When viewing multiple images simultaneously, Shift -drag with the Hand tool to pan all open documents. Similarly, shift -clicking with the Zoom tool will zoom all images simultaneously. To set this as the default behavior, with the Zoom or Hand tool selected, check the “Zoom all Windows” and/or “Pan all Windows” in the Option bar.
After adding a layer mask to hide portions of a layer, it can sometimes be difficult to determine if there are any small bits of the layer that have been accidentally left behind. In this case, it might be helpful to temporarily add a layer effect such as a bright red stroke ( Layer > Layer Style > Stroke, and click the color swatch to choose a vibrant color) . The stroke will now appear around any small areas of the mask that you may need to clean up. When finished, simply delete the layer effect).
Hey, hey, great news! I just found out that now through October 30th, 2016, LinkedIn members are able to access the LinkedIn library (of over 5,000 courses) on LinkedIn Learning, entirely for FREE!
Here is the link to the Week of Learning: https://learning.linkedin.com/week-of-learning
All of my courses are available – so I hope you’ll watch anything and everything that you’re interested in. My courses include:
To access the HUD color Picker, with a painting tool selected, Control + Option + Command (Mac) -click and drag to select a color. On Windows, Shift + Alt + right-click and drag to select a color. The HUD Color Picker can be displayed as either a Strip or a Wheel. From Preferences > General, select the preferred display from the HUD Color Picker drop down menu. Note that both the strip and wheel options can be displayed at different sizes.
When the HUD color picker is displayed, continue to hold the mouse down while releasing the shortcuts keys and press the spacebar. The spacebar freezes the selection of the color and allows you to “jump” from the strip or wheel to the Hue/Saturation area (or vice versa) in order to refine one with out moving the other. Why would you want to do this? Well, you’ll quickly discover, that sometimes you have the correct luminosity and saturation selected but not the correct hue selected (or vice versa), and need to jump to the other portion of the interface to select it. This is a bit tricky when you first start using it, but makes the HUD color picker infinitely more useful.
When working on intricately composited, multi layered documents, I often find it useful to check each of the layer masks before finalizing the image. To do this, Option (Mac) / Alt (Win) -click on the mask thumbnail in the Layers panel to display it. With the mask visible, check to see if there are any unwanted awkward transitional areas that might not have been visible in the complex composite (a sharp edge from a selection or hard edge brush for example).
Option (Mac) | Alt (Win) -clicking a preset on a panel (Brush Presets, Swatches, Tool Presets etc.), will delete the preset (the icon swaps to a pair of scissors).
In order to reorder presets, select Edit > Preset > Presets Manager. Under Preset Type, select Brushes, then drag and drop the brush icons into the desired order. Note: this shortcut also works with any of the preset lists in the Preset Manager (Swatches, Gradients, Styles etc.).
If you have an active selection in a document and you select the Crop tool, the Crop tool conveniently appears around the selection. If you reposition the crop, it will deselect the area. Artboards don’t share this behavior.
In addition, if you have a selection and choose Image > Crop Photoshop will crop your image.
I prefer using the Crop tool as it can hide (instead of delete) cropped pixels as well as other options.
Sorry to be late to the party on this one – I missed this announcement while I was out, but am so happy to have discovered it today! Camera Raw now provides support for pressure-sensitive devices such as Wacom and Microsoft Surface Pro tablets.
Pressure applied to the pen affects the Flow slider within the Local Adjustment Brush. You can set your flow to a maximum value, and then use your pressure sensitive pen to fine tune. Lighter pen strokes result in decreased flow, and heavier pen strokes increase flow.
Adobe also supports the erase mode if your pen supports this feature. Turning the pen over and using the “eraser” side automatically switches the brush to the eraser mode, as if you had held down the option key.
I’ll be speaking at Photo Plus Expo in New York on Friday October 21, 2016 from 2pm – 4pm:
Adobe Photoshop + Lightroom + Creative Cloud = Unlimited Creativity
In this action-packed seminar, you’ll discover how you can elevate your creativity and enhance your productivity. Adobe’s Principal Digital Imaging Evangelist, Julieanne Kost, walks through her complete workflow starting with managing, editing, and toning photographs in Lightroom. Then, she’ll move beyond the single image and demonstrate how to enhance and blend images using complex selections, masking and compositing in Photoshop. Finally, she will explore several different publishing options, mobile apps and services including Adobe Portfolio, Behance, Spark, Stock and Creative Sync. You’ll leave with new techniques to take your work further than you thought possible, saving time in the process.
I just found out that you can receive a 20% discount on registration through this page:
The promo code will be applied automatically. Offer valid for the first 100 people.
I hope to see you in New York!
If you use a Smart Filter’s mask to hide the effects of a Smart Filter, Photoshop will still make selections based on the filtered content – even though it is hidden.
Here is the original photo of an Iceberg. I’ve converted it to a smart object so that I can add the Path Blur filter as a Smart Filter.
Below shows after adding the Path Blur (listed as Blur Gallery on the Layers panel) as a Smart Filter. Notice that the entire layer is blurred.
I drew a linear gradient in the Smart Filter’s mask to reveal the Path Blur in the water, but hid it from the iceberg.
Using the Quick Select tool, I expected Photoshop to easily select the sky, but it selected the iceberg as well (because Photoshop applies the blur to the entire layer – the mask was only hiding the filter).
Hiding the Path Blur (by toggling off the eye icon next to Blur Gallery), enabled the Quick Select tool to easily select the sky.
In the final image below, I added the new sky layer, used the selection to add a mask so that they sky wouldn’t overlap the iceberg, and toggled back on the visibility next to the Blur Gallery to display the Path Blur filter in the water.