#CreativeFriday – Sharing an image(s) with Lightroom mobile

I was looking what’s new with Lightroom web today and found a small feature that now allows me to share a single or as many photos as i need, as opposed to a whole collection.

Once in Lightroom web (hyperlink will take you there) and have logged into your Creative Cloud account, then you can select “Photos” to see your images.

Now on the top tool bar, a “select” option (marked in red) is available. This option allows me to select one or multiple images (from either a shared collection or from pictures that have been added from the camera roll on the phone/tablet).

SelectPhotosLRM

Once, select is clicked, the screen turns into a photograph picker

Once selected, clicking the “share” icon, will tell Lightroom mobile to provide a link for your viewers to see your work. You can see in the following screen shot, i’ve even given the link a name.

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Clicking finish will provide a shortened URL for you

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Heading over to another browser (which isn’t logged on) will show what the viewer will see.

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The great thing is that the link is live, so if you add more pictures to it at a later date, your customers/viewers will see the new images.

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The beauty of the Creative Cloud is that these types of updates are added to the product as they are created, for you to enjoy and exploit in your workflow.

 

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#CreativeFriday – Re-size your photographs to a larger size using Lightroom

Have you ever wanted to export your processed images from Lightroom, but at a much larger size than the original size.

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Above is a typical RAW file with some adjustments made within Lightroom. I would like the exported file to be 260cm on the long edge, with a resolution of 250 pixels per inch.

Below you can see the export dialog box (available from the Lightroom Menu / File / Export). You can see that in red, the export file type has been specified to be TIFF/16bit. Under the Image Sizing, the Long edge have been chosen (this can be changed based on your needs of course). Then the new length has been specific as 260.00cm, with a resolution of 100 Pixels per CM.

Screen Shot 2016-05-20 at 21.10.29 copyIf the Pixels per CM is changed to Pixels per Inch, you will see the value in inches (in this case 254 Pixels per Inch).

Screen Shot 2016-05-20 at 21.10.34Then clicking ‘Export’ will create the larger file in the specified location with the Lightroom adjustments applied.

Also, don’t forget, you can also up-sample an image in Photoshop as well. I wrote a blog post on this techinque a while ago when the new “Preserve Details” feature came out in the 2015 release.

 

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#CreativeFriday – Read only Libraires

The Creative Cloud Libraries got a lovely boost this week, by including the option to choose if a library collaborator is able to Read or Change a library that they have been invited to. Libraries are a great way to collaborate on assets that will be used within a document, be it inside Illustrator, Photoshop, Indesign, Premiere Pro or After effects. Libraries,  can be just for one person or a team, or even a whole organisation, it’s a great way to share graphics/fonts/colours/3D objects used by the team or the project.

To access your libraries on the Creative Cloud web site, navigate to creative.adobe.com. To open the Libraries, click on the Libraries link (marked in red below).

Library access

Once libraries are open, you will see something like the following. This screen is showing all the libraries that you own (or collaborating on). You will see that there is an option called ‘Collaborate’ available for each library entity. Collaborate will give you the option to add/remove people to the library.

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The new update, now enables you to invite collaborators, and specify if they are able to read or change items. When inviting collaborators, you now see the option to ‘Edit’ or the option to ‘View’.

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Once invited for edit, the contents of the shared library can be modified. If view is chosen, then they can only use the items and not change anything.

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This is a great leap forward for more controls of your assets, when using Libraries when collaboration.

 

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#CreativeFriday – Searching Adobe Stock and Creative Cloud Libraries

If you are using Creative Cloud Libraries, you are probably wondering how you would have survived without them! If you are not or just getting started, then there are a couple of things to look for, specifically around finding your content, as well as using Adobe Stock.

Here is a screen shot of a typical library in use in Photoshop (but could be any of our desktop applications).

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In total there are over 300 items in this list, which could take a while to find the item you need. Also, you may content in other libraries. To search the library that you are currently in, click on the drop down icon and choose ‘Current Library’. If in the example below, a search term left will be run across all content, within all Libraries.

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You can see below, if the word ‘abstract’ is used as a search term, then only those items that contain the search term in the name are included in the results.

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In this panel, you can also search the Adobe Stock library. This works the same as searching in a Library. Just in this case ‘Adobe Stock’ needs to be selected in the drop down, then the search term is used to find the content across our rich 50million high quality images.

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So you can see, it’s super easy to find existing content which you may have in a private or shared library, but also across Libraries that you are sharing. Then, to add additional content to your composites or designs, Adobe Stock is just a search work away. The Adobe Stock in this way is immensely powerful, unlike traditional Stock libraries where you need to head to a Browser, look, find, download, edit, license and manually replace. Adobe Stock is always there where and when you need it.

Why not get your 10 free images by heading to Stock.adobe.com, and have a go yourself. If you want to use the Stock imagery, then head to my other tutorial, which covers this in much more detail.

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#CreativeFriday – Painting across seams and UV islands on 3D models in Photoshop

A comment appeared on one of my Photoshop 3D Painting YouTube video earlier in the week, so I wanted to address the basic concept this in a post.

When painting 3D models there is always a challenge when the designer/artists reaches the edge of a seam or a UV island and would like the texture to be carried over to the adjoining seam or UV island.

What does this mean. Typically when you view a 3D object on the screen you see the whole object in it’s entirety. Once you start painting things can go a bit wry. For example, paint may end up somewhere else on the model, of even in multiple places at the same time. Or depending on which mode is being used for painting (projection or texture), you may get a warning to suggest that the paint brush has hit a seam. The first example is pretty simple, and can typically happen when a UV island is overlaying another UV island (Remember UV references are just coordinates of a flat 2D reference to the surface of the 3D object. I’ll cover this in a separate post, then we can look at how to correct it).

This post will focus on the tools needed to paint across seams or UV’s islands. I’ll write another post about strategies on how to get continuous texture across a seam soon.

Let us take this example. Here we have a custom built chameleon (by Jon Reilly) and we would like to paint it. Understanding how the UV islands work, can be important for more complex painting and to get full control of the job in hand.

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When the UV texture is opened you will hopefully the black lines. These lines represent the polygons that make up the model, but are laid down flat. To do this, the geometry of the model needs to be unwrapped and laid down flat. Obviously, this requires the polygons to be cut, which creates seams (i.e. take a tin and unwrap it, will at some point need to put the physical object at specific points to do it, this is the same concept). We can see that in this example Jon really knows what he’s doing and has taken lots of case to lay it out in a very logical way. However, as you can see on the diagram, when it’s examined more closely there are well placed seams that enable the textures to support the painting process.The area that we will focus on in this case, is the join between the tail and the body.

On the 3D model it looks like it’s on one piece (i.e a single shell), which it is! And this is great and will talk about it a little later on. When the 2D UV map/texture is opened, it’s clear, and it turns out that there are many individual connected parts. The joint area that we are focusing on, is less logical. In fact there is a connection between all of the UV Islands, just it’s not logical where, unless we understand how the UV map was created. To see how the seams work and put it into practice, select the 3D object window, and make the brush active (using the B key), then select a foreground colour. Within the properties panel of the brush, make sure that Projection mode is selected.

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There are two modes :-

Projection mode

Projection Painting is suitable for painting multiple UV islands and  across seams simultaneously or for painting the seam between two textures. However, in general, it is a lower-performance painting method and may result in cracks when you’re painting complex 3D objects.

Texture mode

Texture painting is targeted to single islands / seams, but will improve the painted texture quality.

Then select the 3D model window and paint directly on the model. You will hopefully see that the paint flows on the model and across the UV islands on the UV mode

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This will demonstrate where the seams connect, and where Photoshop will lay the paint down and make the connection for you. As you know, both sides can be painted on, and the paint will appear automatically on the other view (if for some reason the paint is not updated, Photoshop lost the connection to the other canvas. Best thing to do in this case is close the texture down and re-open it from the model).

You can see that trying to do this direct on the 2D UV map will be challenging, and the UV map is laid down really well.

To put this into context, below is the UV before it was laid out properly in Zbrush. This is typically how UV’s are laid out. Imagine painting on this ! So the lesson is to have good and well laid out UV’s it will help in the painting of a model.

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OK, so why is this important. Well it allows us to paint directly on a model without worrying about seams. And allows a continuous painting experience. This is even more important when working with textures, which I’ll cover this in another blog post very soon.

I hope you enjoyed this and it makes sense for painting on a 3D model with UV’s.

Other links – Photoshop Painting page

Full chameleon painting video

Inspiration for this post

 

 

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#CreativeFriday – Handling RAW and JPG’s in Lightroom

One question that i get asked a lot is, “How does Lightroom separately manage the RAW and JPG files, when the RAW and JPG are recorded for a single picture in the camera”. This scenario happens when the photographer shoots both in the camera (which is usually a setting within the camera’s menu system). Shooting RAW and JPG can be beneficial, the reason that I shoot both, is that I tend to turn on Black and White processing on the preview in the camera, and therefore my JPG will be recorded in Black and White, and I see the black and white version on the back of the camera. This technique can help when correcting/perfecting compositions in the camera (covered in blog post from 2013). This change won’t affect the RAW file (as the RAW file doesn’t record this type of data), but will obviously affect the JPG. Doing this gives me a different way to compose the image in the camera, as well as allowing me to re-create the in camera JPG look once in Lightroom later on.

When both of the files come into Lightroom, we need to know how to manage them, either importing them as a single RAW+JPG file, or as a two single files. Both of these scenarios are managed from the preferences panel within Lightroom (Lightroom preferences can be found in the Lightroom toolbar menu under Lightroom / Preferences (on a Mac), and Lightroom / Edit / Preferences (on Windows)). Within the Import options, there is an option to “Treat JPG files next to raw files as separate photos”.

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When this option is turned off, the RAW and JPG file will be treated as a single file, and merged together. You will see this on the import screen.

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Once imported, there will be a single representation of the image.

The initial preview and image within the Development tab will be settings from from the RAW file plus any changes that may have been previously made (it may have come from another photographer with Lightroom metadata changes, blog post on this here).

If both files are needed as separate RAW and JPG files, then the check box should be turned on (as below)

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This time, when importing, there will be two files in the import dialog, the RAW and the JPG.

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Once imported, there will be two files within Lightroom

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Hopefully this post has de-mistified how to work with both RAW and JPG files within Lightroom and has added a little extra knowledge to your Lightroom workflow.

 

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#CreativeFriday – Google Nik collection now available for free.

This week Google released it’s Nik Collection for free. This is a wonderful move by the software company and will be a fantastic option for all Lightroom and Photoshop users to further enhance their images. Google Nik Collection, is available for download now, from it’s Nik collection site.

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#CreativeFriday – The Photography show Adobe Slate Project winner

Adobe UK attended the 4 day Birmingham Photography show (highlights here). I would like to thank all of our customers that came to the seminar room and that came and spoke to us on the stand. We all had such a wonderful time meeting all of our customers and presenting new technology for Photographers within the Creative Cloud.

Throughout the event Adobe UK held an Adobe Slate competition with a final winner that would receive a 12 month complimentary Creative Cloud Photography plan subscription, as well as a Microsoft Surface 4.

I would like to congratulate Calvin Chinthaka in his submission. We thought the project and idea was a stunning use of Adobe Slate.

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You can see Calvin’s completed Adobe Slate submission here.

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#CreativeFriday – Lightroom Web – Technology Preview – Search

Lightroom web is a great way to see and work with your images when you are near a browser, be it on the phone or on an iPad/tablet device.

Technology previews are now available in Lightroom web, the first one is the natural search. To turn on Technology previews, choose ‘Open Technology Previews’ on the main Lightroom web Welcome screen.

Technology preview can be turned on with the slider, once set, click Apply.

Once Technology preview for search is turned on, you will see a Search bar in your Photos. Your collections will be indexed by the Creative Cloud, once it’s complete, you well see a blue banner under Search bar.

Screen Shot 2016-03-18 at 21.58.14In this early stage of the technology preview, you can search for things like Animals, food, people, bridges, tigers etc. Have a play and see what comes back.

Here are some examples that i found today. We hope you enjoy this Technology Preview in Lightroom web.

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#CreativeFriday – Creating your first Adobe Slate Project

If you are a Photographer, then getting your work out there for everyone to see is probably your highest priority (after taking the pictures in the first place). Adobe Slate is a perfect way to get your work out there, as well as looking amazing and more engaging for your viewers.

This post is tied in with the UK Photography show (March 19 to 22 near Birmingham), where Adobe will be having a seminar room with a free talks, as well as a daily competition to win a 12 month complimentary subscription to the Creative Cloud Photography plan. N.B. Also, Adobe has a discount code for your ticket, just use “ADOTPS16” in the discount code box when purchasing your ticket, and it will take the single ticket price from £13.95 to £10.95.

So how does Adobe Slate it work? To give you an idea, I have created two projects from previous photography trips, that you can view :-

To start, just login with your Creative Cloud Adobe ID. If you don’t already have one, you can get one here, alternatively you can download a trial of Creative Cloud Complete or the Photography plan and give Adobe Slate a go.

Once you have your Adobe ID, just login at slate.adobe.com to get going.

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Once you have logged in, you will see lots of samples, as well as a plus button on the top left of the screen. Clicking on the samples will give you some content ideas.

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This will create you a new project.

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The first thing is to choose a theme, you can do this by clicking on the “Themes” text at the top right hand side. A theme can be changed anytime, even after a project has been published.

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To give impact to your project, you can add a front page or initial image as well as some text. Do this by clicking on the plus in the white circle at the bottom of the page. To add text to the title just type the text where the title/subtitle is located. Once you have done this, then click on the plus in the white circle at the bottom of the page, then you are free to choose where the photos come from.

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I use Lightroom and Lightroom mobile for my source of work and images. You can also choose Dropbox, your local computer or the Creative Cloud, as well as Google Photos. Once you have your source, click it and the contents will be shown.

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To add the image, just click it and it will be added to the page.

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As of version 1.3, Adobe Slate now includes the option to add an embedded video from sources like Adobe Voice, YouTube and Vimeo.

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(Quick tip, just put the URL in and not the full embedded code).

Paging up will take you to the next page, as well as the narrative/story part of the project. For me, the fastest way of doing this is by using a word processor to get the main story written (this will do basic tasks, like spell checking etc). Once this has been done, it can be copied and pasted into the document.

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At each insertion point in the Slate project, the plus button can be pressed, which allow you to add text / photo to tell your story.  If a photo is chosen, the the image panel (same as the above will be shown).

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If text is chosen, the text formatting mode is shown.

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You can also make lovely transitions using Glides with a text insert, as below.

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There are controls for this mode as well, and these can be updated by clicking the picture. Focal point allows you to move the top start position of the picture during the glide.

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At any point you can review your story, by clicking Preview at the top of the screen. This will be how others see your work, once it’s published.

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Once you are ready to publish live, you can click Share at the top of the screen. Then, clicking Publish, will process the request and give you options to share across social networks.

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Here you can copy and paste the short URL, as well as post to other social networks.

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We wish you the best of luck with your project and look forward to seeing your results! Please feel free to see what’s on at the show at the Adobe Seminar room, the schedule of talks can be found here.

 

More about Adobe slate 1.3, is available here.

Introducing Video for Adobe Slate 1.3!

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