Why People Photograph (Or, How I Lost the Plot)

 When I first started making photographs on my iPhone, I found it incredibly liberating. I didn’t take my images very “seriously” and that gave me the freedom to play and try new things. In fact, for a number of years, I deliberately used the camera phone as a way to  exercise my “creative vision”, posting three images of a single scene, theme, or idea on Instagram on an (almost) daily basis. Looking back, I know that my photography improved significantly as a result of this exercise. 

Six photographs taken in Amsterdam and posted to Instagram, 2012.

When Instagram changed the way images were displayed (and my three images no longer posted sequentially), I made the conscientious choice to only post only a single image a day. This, it turned out, wasn’t as subtle of a shift as just changing the “number” of images posted. I became more competitive when I switched to sharing only my “best” image of the three. And you know what it killed? My sense of play. My willingness to experiment. My enjoyment of posting smaller moments that were significant to me –  trading them instead, for images that I thought other people would like. 

Six individual images from Tasmania posted to Instagram, 2017.

By the end of last year, I came to the realization that I was thinking more about the number of likes I was hoping to get when posting an image, than the actual content and the meaning of the image. It turns out that my change in mindset altered not only the photographs I was making, but also the photographs I chose to share (and which I held back). I decided to do a quick experiment. I posted three images that I had recently taken in Singapore – they were very different from my typical landscapes.  They were made with a tilt shift lens. They included people. The viewer would have to look at them more closely to see the details. And, (as I’m sure you guessed), they didn’t get many likes. I even wondered if should I take them down —even though the images worked for me on several levels.This didn’t seem like the place I wanted to be.

Two of the three images from Singapore that I posted as an experiment.

I decided it was time to revisit my motivation for making photographs. I decided I make images for the following five reasons: 
• To record everyday experiences that I would otherwise forget.
• To slow down, be present, and get lost in the moment.
• To explore new technologies and discover new ways of seeing.
• To share with others the small part of the world as I experience it, though my eyes.
• To connect with others on a cognitive and an emotional level.
I’m sure that you have your own reasons that you could add to that list – especially those of you who earn your livelihood from photography. And I understand that your use of Instagram (and the larger umbrella that includes social media in general) may be completely different than mine – which is fine! If your intent is to  reinforce your business or personal brand, then certainly you may need to cultivate a carefully curated feed. But in my case, I believe that using Instagram to share my experiments and photographic journey will be more valuable for me (and hopefully anyone that is interested in joining me) at this time.  
So, in 2018, I’m giving myself permission to play, experiment, take risks and post images that matter to me – even if I don’t understand them, and even if no one else “likes” them. Certainly, I hope that my photographs resonate with other people but, more importantly, I want to try new things and have the freedom to experiment so that I continue to grow as a photographer and as a person that shares their most authentic self. 
So, here we go. The photographs below were made as a part of a self-directed challenge along a short stretch of road between Farmington and Manteca (in Northern California), which I find stunningly beautiful. To me, the area represents the cyclical nature of life (and death) that are so evident in agriculture.  I enjoyed the process of confining myself to a small area in order to look for images that I otherwise would have missed.
 If I can record an “everyday” experience, see something in a new light, and share my small part of the world with someone (even if the image is an enormous pile of manure (correction – the giant piles are COW FEED (generally chopped corn), NOT manure. It is piled, packed and sealed air tight to ferment for a short time to improve the stability and nutrient availability. It is then fed out over the ensuing several months, having been preserved by the fermentation process.), covered with white plastic, held down by recycled tires), then I call my challenge a success. And now it’s even more of a success because I learned something new by sharing the images! : )
Photographs are light and time and memories. —Keith Carter
All of the images were made with a canon 5Ds with a Tilt Shift E-45 f2.8.
5:54 AM Permalink

Radial Symmetry in Photoshop CC

Did you know that you can unlock additional features of Photoshop’s Paint Symmetry technology preview to quickly create illustrations with variable radial symmetry (and mirrored radial symmetry) simply by renaming any Symmetry Path in the Path panel? Here’s how:

  1. Choose Preferences > Technology and check Enable Paint Symmetry.

  1. Select the Paint Brush, Pencil, or Eraser tool. Note: Paint Symmetry doesn’t support Live Brush Tips (airbrush, bristle tips, erodible).
  2. Click the butterfly icon in the Options bar and select any type of symmetry from the menu. I find that selecting New Dual Axis enables me to use the horizontal and vertical lines as guides however it doesn’t really matter which option you choose because the next step actually determines the type of symmetry (radial or mandala (mirrored)) as well as the number of axis.

  1. Tap Enter (Mac) | Return (win) to accept the default Path Symmetry transformation.
  2. In the Paths panel, rename the path one of the following:

Radial Symmetry x (where x is the number of segments desired with 12 segments being the maximum).

Mandala Symmetry x (where x is the number of segments desired with 10 segments being the maximum).

The examples below show Radial Symmetry set to 10 (resulting in a single paint stroke being repeated 10 times around a 360° axis).

The examples below show Mandala Symmetry set to 10 (resulting in a single paint stroke first being mirrored, then repeated 10 times around a 360° axis).

For a closer look at the difference between  the Radial and Mandala Symmetry options, the illustration below shows the results of a single brush stroke with Radial Symmetry set to 8.The next illustration is the result of adding a second brush stroke.

The next illustration shows Mandala Symmetry set to 8 with a single brush stroke. The Mandala symmetry first mirrors the brush stroke, then repeats it around the radial axis.

Next is the result of adding a second brush stroke.

Here are some additional examples of Radial Symmetry (10, 8, and 10). In the first example,  I clicked once with a pressure sensitive brush, then shift-clicked to draw straight lines between the points. In the second drawing, I started in the center, drew a “swoosh” (crossing over the axis creates the center swirl) and ended the stroke in the center. In the third example, I held the shift key to draw straight lines along the horizontal and vertical axis.

Here are some additional examples of Mandala Symmetry (set to 6, 10, and 8).

Of course this is just the tip of the iceberg – you can always change colors, brush attributes, reposition or rotate the symmetry path, use blend modes to combine multiple drawings, add color overlays – the list goes on and on! Enjoy.

Mike Shaw created this time-lapse video to show you his unique technique for sketching and then creating a mandala. Below are two beautiful examples of Paint Symmetry in Photoshop from Mike. In the first example Mike created custom symmetry path(s), the second uses the paint symmetry feature set to mandala mentioned above.

5:25 AM Permalink

I Spoke in Pictures Because There Were No Words

In remembrance of Winston Hendrickson, vice president of digital imaging at Adobe.

I spoke in pictures because there were no words.


12:34 PM Permalink

Adobe Adds New Features to Photoshop CC (19.1)

Adobe announced the following new features to Photoshop CC 19.1 including:

  • Support for Microsoft high-density monitors and improved Dial support
  • Better SVG compatibility with Adobe XD
  • Select Subject
  • Select and Mask improvements

Windows High Density Monitor Support

With this release, Photoshop on Windows 10 Creator’s Edition now offers a full range of choices for UI scale factors from 100% through 400%, in 25% increments. This means that the Photoshop interface will look crisp, beautiful, and the right size no matter the density of your monitor. This is one of the top most requested features from Photoshop customers on Windows devices and will allow us to take advantage of every pixel on high-density screens. For more information on high-density pixels on HiDPI displays, please see Jeff Trannberry’s blog.

Improved Microsoft Dial support

For customers using the Microsoft Dial, you can now use the Brush Setting panel to dynamically change settings as you paint. Controlled settings include size, roundness, angle, scatter, texture depth, foreground and background color, opacity, flow, wetness, and mix (previously, settings could only be changed between paint strokes).

Better SVG compatibility with Adobe XD

Copy and Pasting text as SVG now supports multiple text styles and effects from Photoshop to Adobe XD.

Select Subject

Photoshop is using Adobe Sensei to help make selections of prominent subjects faster than ever before.  With an image open, select the Quick Selection or Magic Wand tool and, in the Options bar, click the Select Subject button (or choose Select > Subject).

This new feature can help create an initial selection of a person or object  in an image. In the example below,  Select Subject selected almost all of the kitsune statue with a single click of the Select Subject button (even as the subject consisted of multiple tones and colors).

It was easy to then refine the selection (to include the missing areas) using the Lasso tool.

On more difficult selections, try using Select Subject to help with the initial selection, then use additional tools or the Select & Mask workspace to refine it. Note: Select Subject is also available in the Select & Mask workspace while using the Quick Selection tool.

Select and Mask Improvements

A slider has been added to the Decontaminate Colors option in the Select and Mask workspace allowing additional control over the removal of  unwanted colors along the edges of selections.  Note: this feature is also available in Refine Edge.


9:00 AM Permalink

If You Want to Take More Interesting Pictures…

Over the holiday break, I happened to be looking through my journal, thinking about the goals and objectives that I want to achieve this year when I came across this note that I had taken in a seminar with Jay Maisel:

“If you want to make more interesting pictures, become a more interesting person.”

Jay’s words proved to be the motivation I was looking for. The day before, I had noticed a barren tree across a river that I thought would make an interesting photograph. But at the time, we were in a hurry to get where we were going, so we kept on driving. The following day was really cold and I was very content to stay warm and cozy in the house. However, while I would have enjoyed reading a book or watching a movie, it would have meant consuming someone else’s content instead of taking the opportunity to create my own. So, with Jay’s words refusing to leave my mind, we grabbed our boots, coats, and hats and drove back in search of that tree.

We found the location easily enough, and to my surprise, the river had frozen over during the night creating beautiful patterns on the ice – it was even better than I had imagined from the previous day’s “drive-by”.

One of the things that I like to do when I photograph, is make sure that I don’t stop with “one and done” especially as I don’t feel I’m as good at capturing wide-angle scenes. Instead, I prefer to focus instead on smaller, tighter subjects where the scale of the photograph maybe seem slightly mysterious for the viewer. I find that if I’m patient and stand in the same spot for a few moments, images start to reveal themselves and, sure enough, interesting patterns in the ice began to catch my eye.

Next, I moved in for some close-ups to see if I could capture the details in the ice.

Growing up in California, I have to admit that I’ve always thought of snow as something that you “go to” in order to ski. Turns out, ice is slipperier than it looks. One misstep along an icy riverbank and you can quickly find yourself in the water. Instead of foolishly tempting fate by trying to get out on the ice, I opted to changed my perspective by walking along a bridge and photographing the frozen river from above.

At the end of the day, I found the images of the ice to be much more interesting than the photographs I made of the tree. And hopefully my adventure made me a more interesting person as well. : )

Serendipity. Look for something, find something else, and  realize that what you’ve found is more suited to your needs than what you thought you thought you were looking for. —Lawerence Block

Here’s to a life filled with less consuming and more creating.

(By the way, if you ever have a chance to listen to Jay speak about photography, do it! His work is iconic, he calls it like it he sees it, and he’s (most likely) influenced your photography- even without you knowing it!)

5:00 AM Permalink

3, 2, 1, Photoshop! Four Ways to Select Layers in Photoshop CC

In this episode of 3, 2, 1, Photoshop, you’ll discover four ways to quickly select layers in Photoshop CC.

9:05 AM Permalink

3, 2, 1 Photoshop! Ten Custom Keyboard Shortcuts You Might Not Be Aware Of

Discover how these 10 custom keyboard shortcuts can help increase your productivity in Photoshop CC.

5:25 AM Permalink

The Creative Composite at the Santa Fe Workshops – July 1-6, 2018

Santa Fe Workshops officially announced that my Photoshop class – The Creative Composite (which will run July 1-7, 2018), is now open for enrollment. It will be a great week filled with creativity, imagery, and Photoshop wizardry. Here is the description:

Somewhere between the decisive moment of still photography and the time compression offered by moving pictures lies the world of digital compositing—a place where multiple images captured at different times are layered together to create a whole that is greater than the sum of its parts. During our five days together, Julieanne helps you discover how to transform concepts and ideas into images. You master the tools used in compositing, including layers and masking, blend modes, adjustment layers, the properties panel, opacity, and clipping paths. Then you take these concepts to the next level using Smart Objects and Smart Filters, making complex selections using channels and the pen tool, and creating knockout layer effects using advanced blending options, clipping masks, Layer Groups, and the Refine Edge command.

Mornings are dedicated to instruction, with time set aside in the afternoon for you to work on your own images. This is the chance for you to reinforce your understanding of techniques applicable to your photography and engage in individual critique sessions. Using the most flexible, non-destructive editing process imaginable, Julieanne combines creative inspiration with image-manipulation techniques to help you rediscover your enthusiasm and unleash your potential.

I hope to see you in July!

1:06 PM Permalink

My Favorite Photos captured from the Window Seat in 2017

One could say that my Window Seat book (and ongoing aerial projects) are a byproduct of my position at Adobe. As an evangelist, I spend a great deal of time on airplanes and shooting photographs allows me to stay sane during those long flights. What what most people don’t know is that I‘m scared to death of flying.  Fortunately, I discovered that shooting pictures out of the plane window allowed me to view the scenery in a different context: I became a spectator – an observer of the scene rather than part of it. The camera became a comforting buffer between the reality of that moment and my own thoughts.

While my enthusiasm for aerial photography grows, I’ve continued to try new approaches to it. Instead of limiting myself to taking photographs on commercial flights, I recently hired small aircraft to see what the difference would make in my photos. While I can’t dispute the benefits of being able to plan your route, the time of day, removal of doors etc, I still look out the window on commercial flights and make photos. This past year, I packed my big camera in the overhead bin and used Lightroom on mobile to capture in HDR, edit, and share images taken from commercial flights. Here are four of my favorites taken on the approach to San Francisco.

And here are six more from through out the year.

Flights from left to right: top row – Orlando to Houston, San Jose to Denver, Las Vegas to San Francisco, bottom row – Singapore to Kuala Lumper, Orlando to Houston, Orlando to Houston.

It seems unbelievable that I’ve been photographing out of plane windows for more than a decade, but sometimes you choose your personal projects, and sometimes they choose you. This project remains ideal (for me) because as photographers, we don’t always have a lot of free time to make photographs. By taking advantage of “idle” time in the plane, I have been able to create an entire body of work while getting from point A to point B.

And just FYI, this is what the previous six images look like straight out of the camera – thank you very much Lightroom!  : )

Finally here are two abstract images taken in Chicago while waiting for the plane to push back from the gate (that’s rain/slush/deicing liquid covering the windows). Technically they’re not aerial photographs, but I still really like them.

Here’s to a healthy and happy 2018.

5:17 AM Permalink

Continuum —2017 The Year in Review

For the past 7 years, I’ve created a slideshow as a simple way to review the images I’ve posted using Lightroom mobile to my Instagram account (instagram.com/jkost/). I find this yearly exercise yields interesting insights about where I am in my life and allows me to reflect upon the places that I’ve gone and the experiences that I’ve had. I would strongly encourage you to create a collection of your own images for the year to see the path that you followed in 2017.

If you are interested in viewing the previous years, they can be found here.

Happy New Year and best wishes to everyone in 2018!

5:29 AM Permalink

15 Tips for Working with Smart Objects in Photoshop CC

I recently posted the oh-so-short 3, 2, 1, Photoshop! Five Reasons to Use Smart Objects in Photoshop video (below), but I use Smart Objects so heavily in my workflow that I thought I would gather all of my posts on Smart Objects to make them easier to find. If you’ve never used Smart Objects, they offer a non-destructive, flexible way to work with layers in Photoshop (especially when resizing, transforming, compositing, filtering, working with templates and more). Here is the short overview video and below that is more in-depth information about Smart Objects.

1) The Power of Smart Objects

This next video is quite old, but I’m including it here because it walks through a number of scenarios in which you might want to use Smart Objects. It’s a looooong video, but fortunately you can view it 2x on YouTube.  : )

2) Opening/Placing Files as Smart Objects

There are several ways to add an image as a Smart Object in Photoshop:

  • From Lightroom Classic select Photos > Edit In > Open as Smart Object in Photoshop (this will place an embedded Smart Object).
  • From Bridge use File > Place > In Photoshop (this will place an embedded Smart Object).
  • From Photoshop use File > Place Embedded or File > Place Linked.
  • Drag-and-drop a document from Bridge or Lightroom on to an open document in Photoshop (this will place an embedded Smart Object).
  • Option (Mac) | Alt (Win) drag-and-drop a document from Bridge to an open document in Photoshop and create a linked Smart Object.
  • Option (Mac) | Alt (Win) drag-and-drop a document from  Lightroom on Mac to an open document in Photoshop and create a linked Smart Object.
  • Open an image in Camera Raw. Then, hold the shift key to toggle the Open Image button to Open Object and click to open the image as an embedded Smart Object into Photoshop. Note: to set Camera Raw to open as Smart objects by default, click the link at the bottom of the Camera Raw dialog to display the Workflow Options. Under Photoshop, enable the Open in Photoshop as Smart Objects option. Close the dialog. In Bridge, you can then choose to bypass the Camera Raw dialog, by Shift -double clicking the file in Bridge to open it directly into Photoshop as a Smart Object.

Navigate to Photoshop’s Preferences >  General for additional control when placing files as Smart Objects:

  • Always Create Smart Objects when Placing —converts the file to be placed into a Smart Object. If you have reason to place an image as a regular, pixel based layer, uncheck this option.
  • Resize Image During Place —automatically resizes files to fit in the open document and displays the free transformation handles. Because Photoshop converts the placed file into a Smart Object before resizing, the original data is there if you need to transform it larger.
  • Skip Transform when Placing —automatically resizes files to  fit in the open document and automatically confirms (applies) the transformation

Note: To help with the placement/alignment/scale of an object that is being placed the placed layer’s Opacity, Fill, and Blend Mode can be modified using the Layers panel before committing to the transformation.

3) Convert the Background to a Smart Object

Control -click (Mac) | Right -click (Win) the Background layer (in the Layers panel) to convert the Background to a Smart Object in a single click.

4) Editing the Contents of a Smart Object

Double click the Smart Object’s thumbnail in the Layer’s panel to Edit the Contents of a Smart Object or, use the shortcut Command + Option + Shift + E (Mac) | Control + Alt + Shift + E (Win).

5) Replacing the Contents of a Smart Object

Discover how replace the contents of a Smart Object in this free video (Replacing the Contents of a Smart Object)  from Photoshop CC 2018 Essential Training: Design on Lynda.com.

6) The Difference Between Duplicating a Smart Object and Creating New Smart Object via Copy

If you select a Smart Object in the Layers panel and duplicate it using one of the three methods below, editing the contents of ANY of the instances of the Smart Object will update ALL instances of that Smart Object.

  1. Layer > Duplicate Layer
  2. Layer > New > Layer Via Copy  or Command + J (Mac) | Control + J (Win)
  3. Option -drag (Mac) | Alt -drag (Win) the Smart Object in the Layers panel

On the other hand, if you select a Smart Object in the Layers panel and choose Layer > Smart Objects > New Smart Object via Copy, a new copy of the smart object is created. Editing the contents of the new copy will only edit that Smart Object.

This video demonstrates the difference between duplicating a Smart Object and creating a new Smart Object via Copy

7) Linked Smart Objects in Photoshop CC

In the video below, you’ll learn how to embed and link Smart Objects, update modified content using the Properties and Layers panel, resolve missing files, and filter layers based on Smart Object attributes.

Note: at 7:21 I say that you can’t change an embedded Smart Object to a linked Smart Object (because this video was recorded before the 2014 release of Photoshop). In more recent versions, right -click on the Smart Object layer and use the context sensitive menus to convert from Linked to Embedded (or vice versa).


8) Converting Embedded Smart Objects and Packaging Linked Files in Photoshop CC

In the video below, you’ll discover how to convert an Embedded Smart Object to a Linked Smart Object as well as package Linked files when collaborating with others.

9) Updating “Modified” Linked Smart Objects

In the illustration below, I have placed an illustration created in Adobe Illustrator into my Photoshop document (this also works with other file types including PSD, TIF, raw, etc.). Let’s imagine that the illustration is still being refined by another artist on the team.


If the linked document (the illustration) is updated, Photoshop will display a warning icon in both the Layers and Properties panel the next time you open the file. Note: Photoshop doesn’t automatically update the master document with the updated linked file as you may not want the updated version.


To update the link, click the warning icon in the Properties panel and choose Update Modified Content.


The Smart Object (in the master document) will be updated with the new artwork.


10) What Happens if a Linked Smart Object is Missing?

If you loose the link to a Smart Object (perhaps you’ve moved the image on disk or the linked smart object is off-line), Photoshop will display a dialog when the file is opened that will enable you to relink the asset. Click Relink to locate and relink the asset, or click OK if you don’t have access to the asset or want to relink it at another time using the Properties panel (or, by right-clicking on the linked asset’s thumbnail in the Layers panel).

If the option to “Maximize PSD and PSB File Compatibility” (in the File Handling Preferences) was enabled when the file was saved, Photoshop can still print a document with a missing linked Smart Object (at the same size as it was saved or smaller) because Photoshop will have included a flattened version of the entire document within the PSD or TIFF file. Note: you can not modify the contents of a missing linked Smart Object.

11) Using Linked Creative Cloud Smart Objects

This video demonstrates how to add a graphic to the Libraries panel and how to make change to the Linked Creative Cloud Smart Object.  If you’re already familiar with saving different types of assets to the Libraries panel, jump to 2:34 (and stop at 5:11 when I switch to talking about brushes).

12) Copying and Pasting Illustrator Artwork s as a Linked Creative Cloud Smart Object

When copying and pasting artwork from Illustrator to Photoshop, you can choose to Paste the artwork as a Smart Object and “Add to your current library” which automatically converts the artwork to a Linked Creative Cloud Smart Object.

13) How to Extract a Raw File with Settings from a Smart Object in Photoshop

To extract a raw file with it’s settings from a Smart Object, double click on the Smart Object’s thumbnail in the Layers panel (or choose Layer > Smart Object > Edit Contents) and, in the Camera Raw dialog, click the Save Image button in the lower left corner. (My first thought was to select the Smart Object in the Layers panel in Photoshop and choose Layer > Smart Objects > Export Contents. But surprisingly that method doesn’t export any edits made to the Smart Object.)

14) Adding Smart Filters to Smart Layers

The video below (3, 2, 1, Photoshop! Five Reasons to use Smart Filters), demonstrates how to edit, mask, stack, move, duplicate, and change the blend mode and opacity of Smart Filters.

Or, click this link (Five Reasons to use Smart Filters in Photoshop) to view the 5 reasons as text.

15) Transforming a Regular Layer or Smart Object

When you’re transforming a smart object, the transformation’s anchor points are solid gray but when transforming a regular pixel based layer, the transformation’s anchor points are hollow? How’s that for nerdy Photoshop trivia!

: )

5:33 AM Permalink

 3, 2, 1, Photoshop !  Five Reasons to Use Smart Objects in Photoshop CC

This next installment of 3, 2, 1, Photoshop! demonstrates five great reasons to use Smart objects in Photoshop CC.

9:00 AM Permalink

The Ruler, Note, and Count Tools in Photoshop CC

Here are some helpful tips for using the Ruler, Note, and Count tools – all of which are nested with the Eyedropper tool in Photoshop CC.

The Ruler Tool

  • If the horizon line (or anything else for that matter) is crooked in a layer, click-drag the Ruler tool along the current (angled) horizon. Then, click the Straighten Layer button in the Options bar to automatically straighten the layer (based on the angle specified by dragging). This is an fast way to straighten a layer to a precise numeric value, without affecting the entire the document.
  • After using the Ruler tool to take a measurement in a document, selecting Image > Image Rotation> Arbitrary will automatically enter the ruler measurement in the Rotate Canvas dialog box (and allow you to choose between rotating CW or CCW).
  • The Ruler tool can be used to measure an angle like a protractor. Drag the first line and then Option -click (Mac) | Alt -click (Win) on the either endpoint and drag out the second line.  The angle can be viewed in either the Options bar or the Info panel.
  • The Ruler tool can also be used to make measurements using custom measurement scales and record these measurements in the Measurement panel (or output to a file). In fact, Photoshop can record measurements for several tools and can then calculate measurements such as area, perimeter and more. Click here to find out more information about the Ruler tool and recording measurements.

The Notes Panel

  • I often see customers create a new type layer and use it to add comments to a Photoshop document (perhaps a reminder to themselves or a question for the art director). However Photoshop has a (little known) dedicated Note tool specifically designed to add annotations to an image without cluttering up the Layers panel with additional type layers. Select the Note tool, and click in the image area (or beyond the canvas) to add a Note “marker”. Photoshop automatically displays the Note panel to add comments in a single, organized location.

  • If multiple people need to comment in a single document, use the Options bar to change the author name and note color for each person.
  • Command + H (Mac) | Control + H (Win) will hide Notes in a document (View > Show > Notes).

The Count Tool

  • With the Count tool selected, click in the image area to add a number. Option -click (Mac) | Alt -click (Win) on a number to delete.
  • Based on the content of the image, it can be useful to change the color and size of the marker and labels using the Options bar.
  • You can create as many groups of counts as needed and use the pull down menu in the Options bar to rename them.

And Photoshop trivia to impress your friends…  Photoshop CC (v14.1) increased the limit for the number of measurements from 700 to 10,000!  : P

5:25 AM Permalink

December Updates for Lightroom Classic and Adobe Camera Raw

The Auto Tone option in Lightroom Classic and Adobe Camera Raw has been completely reworked to help create more pleasing adjustments with a single click.

Original image


Auto setting applied

Depending on the image, applying Auto setting will make changes to the following sliders:  Exposure, Contrast, Highlights, Shadows, Whites, Blacks, Saturation, and Vibrance. Note: if you apply Auto, then crop the image, try applying Auto again – Lightroom will recalculate the adjustment based on the information with in the newly defined crop.

In addition:

  • In both Lightroom Classic and Camera Raw, when using the Color Range Masking tool, Option -click (Mac) | Alt -click (Win) on an individual sample point now quickly deletes it.
  • Lightroom Classic also now supports tethered capture with the Nikon D850 camera.
7:40 AM Permalink

December Updates for Lightroom CC 

Lightroom CC has a number of updates including new Auto Tone settings, the Tone Curve and Split Tone Panels, the ability to change capture time, view images full screen and more.

The Auto Tone option in Lightroom CC has been completely reworked to help create more pleasing adjustments with a single click. Depending on the image, the Auto option will make changes to the following sliders:  Exposure, Contrast, Highlights, Shadows, Whites, Blacks, Saturation, and Vibrance.

Original image and with Auto adjustments applied.

The Split Tone panel has been added to the Effects panel and can be used to simulate traditional photographic techniques such as sepia tones or cyanotypes. It can also be used creatively to add color casts in the shadows and highlight of an image. Reposition the white circle left/right to shift the balance of color added to the shadows/highlights. In the example below shifting the circle to the right limits the sepia color to the darker (shadow) values.


The Parametric and Point Tone Curves has been added to the Light panel(next to the Auto button. For additional control, use the Point Curve to make changes to the individual RGB channels (to make color corrections or add creative color enhancements).

If you’ve ever forgotten to change the date and time on your camera when traveling across time zones, Lightroom CC can come to the rescue. Select one or more photos and click the pencil icon in the Info panel to edit the date and time.

Click the pencil icon.

Adjust the capture time.

In addition:

  • Tap the F key or navigate to View > Detail – Full Screen to view your photos in full screen.
  • Lightroom CC will now respect custom sort order in Albums created in Lightroom mobile or web. Note: the desktop application still does not have the ability to specify custom sort order on its own.
  • Lightroom CC now does a much better job of respecting the “Adjust Target Available Space” slider set in Preferences > Local Storage. And you can now elect to have Lightroom keep a copy of all Smart Previews locally.
  • In the Edit controls, you can now shift-click on a single slider to set their “auto” setting (including Whites and Blacks).
  • Command -Up Arrow (Mac) | Control -Up Arrow (Win) will increase flag status while Command -Down Arrow (Mac) | Control -Down Arrow (Win) will decrease flag status.
  • When migrating a Lightroom Classic catalog, color labels are converted to keywords, as before, but now have “Label_” before the keyword.
7:15 AM Permalink