#CreativeFriday – Photoshop CC’s Content Aware Tools – Structure and Colour Controls

Sometimes within an area of an image, there is a section that needs to be cleaned up. Normally, this is simple, but on some occasions it runs through a gradient. An example of this is in a sky or some simple foreground texture like grass or sand/beaches etc.

Before the release of CC 2014 these areas could be fixed with the Clone Heal tool, but you had to spot the source area and make sure it’s inline with the destination. The Clone/Heal tool is amazing, but can take up precious time, sometimes speed is required.

In Photoshop CC 2014 an additional colour feature was added to the Content Aware tools in Photoshop. The colour feature now means that when the content aware tools are fixing area that contain gradients in tone, they can be tuned to recognise the colour shifts and take them into consideration, as part of the automatic fix.

Here is an example.

I’ve recently been scanning images into Lightroom from a 1995 cycling trip to Iceland. This particular image was taken on colour negative, and was taken in the North West of the island.

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There are a few things in the lower area that are not quite right and ideally need to be removed. For example, the shower block, the single tent and car, as well as the gravel path.

Of course getting rid of these areas is quite simple, however, if you notice there isn’t a lot of grass to clone from, also the tones in the potential candidates of grass are a combination of light and dark areas. This can cause us a problems, and cloning of these areas we need managing.

The Content Aware Patch tool (as well Content Aware Move and Extend, Edit / Fill (under colour adaptation)), have the capability to replace areas of content and examine and source/destination and attempt to match the colours, even if the source areas are darker or lighter than the destination (across a gradient).

In this first example it’s quite simple to replace the area of the three pipes with the ‘Content Aware Patch Tool’, as there are similar colours and textures around it. The structure value is set to 1 and the colour is set to 0. Notice that i’ve created an empty layer above the image and the ‘Sample All Layers’ is turned on. This technique will allow me to keep the file size nice and small (so the changes can be saved for future use/reference), as well as employing a non destructive editing technique. At any point in time, the empty layer can be adjusted using the standard layer controls (like opacity), or turned off. In the example, the area around the three black pipes has been selected for removal.

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When the selection is moved to an area near by, the contents are replaced.

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The same is applied to the concrete area between the three pipes and the shower block.

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Getting rid of the shower block is more tricky. The area is selected as previously, then another similar area is selected in the scene. However, the greens are not quite the same, they are tending to be darker or lighter in tonality.

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The first sample is taken from the left of the scene and the Content Aware Patch tool is set to Structure 1 and colour 0. The result of the patch doesn’t seem to fit in the scene very well, because the tones from the destination are different. New values in the structure and colour can be entered while the patch is still active, the contents will change once the processing has completed.

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If we increase the values of the Content Aware Patch to Structure 1 and colour 3, the patch is better and seems to blend in to the scene.

Screen Shot 2015-05-29 at 20.52.20If we try a larger value in 7 in colour, the result isn’t great.

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From the samples above, the version for colour value 3 is selected. Additional blending can be made to using the Healing Brush tool and takes just a few seconds, this gives the realistic effect, which is what we are looking for.

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The other area that is tricky is the car and tent. The areas of water around it are light and dark and using a standard structure and colour configuration, the result will be very obvious (as shown below).

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A few changes of the structure and colour values can be tested. The values of structure 3 and colour 5 have been used to blend in the destination area.

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Other areas can be replaced using the same technique and sampling from different areas, and modifying the Structure and Colour values as appropriate.

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The gravel path can be replaced using one of couple of ways. One is to select it’s complete width and sample from a similar areas. If no other area is long enough, then the path patching can be broken up into multiple pieces. Also, the Content Aware Move and Extend have the Structure and Colour controls, so this tool can be used also.

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A few samples and a bit of trial error later using different techniques, but all based on the Structure and Colour controls result in a pretty good blended grassy area

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The resulting left area is still a little patchy and can be replaced with an area to the right of it. This sample is shown below. Using the Structure and Colour values (in this case 1 and 3) will give a reasonable patch.

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Now that the patches have been completed, it would be a shame to loose them. Of course some image editors don’t mind this. This image can be flattened and the modifications blended into a single image, or actually, my preference is to preserve the layers with a  non-destructive technique. I would convert the three layers to a Smart Object. To do this, select the layers that are to be placed into the Smart object, then right click on them and select ‘Convert to Smart Object’.

 

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Once completed, the image can be cropped and rotated into position (the horizon line is a little wonky).

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Now that the cropped image is within a Smart Object and the foreground is clean, the editing of the image can commence. Because I came into Photoshop from Lightroom, i’m not going to go back to Lightroom to complete the edit. I want to keep the adjustments in Photoshop, just in case i need to edit them later. If I go back into Lightroom, then the Lightroom adjustments will flatten the PSD.

To do this, i’m going to use the ‘Camera Raw Filter’ (available under the Photoshop menu / Filter / Camera Raw Filter.

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I can now work on the sky with a graduated filter and bringing the exposure down, exactly as I would in Lightroom.

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Of course the exposure comes into the mountain on the right hand side, therefore, i’m going to use the new brush control (marked in Yellow), that is available on both the radial and the graduated filter to customise the mask.

With the brush, new areas of mask can be selected by using the + (marked in pink) or can be removed by using the – brush (by default the brush is set to – (remove), and using the alt key, can be switched to +(add mask)).

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It’s always worth while checking the image for dust spots, or as this is a scan, hairs and scratch marks from the negative.

The Clone/Heal tool is available on the Camera Raw filter (marked red below). The visualise spots (marked in yellow), will allow seeing of any oddness (the slider next to the visualise spots check box is the tolerance slider and can be used to increase or decrease the frequency settings).

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The round mark (halo) that can be seen can be removed using the Clone/Heal tool. But i’m going to demonstrate the non-destructive quality of the Smart Object.

To do this, click OK and return to Photoshop and apply the Camera Raw adjustments. The area of concern is marked in Yellow below. To make the adjustment on the original layers (held within the Smart Object), double click the Smart Object layer, marked in red below.

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This will open the original layers into a new canvas, this contains the original layers.

To fix the area, I would create a new layer (marked purple), similar to the way that the original layers that hold the previous fixes were made. This new layer will contain any new fixes. The ‘Content Aware Patch’ tool is selected (marked in red), then the area (yellow) is selected and replaced. A low Structure and Colour value are used to make sure that the new area blends seamlessly into the original position.

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Once completed, just a save and a close of the canvas, this will update the original layer. Any adjustments will be sent to the canvas and if there are any Smart Objects, and filters, they will be updated as part of this process.

You can see that in just a 20 minute process, the image looks completely different from the original version that came from the scan.

Fixed Version

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Original image

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With a final touch of Black and White and a custom Platinum tone, the image can be turned into a moody Black and White image.

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#CreativeFriday – An hour in Photoshop CC #2

Whilst at the Met in New York city, I was inspired to re-create a Picasso painting using just the 3D features in Photoshop CC.

The piece that inspired me was this one :-

Nude on the beach (Nu debout au bord de la mer), 1929

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The final image from Photoshop CC, and one that we will walk through today is :-

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The final image is available on my Behance page .

The beauty of Photoshop CC when creating some components in 3D are that they are created from 2D source components. The image above was created just from 2D shapes within a standard PS 3D canvas.

N.B Each shape is made on a new layer, then merged once drawn.

This post is based on the previous blog post, which explained how to use Photoshop’s 3D move tools and the object widget, you can refresh yourself or read this tutorial by heading over to this page.

Back Leg

The legs need to be vertically extruded and a long taper applied. This will provide the desired effect.

Essentially the legs start out life as a rectangle. The rectangle is then extruded. The reason that I didn’t use a longer rectangle (for the length of the leg), is because it would be harder to taper vertically on all sides.

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This is then converted to a 3D Object by using 3D / create 3D extrusion from selected Path or selected Layer (from the 3D menu), then extruded upwards and a taper applied (see the yellow area below). It is worth while noting that it’s a good idea to structure and the label the model components (labeled in red below)

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Front Leg

Font leg is formed from a new 2D shape, which is the same as the back leg.

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The final 3D extrusion is created with a taper and a twist along with the extrusion (see yellow reference below)

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Body

The body is a custom shape made by using the Pen tool in Photoshop, then extruded the same way as above (3D menu / Create Extrusion from Path or Layer)

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Once the object has been converted into 3D, it is extruded and a bend applied

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A bevel is then applied to the same object

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Cones on the back

Each cone is actually a lathed object. The source for each one of these is half an isosolese triangle, one side being vertical, the other forming half the vertical cone angle.

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A 3D Object is created from the layer or path, then extruded around it self. This is performed by changing the Deformation axis to the far right hand side (indicated by the white dot on the deformation below).

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If the cone is to large or small. It’s easy to reshape it by clicking on the object, then choosing source within the properties panel and editing the original shape with a combination of the direct selection tool and the pen tool.

Pyramid

The Pyramid is actually created from a pre – determined shape, and is available from the 3D menu / New Mesh From layer / Mesh Preset / Pyramid.

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The final shape is tweaked by using the scale controls on the 3D navigation tool. The 3D navigation tool can be found by making sure that the Photoshop move tool (V key) is selected (top of the tools palette), then clicking once on the 3D object that needs to be moved. The 3D navigation tool has three axis, each has three controls, the top most one is a move, the middle is rotate and the last one is the scale tool (The middle square tool is used to uniformly scale the object).

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Sphere

The sphere at the top of the pyramid is created the same way as the pyramid. There is a mesh preset that can be created from a sphere template (see below).

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Once the sphere has been created, it can be scaled and moved into place by using the 3D navigator (explained in the pyramid section of this post).

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Bar through the model

The bar through the back of the model is an extruded ellipse shape, that has been created using the 3D circle tool and scaled along one of the axis.

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The object is been extruded and moved into position using the Photoshop 3D move tool

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Back arm and front arm

The back arm and the front arm have been created by using a path/shape (same as the body), then moved into place on the body, so that it interlock at the hands.

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Front arm

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Both arms are placed on the body and moved into position.

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Background

The shape needs a background to come to life, for this, a new layer was created below the 3D model, then a gradient to simulate the sky and the ground placed on it.

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Lighting

To set up a realistic lighting rig, the original infinite light that was created in the base scene is selected, and within the properties, the colour and intensity have been changed to simulate a warmer colour.

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To create better shadows than a basic lighting setup will create, i’ve added an Image Based Light (IBL). The IBL properties are available on the ‘Environment’ tab within the 3D menu (marked in red), and the IBL data is then accessible within it’s properties (marked in yellow). You are able to download IBL’s by navigating to this page, and locating IBL’s.

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The IBL I have chosen, looks like the following and simulates a studio. In this case a yellow reflector, two soft-boxes and a large white diffused light from the top of the scene.

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Once the IBL has been loaded into the scene, then it can be moved around and placed into position using the IBL move tool (marked magenta above).

Rendering.

The most important part of the job, is to render the scene. The objective of this is to throw light and create the shadows, textures etc within the scene. The render button in Photoshop is available in many places. One of the most accessible buttons is located on the properties panel (marked in red).

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Full Quality Rendering can take a while, depending on many variables (lights, textures, materials, number of objects in the scene etc etc).

Rendering settings

I usually set my renderer up with the following settings (Note that the shadow quality is set to very Low, this will give me back some performance when moving the model in the scene).

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I hope that you have fun with creating things using Photoshop CC. As an aside, there are something that Photoshop cannot create, you can always create the part required in 3D software, then import into Photoshop, merge into the 3D layer  and move into place.

 

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Adobe at the London 3D Print show with an open seminar room

We are pleased to announce that Adobe will be attending the London 3D Printing show. The show will be taking place at Truman Brewery from Thursday 21st May until Saturday 23rd May.

Adobe will have an open seminar room holding talks on the hour for all three days. The talks will be covering everything from an introduction to working with 3D in Photoshop and 3D Printing, to talks from artists that use Photoshop CC as part of their workflow. We will also be hosting other partners that are supported in the Photoshop 3D Printing ecosystem.

We look forward to seeing you at the show and answering any questions that you may have on 3D/3D Printing with Photoshop CC


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ADB_3DPrintShow15-London_Theater Presentations-V2

 

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#CreativeFriday – Moving 3D Objects, Cameras and Rendering in Photoshop CC

I was asked a while ago to create an article on how to move 3D objects and cameras around in Photoshop CC and, in general how to work with the 3D scene. Having an ability to moving objects around a scene is the basic building blocks of putting something interesting in 3D in Photoshop CC together. Knowledge of this will smooth out the 3D Photoshop experience.

The exercise and objective of this post is to take two individual objects, place them both into one scene and align them against each other, by using just Photoshop’s move and camera tools. The final part of the exercise will be to light the scene using Image Based Lights (IBL’s).

Importing 3D objects into Photoshop CC is straight forward, you can either open then as you would regular file, the 3D file formats that Photoshop CC supports are :-

OBJ, STL, PLY, 3D PDF, VRML, Flash 3D, Collada (DAE), IGES. The Collada, (STL and OBJ are the most common in this arena), Collada is a wonderful format, which is highly flexible and was designed to be an interchange format between 3D applications. Collada, also has the ability to contain animation of the models, which can also be processed and leveraged in Photoshop CC.

3D Objects will be imported into separate canvases and will at some point need to be merged into a single scene, if  the objects need to interact and occupy the same space.

In the following screen shot, you can see there are two canvas, each with a 3D Object. 3D Objects are represented in the Layers panel as a special 3D layer. This 3D layer also contains references to any materials and other specific 3D obejcts that are associated with the scene (i.e below you can see the diffuse/texure map, as well as the Image Based Light (IBL)).

When a 3D object has been selected (by using the regular Photoshop Move tool, accessed by using the ‘V’ key), the ground plane will become visible (if not already). Also, any lights (white circle on the lower part of the interface) will become accessible. The Photoshop CC 3D environment also has the option to have the secondary orthographic view available (window in top left below), we will discuss this in more detail later, but essentially it’s useful when lining items up in the scene.

Moving the camera

There are two ways to move the camera(s) in Photoshop CC. The original 3D move tools are highlighted in yellow below and the new CC tools are highlighted in red. You may ask, what’s the difference? The yellow tools are only available when the Photoshop move tool is selected, while the red tools are available when in the move tool or in the brush tool. This enhancement was made so that the cameras could be moved when you are painting directly on the model and wish to move to another area, or zoom in/out of the model.

Both sets of tools are equal :-

  • Dolly – This moves the camera toward or away from the object
  • Orbit – This moves the camera around the object
  • Pan – This moves the camera above, below and to either side of the object

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To get another 3D layer into a single canvas, you can either drag and drop it in from another canvas (the same as in 2D), or use the 3D menu 3D / New 3D Layer from File.

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Once the objects exist in the same canvas, you will need to merge them into the same scene to allow them to interact with each other.

Combining objects into a single scene

When multiple objects are brought into a Photoshop canvas, they will be on separate layers. To merge them together,  select the destination scene, then select the source scene and choose from the 3D menu / Merge 3D Layers.

N.B. How to choose the destination 3D scene.

This is an important consideration. When you are merging 3D layers you need to be conscious of any environment configurations (Lights, IBL setup etc). You should always select a single destination which contains your desired lighting setup and merge into this one. As Photoshop will preserve the lights in the destination and when merging, will only move the object from the source.

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In the following example, two layers have been selected (the rocket scene being the destination that contains the lighting will be set up). Then the menu option 3D / Merge 3D Layers is selected.

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Once the merge has completed, the two objects (marked yellow and red below) will be in the same scene, any materials will be available in the layers panel (as shown below).

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Once the objects are merged, they can interact with each other. Each item is also independently selectable as well as they are jointly selectable with other objects (for moving or rotation as a group etc).

Whilst the move tool is selected, a click on the object(s), this in turn will select the cage and will activate the 3D navigation widget. At this point, the object(s) can be :-

  • Moved – At the end of each axis on the widget an arrow is available that will move the object in direction (as well as the opposite) direction.
  • Rotated – The second feature (from each axis end) is the rotation tool, this will rotate the object along the axis.
  • Scaled – The third feature will scale the object along the desired axis
  • Scaled Uniformly – The centre point of the widget, will uniformly scale the object to be smaller or larger.

 

Move – The example below shows the Move point of the widget.

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Rotation – The example below shows the rotation point of the widget.

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You might notice the yellow points on the cage, these points allow interaction, supporting movement and rotation of the cage. Also, by selecting the cage, the properties of the object will allow direct input of new positions of the object (marked in red).

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Lights

The scene lights are accessible using the light object (marked in red). Once selected, the light widget will appear (marked in Yellow). This widget allows the light source (in this case the infinite light) to be moved, along with any shadows that might be created on the ground plane. The Light properties (marked in green), show which parts of the light can be modified (including, colour of the light, intensity, as well as and shadow presence and softness required).

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The colour of the light can be changed, and a new colour selected from the colour picker. By clicking on the area marked in red below (any lighting modification will only affect the render and not the final colour print, to alter the colour prints, the materials will need to be changed, this will be covered in a separate blog post).

3D Panel 

The 3D menu is available from the Photoshop menu bar (Window / 3D ). This menu will show the structure for the scene (marked in red below) :-

  • Environment
  • Scene
  • Current View
  • Default Camera
  • Model(s) (There will one of these for each model in the scene)
    • Material(s)

Individual or multiple Object(s) can be selected from the 3D menu (using a single click or CTRL+Click on multiple objects), this action, will in turn will select the physical object(s).

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(Screenshot showing the 2nd object selected by using the 3D menu.)

Moving and aligning objects 

Successfully lining objects to other objects in the scene works best when you have more than one view of the scene. The secondary view (marked in purple below) certainly helps with this task. The secondary view (if not already enabled), is available on the regular Photoshop menu View / Show / Secondary view, and is only available when the 3D layer is selected. This view will show an orthographic view of the model(s) and helps the moving/aligning process.

Using the arrows that are available on each axis of the Move tool widget (marked in Purple), allows the object to be moved into position (you may also need to scale, uniform scale or rotation to get the objects into the correct position). Moving the object in the main window, will also move the object in the secondary view as well, therefore aiding the lining up process.

Creating Other 3D Extrusions from 2D Objects

In this example, I would like to have the logo attached to the Rocket. But there is some existing geometry which I cannot remove in Photoshop. I would need to open a 3D application to remove the polygons manually. In this example, a shape will be extruded which will be used to cover the existing geometry. This process is being used to show the extrusion of a shape, rather than show how to correctly replace polygons/geometry. If i was in a production environment, I would open in 3D software and remove the polygons manually. A quick way to fix this issue, is to place a blank area over original polygons and hide them. This can be achieved by extruding a simple ellipse shape from the shapes menu.

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Once the ellipse has been created, it can be extruded into a 3D shape, as shown below.

This shape can then be merged (the same as before, by selecting the relevant layers in the correct order, then moving into place, intersecting the place on the 3D object where the logo needs to be placed).

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Switching views

Within the secondary view, it’s possible to change the orthographic view. The menu for this is available from the down arrow icon on the secondary view (marked in green below).

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Once the new view has been selected on the secondary view, it can then be switched to the main view by clicking on the switch arrow (marked yellow below). Sometimes, it can be simpler to work in orthographic view in the main window, especially when moving and aligning objects.

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The following screen shows when the objects are aligned.

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Once the object has been aligned, it may need to have it’s material changed. In this case i would like it to stand proud of the rest of the model.

The example below shows how a simple material (shipped with Photoshop) can be applied to a model(s). The material element is available on the 3D menu (marked in Red, there may be more materials depending on the complexity and number of surfaces of the object selected). The shipped materials (marked in purple) are available from the materials selector, within the same marked area. Selecting a new material here, will update the object in the main scene window as well as the secondary view.

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Once the objects are in position, we can finish the lighting of the object

Image Based Lights – IBL

Image Based Lights (IBL’s) are extremely powerful and will allow the Photoshop rendering to look amazing. IBL’s will give a natural lighting effect to the scene and are based on a simple black and white mask, but can get more complex when required.

Accessing the IBL is available from the Environment tab of the 3D menu (marked red). Within the properties (marked yellow) the IBL textures can be replaced or removed etc.

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The IBL is a simple 2D texture that will control how ambient light will hit the model in the scene. You can create your own, or download the two setup’s from the photoshop.com web site (under IBL’s here, and navigate to ‘Stages and Sets’). For this example i’m going to use a simple one, which will give the model a realistic look and feel.

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Once loaded into the scene, the IBL can be moved and controlled. The IBL and it’s properties can be accessed on the Environment tab in the 3D menu. Once selected, the IBL can be rotated into the best position by dragging the ball marked in Yellow. The ball shows the orientation of the mask and how the light source will be transmitted into the scene.

The IBL environment properties can be found in the standard properties panel (marked in Blue). Here you can manage the colour and intensity, as well as shadows and other ground plane parameters.

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The next step in this example is to create a background with a gradient (marked in red), then it’s positioned using the transform tool (CTRL+T).

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Rendering

The rendering of the scene can be done by clicking the rendering button within the properties panel (marked in red below, there are many different places to render the scene).

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Saving 3D models as .PSD or .TIFF.

The last stage is to save the object and it’s layers to either a TIFF or PSD file.

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We hope that from this post you are able to successfully navigate around the 3D scene and use the Photoshop CC navigation tools to make your objects interact and start some basic 3D modelling.

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Mike Scrutton of Adobe talks about 3D Printing and Colour from within Photoshop CC

As Microsoft, HP, Autodesk, netfabb & Shapeways launch the new 3MF file format, TCT interviews Mcor Technologies, Shapeways, Spectrom, Adobe and Faberdashery posing the question; does full colour 3D printing need a new file format?

Mike Scrutton of Adobe talks about 3D Printing and Colour from within Photoshop CC in this podcast. The section about the Adobe colour workflow is from 13.30 to 29.22.

 

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#CreativeFriday – Inline Mask creation in Photoshop CC

One of the most common tasks in Photoshop is creating a mask on a layer.  There are many ways to do this. However, I was speaking to a customer this week, and it reminded me of a great way to create a mask and also see what’s happening to the underlying layers.

This feature can be very handy to see exactly what areas of the mask are being concealed or revealed.

To do this, the ‘\’ key can be pressed when the mask itself has been created and selected. The ‘\\ key will show the mask ruby-lith as well as the underlying image, allowing you to see what’s happening to the mask as it’s being applied (This shortcut is also handy when you need to see varying levels of opaqueness in the mask).

The objective of this example in this blog will show how the mask can be created to reveal the underlying layer, and also use opacity to control the cut away sections. The mask combined with opacity will be used to control how much of the underlying layer will be shown through.

The example below includes a black to transparent gradient on the background, and a white layer above it. The numbers above the white background are the levels of opaqueness  that will be used for the mask. Essentially, to revel the layer/contents underneath the white layer, a mask will need applying to it and parts of it cut away with a black brush.

Screen Shot 2015-05-06 at 14.24.37

Without the mask overlay

When the mask of the layer is selected and a black brush stroke is applied (notice the foreground colour below), the contents under the white layer will be revealed (each brush stroke will also have opacity amount applied (the blue number on the left), which will control how much will be revealed from the underlying layer. If a Wacom tablet/pen is used in combination with the mask, the pressure sensitivity on the nib will control the opacity of the mask reveal).

When areas of the mask are modified and the underlying contents are revealed, it can be difficult to see what’s been removed and what hasn’t. This can be tricky when working with and creating a complex mask.Screen Shot 2015-05-06 at 14.27.36To see what is happening with the mask in isolation, the ALT key and a click on the mask, will show the mask in isolation (as shown below).

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With the mask overlay

However, it would be handy to see the reveal and the mask at the same time . To be able to see the mask that is being created inline with the underlying layers, select the mask, then press the ‘\’ (back slash key) on the keyboard. Now when the mask is painted on using the brush, the mask will be seen along with the pixels it is revealing / concealing (the pink area below).

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Once all masks have been painted (as below) the areas can easily be seen, including any feathering that has been applied and used.

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You can see below in a practical example below, that when the mask is shown and the layers below are revealed at the same time. A potentially better mask with more control can be achieved.

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#CreativeFriday- Adobe Photoshop Lightroom – Tips and Tricks with Richard West and Richard Curtis

Webinar – Adobe Photoshop Lightroom – Tips and Tricks – with Richard West & Richard Curtis

This webinar will look at the Photographic editing in Lightroom 4,5 and 6, as well as some other elements of the Creative Cloud Photography Plan.

The two speakers for this event will be Richard West of Datacolor and Richard Curtis of Adobe.

Richard Curtis
Richard is a Principal Solutions Consultant at Adobe and is focused on the Digital Imaging Solutions in the UK (Lightroom and Photoshop). Richard is also a Photographer with an interest on street, travel and landscape photography, and has been making images for over 20 years.

Richard West
Richard West was the Business Development Manager for the Photo Markets at Apple for 10 years. Richard then joined Nik Software in the UK and was responsible for the growth of their suite of Lightroom and Photoshop plug-in tools. Richard is now runs Datacolor in the UK and will cover off how Datacolor’s products integrate into the Adobe workflow.

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#CreativeFriday – Getting in Sync with Lightroom

I once had a conversation with a highly successful Photographer about what he thought made a collection of photographs more compelling and his response was consistency. There are many things that we can use to get consistency, for example, one could be the framing style, the other mounting or even aspect ratio. For my stories I prefer to employ a look and feel consistency, so I look to use colour tones that are similar to each other. This can be easily achieved using the Lightroom Development module, but some times, it’s an older look that I would like to achieve.

For me, I love the old film types, like Fuji, Kodak or Ilford, for both colour and black and white work. To get a desired look and feel, a preset’s can work very well. The folks at VSCO have spent lots of time to create an amazing set of old film type/vintage styles that can be used on your digital files, the complete set are not free, but well worth exploring in my opinion.

Let us take this series of images on a walk that I took whilst in Japan. The first image is a village scene and is quite dark, but i’m going to adjust the exposure, correct any lens correction, then apply the look and feel preset.

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These quick changes will show what the image is capable of.

Now that a base look and feel has been applied, any of the local adjustments can be applied. i.e. If may be that you would like to recover highlights, shadows or just set the white, black or the clarity, it’s up to you to add your own character.

To have these settings as well as any adjustments automatically SYNCED to the other images, first select the image that is the reference, then use the CMD key (to select individual ones) or the SHIFT key and click on the last desired image to select a range of images (the images in the film strip or the grid view, will show the images that have been marked for selection). Once the images have been selected, then the SYNC button (Marked in Red) will appear and can be pressed to apply the same settings to the other images.

Before the settings are SYNCED, the following menu will be displayed which will allow you to configure which development settings are copied to the other images. You will need to experiment which ones are copies accross, but essentially all settings to an individual one can be copied.

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Once the settings have been copied, then each image can be tweaked. I.e. on the image below, the original crop has been modified in line with the original aspect ratio.

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This one also has an additional crop applied to it.

Screen Shot 2015-04-24 at 21.16.09

Again another crop.

Screen Shot 2015-04-24 at 21.15.47

I am happy with the settings that have been applied from one image to the other and only a little cropping was required. This approach saves me a lot of time to come up with a look for the images, but also the SYNC and small adjustments for each image allows me to process all images with a consistent look and feel in super quick time.

The folks over at VSCO have a special trial edition of the film pack available, with inbuilt presets for two vintage films, that have been tailored for a selection of cameras, these are variations on Kodak Gold and Kodak Tri-X.

Of course the SYNC settings does not only apply to these types of presets, but also for your own that you have created/saved, or any development settings that you have created within the development module.

 

 

Screen Shot 2015-04-24 at 20.35.48

 

You can learn more about this set and have a play with them as well as the variations by clicking on the following link. Also, there is a help page dedicated to answer any questions that you may have, here.

I hope you have fun with this workflow.

 

 

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Adobe – Creative Cloud Photography update

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Within the Creative Cloud Photography update, there are many components for the Photographer that have been updated, including Lightroom. This blog post will outline the majority of new features, and will be followed up with deep dives on specific items at a future date.
Lightroom has got some great new updates that include inbuilt HDR and Panoramic stitching, but also the ability to create HDR Panoramic’s. There are also great new ways to publish your work and create engaging stories, by integrating your Lightroom Mobile catalog with Adobe Slate and Adobe Voice.
Adobe Slate and Adobe Voice have been designed to enable you to create your stories on the go. Adobe Slate integrates directly into Lightroom web or from the mobile apps on your mobile device. On your mobile devices, both apps link with your Lightroom mobile collections and Creative Cloud folders and assets.
64 Bit Support
Lightroom now has a minimum requirement of 64bit Operating systems for both Windows and Mac.
GPU Suport
Lightroom is now able to utilise the power of the Graphics processor (GPU) within the development module. This not only means that images will load much faster, but Lightroom will be much quicker when editing in development process. This support will enable newer computers, as well as older computers to get a performance boost ,(higher resolution (4K and 5K screens) will notice an improvement in performance as well)
HDR
Working with the community we have heard that Photographers are using HDR techniques more and more, but there is a requirement for a more integrated solution. Lightroom now supports HDR as a dedicated feature, and on output creates a new 32 bit RAW DNG file, supporting over 30stops of tonal range. This means that now for the first time ever you can use HDR created images in RAW space and all of the Lightroom Development sliders will be able to work on this data. Also, the DNG HDR file will be created in the background, so you are able to carry on working whilst it is being created.
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Panoramic’s
The ability to create Panoramic’s is another feature that Photographers like to create. Similar to the HDR feature, the Creative Cloud Photography update includes creation of DNG RAW Panoramic’s. During the creation process Lightroom keeps all of the lens and camera meta data information from all the images (so things like Lightroom Upright as well as Photoshop’s adaptive wide angle technology can play well with the output and correct any distortion).
Screen Shot 2015-04-13 at 21.56.10
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Adobe DNG RAW Support for Google devices
Adobe has been working with Google and as of the Lollipop Android update, will now support the Adobe DNG (Open Raw format). This essentially means that a mobile first RAW file workflow is here, enabling photographers to capture RAW data from within the Phone or tablet device and take full usage of the RAW data directly within Lightroom.
Is this the first time you have heard of the DNG format ? If so, what is it?
The DNG open RAW format was introduced by Adobe to offer a publicly documented version of the RAW format, as opposed to a closed propriety format (like CR2, NEF, OLY or RAF etc). The format is in use today, and companies like Leica, Pentax as well as others) and now Google have adopted this as a native camera format. The benefits for the photographer are significant. Both Lightroom and Camera RAW support DNG out of the box. This means that a DNG files can be opened with Lightroom (both current and past) without having to convert them. This means that if a camera manufacturer supports the DNG format (like Leica, etc), Lightroom will be able to open the RAW file without the need to wait for updates to Lightroom for for Adobe to support the file format. 
Converting a propriety RAW format to DNG. 
Some photographers have adopted the DNG format was part of their workflow. As already explained above, Lightroom can import DNG formats, it can also export DNG formats (which can also embed the original RAW file), but also Adobe provides the Adobe DNG format convertor (which is a free download for Windows and Mac) and is able to convert supported propriety files to the DNG format. 
 
HDR Panoramic’s
One of my favourite features in this update, is the ability to created RAW HDR files and then create Panoramic’s from them. For the first time ever, you can now create a Panoramic’s based on HDR Raw DNG files direct within Lightroom. To explain how this works, let’s look at the following example.
In the example below, the pictures were taken with a 1 stop bracket exposure. This means that the far left picture is one stop under the meter reading in the camera, the next is the metered reading and the third is one stop over the meter reading. The last image is a Lightroom HDR blend of the first three.
Screen Shot 2015-04-13 at 22.00.23
This step is performed for the next 4 set of exposure brackets and will create 4 HDR images that are reading for turning into a panoramic.
Screen Shot 2015-04-13 at 22.05.08
A total of 5 HDR images are now ready for turning into the panoramic. By Selecting the HDR images and choosing to create Panoramic will present the Panoramic screen and output the combined file.
Screen Shot 2015-04-13 at 22.06.41
This DNG RAW panoramic is over 8500 pixels on the long edge. Having the Development module utilising the Graphics Processor, means that Lightroom won’t hang about when the image is zoomed into or worked on.
Screen Shot 2015-04-13 at 22.09.02
 
Filter Brush
One area that Photographers have been enjoying is the new Filter Brush which was included in Photoshop’s Adobe Camera Raw as part of the Creative Cloud updates. This is a highly useful feature is now available in Lightroom and enables filters such as the Gradient filter and Radial filter to have areas of the mask refined to suit the image in hand.
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Face Recognition
This update to Lightroom also includes the highly anticipated Face Recognition, and the ability to easily and efficiently recognise and tag faces within your catalog. As Lightroom has got some amazing performance improvements to the Development module, the new performance isn’t inhibited by this feature. Face Recognition has been implemented in a way that once turned on will work in the background and while the computer is idle.
Face recognition is enabled in the Lightroom catalog settings
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, when this is turned on, it will allow Lightroom to search in different ways :-
  • When images are imported into Lightroom, they will be automatically indexed into the People database.
  • When Lightroom is parked in the library grid mode, faces through your whole catalog will be indexed
  • When Lightroom is within the People module for a folder, faces will be index within this folder
Once indexing has been performed, the faces for both unnamed and named will appear in the People mode.
Screen Shot 2015-04-13 at 22.17.40
 
Slide Show
Slide has received the ability to include multiple music tracks (up to 10) into the slide show, but also the ability to dynamically tune the slideshow to the speed of the music.
Screen Shot 2015-04-13 at 22.18.59
Touch
Adobe is always innovating and supporting technology which creative people enjoy using. This release of Lightroom supports Windows touch devices and now supports the Wacom Companion as well as the Microsoft surface touch mode. Lightroom’s touch interface is available just above the film strip at the bottom of the screen to the far left hand side. Changing to the Lightroom touch interface will allow you to work more intuitively on these devices. You can now work on the majority of the Development features all within the Lightroom regular interface, or move Lightroom into the new touch interface.
 
Lightroom mobile on Android Tablet
Lightroom mobile has been available on the Creative Cloud for quite a while now and unlike Lightroom for the desktop has seen a variety of updates being delivered thought out the year, via the Creative Cloud. Lightroom for Android phones can out a short while ago, and now as of this update for Creative Cloud users, now supports Android Tablet.
Adobe Slate
Adobe Slate is a new type of App for the iPad which allows any Creative Cloud user to make visual stories quickly. Adobe Slate has integration to Lightroom mobile collections, as well as your assets on the Creative Cloud storage space.
image1
To see the Adobe Slate project, please click on the following image.
Fire balloon festival
 
Adobe Voice
Adobe Voice is an app that enables you to make a visual animated video. Adobe voice also has links to your Lightroom mobile catalog, as well as the Creative Cloud storage area.
Pet Eye
If you have animals and are taking photos of them with a flash, then you are probably experiencing the pet red eye, which cannot be easily removed using the standard human read eye reduction. This version of Lightroom now brings the Photoshop Elements Pet Eye removal feature into the fold.
 
Import Directly into Collections (Including tethering)
 
Throughout my travels, I see Photographers using Collections in many different ways. This might be to just automatically organise their images based on metadata or Keywords from the camera using Smart Collections. For example, I know photographers that will use a Smart collection to help with their star rankings (i.e. One star is ok, Two stars are good (good B roll supporting imagery for a story perhaps), and Three for outstanding ‘A’ class work).
Photographers have also been using simple collections to manually organise their images, possible into a Blurb book (images in a collection can be manually re-ordered), unlike in a standard folder. Or maybe using a collection as a Target collection, and adding selected images into using the ‘B’ key.
Collections are also at the heart of Lightroom mobile. Once a Lightroom catalog has been enabled for sync with Lightroom mobile, a collection can be marked for sync. This essentially means that images inside this collection will be synced to Lightroom on the Web as well as into Lightroom on the mobile devices (iPhone, iPad, Android Phone and now Android tablet). Lightroom collections are a great way to collaborate on your images with other photographers, or with your clients for feedback and review.
Now with this update to Lightroom, adding to collections in different ways has been added :-
  • Import direct into a Collection
  • Tether into a collection
 
 
Lightroom for mobile
GPS Support into Desktop
When images are imported from a Lightroom Mobile catalog taken with the device, images with GPS data are brought across for reference in Lightroom on the desktop and representation on the map.
 
 
 
CMYK Soft proofing support
Lightroom soft proofing under the Development mode now has the ability to soft proof for CMYK profiles. These profiles are also available in the printer ICC profile configuration under the Print module.
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Profile selector
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New MetaData filtering options?
There is now the option to set up a custom order as well as sort by last reviewed comments on Lightroom mobile enabled collections on this dialog on
Screen Shot 2015-04-13 at 22.38.02
 
New Camera and Lens support

All the new camera support that’s been added for Lightroom 6.0 so far :-

  • Canon EOS 5DS
  • Canon EOS 5DS R
  • Canon EOS 750D (Rebel T6i, Kiss X8i)
  • Canon EOS 760D (Rebel T6s, Kiss 8000D)
  • Canon EOS M3
  • Casio EX-­‐ZR3500
  • Fujifilm X-­‐A2
  • Fujifilm XQ2
  • Hasselblad Stellar II
  • Nikon D5500
  • Nikon D7200
  • Olympus OM-­‐D E-­‐M5 II
  • Olympus Stylus SH-­‐2
  • Panasonic Lumix DMC-­‐GF7
  • Panasonic Lumix DMC-­‐ZS50 (DMC-­‐TZ70, DMC-­‐TZ71)

Lens Correction Support

All the new lens correction profiles that have been added for Lightroom 6.0 so far:

  • Canon EF
  • Canon EF 24-­‐85mm f3.5-­‐4.5 USM
  • Canon EF 100-­‐400mm f/4.5-­‐5.6L IS II USM
  • TAMRON SP 15-­‐30mm F/2.8 Di VC USD A012E
  • Canon EF 8-­‐15mm f/4L Fisheye USM
  • Canon EF 11-­‐24mm f/4L USM
  • Canon EF 50mm f/2.5 Compact Macro
  • Lomography Petzval 85mm f/2.2
  • SIGMA 24mm F1.4 DG HSM A015
  • Venus Optics 60mm f2.8 2X Ultra-­‐Macro Lens   

DJI

  • DJI Inspire 1FC350

Leica

  • Voigtlander LTM 28mm f/1.9 Ultron Aspherical
  • Voigtlander LTM 28mm f/3.5 Color Skopar
  • Voigtlander LTM 35mm f/1.7 Ultron Aspherical
  • Voigtlander LTM 50mm f/2 Heliar
  • Voigtlander LTM 50mm f/2.5 Color Skopar
  • Voigtlander LTM 50mm f/3.5 Heliar
  • Voigtlander LTM 75mm f/2.5 Color Heliar o Voigtlander LTM 90mm f/3.5 APO Lanthar o Voigtlander VM 40mm f/2.8 Heliar

MFT

  • Voigtlander MFT 17.5mm f/0.95 Nokton Aspherical
  • Voigtlander MFT 25mm f/0.95 Nokton
  • Voigtlander MFT 42.5mm f/0.95 Nokton

Nikon F

  • Nikon AF NIKKOR 14mm f/2.8D ED
  • Nikon AF-­‐S DX NIKKOR 55-­‐200mm f/4-­‐5.6G ED VR II
  • Nikon AF-­‐S NIKKOR 300mm f/4E PF ED VR
  • Nikon NIKKOR 50mm f/1.2 AIS
  • TAMRON SP 15-­‐30mm F/2.8 Di VC USD A012N
  • Voigtlander SL II 20mm f/3.5 Color-­‐Skopar Aspherical o Voigtlander SL II 28mm f/2.8 Color-­‐Skopar Aspherical o Voigtlander SL II 58mm f/1.4 Nokton
  • Lomography Petzval 85mm f/2.2
  • Venus Optics 60mm f2.8 2X Ultra-­‐Macro Lens

Pentax

  • SIGMA 18-­‐200mm F3.5-­‐6.3 DC MACRO OS HSM
  • Pentax K
  • Venus Optics 60mm f2.8 2X Ultra-­‐Macro Lens

SIGMA

  • dp1 Quattro* o dp2 Quattro* o dp3 Quattro*
  • SIGMA 24mm F1.4 DG HSM A015
  • SIGMA 150-­‐600mm F5-­‐6.3 DG OS HSM C015

Sony Alpha

  • SIGMA 50mm F1.4 DG HSM Art Lens
  • TAMRON 16-­‐300mm F/3.5-­‐6.3 DiII PZD MACRO AB016S
  • TAMRON 28-­‐300mm F/3.5-­‐6.3 Di PZD A010S
  • TAMRON SP 70-­‐200mm F/2.8 Di USD A009S
  • TAMRON SP 150-­‐600mm F/5-­‐6.3 Di USD A011S
  • TAMRON SP 90mm F/2.8 Di MACRO 1:1 USD F004S
  • Venus Optics 60mm f2.8 2X Ultra-­‐Macro Lens

Sony E

  • Sony FE 24-­‐240mm F3.5-­‐6.3 OSS
  • Sony FE 28mm F2
  • ZY Optics Mitakon Speedmaster 50mm f0.95 Pro
  • Sony FE 90mm F2.8 Macro G OSS
  • Sony FE 28mm F2 + Fisheye Converter
  • Sony FE 28mm F2 + Ultra Wide Converter o Sony FE 35mm F1.4 ZA

Yuneec

  •  CGO2gb

Tether Support

All the new tether support that’s been added for Lightroom :

  • Canon 7D Mark II
  • Nikon D750
System Requirements
Screen Shot 2015-04-13 at 22.41.43
 
Lightroom
Will still be available as a perpetual version at your local retailer.
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#CreativeFriday – Adobe Previews New 3D Features for Photoshop CC & Unveils 3D Printed Artwork from James Stewart & Francois Veraart

 At the 3D Printshow in New York, Adobe showcased three new features that will be available for 3D and 3D Printing in a future version of Photoshop CC.

The previewed features allow users to automatically adjust 3D object resolution; quickly and powerfully convert images into bump maps that can be applied to the surfaces of 3D objects; and more easily edit textures captured from 3D scans within Photoshop:

 

·      3D Mesh Simplification enables faster processing, printing and expands sharing options Many 3D models have a large number of polygons which, although define the model in detail, provide a level or resolution that is not often necessary for the desired output. For example, most desktop 3D printers are low-resolution, and high-resolution 3D objects can unnecessarily slow down the processing and printing process. Further, as 3D viewers have become more prominent on devices with lower-speed processors, such as tablets, often high resolution models perform poorly on these platforms or, in some cases, don’t load at all. The new 3D Mesh Simplification capability provides a simple slider that allows users to quickly and easily reduce the number of polygons to enable faster processing and ability for others to view their 3D object regardless of device.

 

·      Create and apply 3D Bump Maps from any photograph to add texture to 3D objects

Convert textures from a photograph into a bump map, with flexibility to control desired height and depth of embossment or imprint to create a custom, textured 3D object. 

 

·      Edit colors from 3D scans with Vertex color to texture conversion

While 3D scanning is expected to become increasingly prominent, many 3D scanning solutions capture color data as vertex color, which is not editable within Photoshop. The new Vertex Color to Texture Conversion will interpret and allow users to edit and change colors through creation of a Photoshop Texture.

 

In addition to these feature previews, two artists unveiled new 3D art pieces that take advantage of the advanced 3D and 3D printing capabilities in Photoshop CC.

 

·      James Stewart, a visual effects artist who has worked on movies such as The Chronicles of Narnia and Harry Potter, brings to life an image that captivated him in Brazil through 3D printing:

IMGL4771

You can read more at the video on Adobe Inspire.

·      Francois Veraart, a designer and illustrator with more than 20 years of experience in international advertising, dreams up an “American Football 5.0” player, built by using just the 3D and 3D printing features in Photoshop CC 

FOOTBALL PLAYER FINAL front

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