contrast or Saturation local control adjustments.
  • Addressed the issue of the SIGMA 50mm f1.4 ART lens incorrectly identified as Zeiss Milvus 50mm f1.4.

Download Links

Camera Raw 9.4 – Please select Help>Updates to use the update mechanism in the Creative Cloud app.

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

https://helpx.adobe.com/camera-raw/kb/camera-raw-plug-in-installer.html (Updated)

DNG Converter 9.4: Mac | Win

 

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#CreativeFriday – Configuring Scratch Disks in Photoshop CC for Better Performance

Recently my system has become crammed with a lot of files and not a lot of free disk space, leaving me with little headroom for Photoshop CC to work efficiently. In this case, especially on some big render jobs (3D, Video and also some large image files), Photoshop will tell me that it’s run out of scratch disk space, and the job in hand will halt.

Typically the scratch disk is the same as the startup disk (where Photoshop is running), but this can be changed or complimented.

I could delete some files, or move some files to another disk and free up some disk space from the initial scratch disk, but there were some important customer data on the drive and I wanted to keep it local.

In this case, I wanted to compliment my current Scratch disk with more space, and I can do this by plugging an external drive(s) into the computer and telling Photoshop to use this as a scratch disk as well. Photoshop will automatically place any scratch data (essentially working data) to the drive.

Under the Preferences in Photoshop, there is an option for Scratch disks, open this configuration setting. You can below, that by default the main drive where Photoshop is installed is selected and is the start disk.

Screen Shot 2016-01-21 at 16.03.03

To extend the scratch disk and choose a different one or to compliment the existing start up disk, plug the drive in to the computer, then re-select the Scratch Disk preferences and it should appear in the list. Once selected, Photoshop will then allocate the space and give you more headroom.

Screen Shot 2016-01-21 at 16.03.03 v2

It’s the SWPP Societies convention this weekend, if you are planning to attend, Adobe has a seminar room with free talks for Friday, Saturday and Sunday. For more details follow this link. If you are coming, pop by and say hello.

 

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Photoshop CC 2015.1.2 Update – Now Available

Photoshop 2015.1.2 – Update (1/20/2016)

1/20/2016 – Today we released Photoshop CC 2015 update version 2015.1.2 on both Mac and Windows, to address several workflow issues.

Customer reported issues resolved

How to get the updates

How to confirm that the Update worked:

Give us feedback!

Once you’ve updated to the newest version of Photoshop, don’t forget to leave us feedback about your experiences. The quality of Photoshop wouldn’t be what it is today without our passionate and loyal customers around the world. Giving us regular feedback helps us to find and fix issues that we may otherwise not know about. We are listening.

Here are a few ways that you can provide feedback:

Thanks!

Source of blog post, Jeff Cranberry’s Crawl Space

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#CreativeFriday – Sync Lightroom edits across Creative Cloud to other collaborators

Creative Cloud is very useful for many things. In a recent blog post i wrote about how i’ve been using it to transfer my negative scans to my Lightroom main machine and use two computers in tandem, without having to setup any networking servers (saving me time and money).

Another great use is when you are collaborating on edits, especially with your Lightroom adjustments/keywords etc. As we know Lightroom is the best non-destructive image editor out there, and it’s probably the same application that your peer(s) are using.

Lightroom as an image processor doesn’t actually make any changes to the physical files (RAW, Video, JPG etc.), until the adjustments are exported. By default Lightroom places any adjustments (including keywords) into the catalog, however, it can be configured to place any changes in a very small .xmp file next to the image file. This occurs, especially when a native camera manufacturer file exists (i.e. Canon, Nikon etc), but will embed any changes in the .xmp file into an Adobe format, like PSD, TIFF or DNG files. These adjustments are carried/embedded for each format by using a small meta data file called a .XMP file, this file contains the adjustments.

Configuring Lightroom to write to this small .XMP file is pretty simple and can be done in the catalog settings. Within the catalog settings, the ‘Automatically write meta data changes into .XMP’ needs to be turned on, once done, the adjustments will be written to the external .xml file automatically (you can also force this to happen using CMD+S (Mac)/ Ctrl+S (Win).

Screen Shot 2016-01-15 at 16.52.24Obviously this is useful when used locally, and can support a back up strategy of your adjustments, without adding much over head to your setup/storage. But this .xmp file change can be very useful when collaborating with others, using Creative Cloud.

Creative Cloud as you probably already know can be used as a source for images, but it’s possible to add the Creative Cloud folder (or folder within it) to your Lightroom catalog. Just make sure that the file action is set to ‘ADD’ otherwise, Lightroom will copy the files.

 

Screen Shot 2016-01-15 at 16.49.01

Let us take these three images, that exist in the Creative Cloud folder.

N.B. Anything in the creative cloud folder (as long as folder sync is turned on (set up is covered in this blog post)), Further configuration to the Creative Cloud folder is described here (I.e. choosing folders to sync/not sync).

Screen Shot 2016-01-15 at 17.00.05

When adjustments are made to the image and CTRL+S/CMD+S is pressed (will be done automatically as well, but the save works if you need it on demand), a .XMP file is created next to the file on the Creative Cloud folder

Screen Shot 2016-01-15 at 17.01.39

At this point, the .xmp file is synced to the Creative Cloud by using the desktop application.

To enable others to access the folder, in this case above, the ‘RAW files’ (you will most likely have a different file name), folder  supports a right click, and doing this will allow collaboration. Selecting Collaborators will take you to the Web view of the folder and ask for an Adobe ID for the user to collaborate with. The process to do this is covered in this post.

Once the folder has collaborators assigned, (using an Adobe ID (even users without an active subscription), they will need to accept an invitation (sent by email), also people using and older version of Lightroom that have an Adobe ID but don’t have a subscription, can partake). The other user(s) will just need to import the folder into their Lightroom, and make sure that the .xml setting is turned in the catalog settings. Changes can now be made to the image on their computer and any changes with either be automatically sent over the Creative Cloud (or via CTRL+S/CMD+S) and will be send to the other collaborators.

Other collaborators will be able to see the changes, by just Synchronising the folder where the changes have been made. Synchronise folder can be called up by right clicking on the folder in question (which can be a root folder or a sub folder).

Screen Shot 2016-01-15 at 17.02.04

 

N.B. Lightroom does not have any check-in or check out locking mechanism, so you will just need to have a conversation with the other collaborators when the edits are ready for syncing.

I hope you enjoy this, but again, it’s a manual process and does not have a read only configuration.

 

 

 

 

 

 

 

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