A free new Photoshop plugin from Infinite Tools adds an endless stream of jokes and puns to your workflow. Called ‘Infinite Jokes,’ the plugin was inspired by a recent request for jokes from viewers made by image retoucher Pratik Naik of Infinite Tools, he explained in his unveiling of the new plugin. The tool is a bit more sophisticated than merely showing jokes; it also enables users to rate the quality of the puns and to submit their own.
Infinite Jokes is, according to Infinite Tools, ‘A sassy panel that tells you the best PS jokes and openly judges you as you work!’ One example of a joke presented by the panel is:
Plastic surgery is like retouching. When it’s bad, it’s really bad. When it’s good, you won’t even know.
The jokes were submitted by the photo-editing community, which can continue to contribute jokes for inclusion in the plugin. Infinite Tools says users are able to choose whether the jokes are presented in the voice of a man or woman, as well as the accent used.
Every joke is presented alongside credit to the person who submitted it. In addition to rating the joke, users are also able to view the top jokes rated by users from around the world via the Infinite Tools website.
Because everyone has their own limitations and sensibilities, the company has also enabled plugin users to decide what type of jokes they want to hear — whether they want the jokes to be restricted only to ones that are funny, or to skew more toward the ‘mean’ end of the mood spectrum.
Users can also choose how often new jokes are spoken by the Infinite Jokes panel, with options ranging from every 15 seconds to twice an hour.
The plugin only works in Photoshop CC 2019 or newer and it requires an online connection to work. The Infinite Jokes plugin is free to download from the Infinite Tools website here.
The post Tips for Managing Digital Noise in Lightroom and Photoshop appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
If you’ve ever set your ISO toward the higher end of your camera’s range, you will find that your photos don’t always turn out so great. Digital noise is generally noticeable in photos that have been taken with a high ISO setting. Managing digital noise is important when you move toward the limits of your camera’s ISO range.
In this article, we’ll take a look at various techniques, both in-camera and during post-processing, for managing digital noise.
Digital noise appears like colored sand scattered through your photos. It’s particularly noticeable in darker and lighter areas of your compositions when you’ve used a high ISO setting.
Noise varies from camera to camera depending on the quality of the sensor. You’ll have noticed it in photos made with your smartphone at night. When the light is low and the ISO is high, a phone or camera with a very small sensor is prone to producing a lot of digital noise. On higher-end full-frame cameras there’s not so much of an issue with digital noise until your ISO reaches the highest settings it’s capable of.
At first glance, digital noise may not be so noticeable. But when you enlarge an image made using a high ISO, it is easy to see noise speckles. These speckles are discolored pixels and pixels with an incorrect luminance value. They contrast with the surroundings in an unnatural way.
Digital noise in photos is not the same as grain. Grain is associated with film and has a different appearance than digital noise. Different types of film have different grain structures. Grain can be used to creatively enhance photos, whereas digital noise degrades an image.
Detail showing digital noise. Nikon D700 | 70mm | 1/100 sec | f/2.8 | ISO 6400.
Two types of digital noise
There are two types of digital noise that affect your photos when you use a high ISO setting. These are color noise and luminance noise.
Color noise, or chromatic noise, appears as discolored pixels that contrast with how the colors in a photo should look. It’s most apparent in the very light or very dark areas of photos taken at high ISO settings. Sometimes this type of noise is difficult to eradicate. The best approach can be to simply convert your photo to black and white.
Luminance noise shows up as pixels that are brighter than they should be. When you raise the ISO setting on your camera, the pixels on the sensor become amplified and distort. Think of it as like turning the volume on your stereo up too high to the point that the sound distorts.
How can you avoid digital noise in photos?
The most surefire way to avoid digital noise is to keep your ISO setting low. This is not always possible, especially when photographing in low light conditions.
Raising your ISO increases the risk of adding unsightly noise, but it also allows you to choose a narrower aperture and faster shutter speed.
Getting sharp photos of action at night requires a fast shutter speed. And an easy way to achieve this is by raising your ISO setting. So it’s not always possible to avoid noise. Managing digital noise when you post-process your photos then becomes necessary. There are various tricks and tools you can use to do this.
Try this exercise to discover the highest ISO setting you are comfortable using on your camera:
Find a reasonably dark place to take photos of a static subject, such as a room with the drapes drawn or outside at night. Set your camera on a tripod, or on a firm surface where it won’t move.
You can set your camera to any exposure mode you’re comfortable with, but you must set your ISO to manual. And if you use your camera’s manual exposure setting, balance your aperture or shutter speed before each shot (so your meter is always reading zero).
Start with the lowest ISO setting. This is usually ISO 100. Take a photo of your subject. Then change your ISO setting to 200. Take another photo.
Repeat this process, doubling the ISO, until you have taken a series of images throughout the ISO range.
Study the photos on your computer. Zoom in to 100% and look at the digital noise. At what ISO setting does the digital noise appear to degrade image quality? The ISO setting below that point should be the maximum you use.
Post-processing programs and apps have functions that can reduce digital noise in photos.
The less noise apparent in a photo, the more successfully you can remove it. If you’re too aggressive with managing digital noise, your photos will appear soft and blurry.
Detail showing digital noise.
Reducing digital noise using Lightroom
In the Develop module in Lightroom, click on the Details Panel on the right side of the screen. Here you’ll see a number of sliders. The ones you want to use are the Luminance and Color sliders.
Start with Luminance slider and drag it to the right. Then slide the Color slider if you still see some noise. Watch what’s happening to your image as you do this. You don’t want to slide it further than you need to. The further to the right you move these controls, the softer your image becomes.
The amount you need to adjust the sliders will vary from image to image.
Detail with noise reduced. Note the position of the Color and Luminance sliders.
Reducing digital noise using Photoshop
If you prefer using Photoshop, you’ll still find good controls for managing digital noise.
In the top menu select Filter>Camera Raw Filter. In the new window that opens, select the Details icon (it’s the two triangles). Here you have the same two sliders as in Lightroom: Luminance and Color. Slide them to the right only enough to get a satisfactory result.
Detail of unprocessed image showing noise reduction tools in Photoshop.
You can further reduce noise by selecting Filter>Noise>Reduce Noise from the top menu.
Applying the noise reduction filter in Photoshop.
Photoshop allows you more flexibility in reducing noise. You can isolate the problem areas with masks or multiple layers. This can help retain detail in important areas of your compositions.
Try this noise reduction technique
When you are photographing a static subject and have your camera on a tripod, take two or more photos.
Open two of the photos in separate layers of the same file in Photoshop. Once you’ve done this, the easiest way to reduce the noise and retain clarity is by changing the blend mode of the top layer. The Multiply blend mode usually works well. You can also experiment with Overlay and Soft Light blend modes.
Conclusion
Whenever I’m taking photos, I try to maintain the lowest ISO setting possible to avoid digital noise. In many low light situations, using a higher ISO setting is necessary to take photos without extra lights.
Each camera model manages digital noise differently. Use the experiment I outlined in this article to ascertain the highest ISO setting at which you are comfortable shooting.
Managing digital noise is now easier than ever. Cameras have more advanced sensors than early digital cameras had. And imaging software has also evolved to be better at managing digital noise.
The post Tips for Managing Digital Noise in Lightroom and Photoshop appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Adobe has announced an update to Photoshop for iPad that adds the popular Refine Edge Brush and Rotate Canvas feature.
The new Refine Edge Brush in Photoshop for iPad makes it easier to precisely select parts of an image, particularly those involving fine fabrics, hair or fur. Underneath, the technology is the same as used in its Desktop feature, but Adobe tweaked the interface a bit to make it more intuitive for the iPad’s touch-first design.
Below are a few of the examples Adobe has shared in its announcement blog post. Keep in mind these are specifically-chosen images, so your results may vary.
Adobe has an entire user guide on how to use the new Refine Edge Brush in Photoshop for iPad to help get you up and running if you aren’t familiar with the feature.
Another much-requested feature Adobe has added is the Rotate Canvas tool. Now, using a two-finger gesture, you can rotate the canvas you’re working on, making it easier to precisely edit and make changes to your work.
The feature works in conjunction with the zoom gesture, so you can quickly pinch in and out while also rotating the canvas. Rotation can snap at 0, 90, 180 and 270 degrees, and resetting the rotation and zoom is as simple as quickly pinching out on the canvas.
Adobe has created a user guide for the Rotate Canvas function as well.
The update should be live in the App Store to download today. If it isn’t, turn off and turn on your iPad before revisiting the App Store.
Adobe has pushed live security updates for its Bridge, Photoshop and Prelude applications that patch a number of critical vulnerabilities, including a few that could enable threats to execute code on Windows computers.
While Adobe’s vague ‘Security Updates’ changelog brushes on the patches, security site ThreatPost offers a more detailed look at what Adobe has done to address 12 common vulnerabilities and exposures (CVEs) in Adobe Bridge, Adobe Photoshop and Adobe Prelude, which were first discovered by Mat Powell of Trend Micro’s Zero Day Initiative.
ThreatPost says each of the 12 ‘critical flaws stem from out-of-bounds read and write vulnerabilities, which occur when the software reads data past the end of — or before the beginning of — the intended buffer, potentially resulting in corruption of sensitive information, a crash, or code execution among other things.’ Specifically, five flaws were addressed in Adobe Photoshop, three in Adobe Bridge and four in Adobe Prelude.
According to Adobe, no known uses of these critical bugs have been reported in the wild, but you’re going to want to make sure all of your programs are up to date if you don’t have automatic updates installed. You’ll want to make sure you’re running versions 20.0.10 and 21.2.1 for Photoshop CC 2019 and Photoshop 2020, respectively. Adobe Bridge and Adobe Prelude should be running versions 10.1.1 and 9.0.1, respectively.
All updates can be downloaded via the Creative Cloud desktop app for macOS and Windows computers.
The post Tips and Tricks to Achieve a Graffiti Effect in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.
Are you a fan of street art? Creating a graffiti effect is a great way to give an urban look to your designs or photos. In this article, I’ll show you some tips and tricks to get more realistic results using Photoshop.
Prep Work
You’ll need to do a little prep work to get you started on your way to making a realistic graffiti effect in your images.
Reference images
Whenever you’re recreating something that’s based on real-life, it is good practice to have a reference. Create a library from your own photographs or use online resources like Pinterest. That way, you have a visual guide to make your graffiti effect as realistic as possible.
Resources like Pinterest are great for finding graffiti resource images.
Get a photo of a wall
First, photograph the wall you want to use for your graffiti effect. (If you can’t photograph one yourself, look to stock libraries or free-use images online.) There are no specific rules to follow, but the more texture it has, the better the effect will look. For example, you can use a brick wall, a rough concrete wall, a corrugated iron fence etc.
Then you need to create a black and white version of your image that is highly contrasted. This will serve as your displacement map.
There are many ways to do this, so feel free to use your own technique. I like to add adjustment layers. Use the Hue/Saturation to make it greyscale by moving the saturation slider all the way to the left. Then add a Brightness/Contrast one to increase the contrast.
Once you’re done, save it as a PSD format for later use.
Create your graffiti
There are many types and styles of graffiti: Blockbuster, Throw up, Tag, Stencil, Piece, etc. If you want to achieve a good graffiti effect, you should pick one of them for your work. I don’t intend for you to be a street art expert, nor do I pretend to be one, that’s why you can use the reference pictures. That way, the effect will be more realistic.
1. Blockbuster
This is one of the most common text-based graffiti. In simple words, it’s the one that has colorful chunky letters with thick borders.
If you want to buy or download a specifically designed graffiti font, you’re welcome to do it. If you want to make it more unique, you can also use a default font and modify it.
Using the Text tool, you can choose your font in the Options bar. Type your text, and it will be created in a separate text layer. If you right-click on that layer, choose “Convert to Shape.”
Once it’s a shape, you can modify it using the pen tool.
In the toolbar, under the Pen tool, you’ll find the Convert Point tool. With it, you can drag any of the anchor points to modify the shape.
Select and drag any of the anchor points to change the shape of the letters to what you want.
Note: Using the pen tool, you could create the letters from scratch too, but unless you’re a painter or a graphic designer, it’s easier to have something to get you started.
Now, using Layer styles, add the colors, edges, and shadows to mimic the effect from the graffiti you chose.
2. Stencil
Another style of graffiti is Stencil. This can be as easy or complex as you want it to be. It’s often one color (but can be more) and without internal details or depth. So, a basic way to do them is by using the Shape tool. You can use predetermined shapes or create your own with the Pen tool.
Just like you did for the text, use the Convert Point tool to modify your shapes at any time.
3. Piece
The third choice you have is to use a photograph in order to create a Piece (as in masterpiece). For this, you just go to File->Place and select the image of your choice. This will open it as a Smart Object.
A graffiti piece is more of a drawing, so it will be less detailed than a photograph. To get a better result, you can turn it into a painting or a cartoon before you apply the graffiti effect.
Try using the filter’s gallery to simplify your work. Go to Filter > Filter Gallery and apply different styles until you find the one you like. Notice that you can build up many of them if you feel like experimenting.
Finishing Touches
Once you have chosen the type of graffiti effect you would like to use, there are a few more steps to make it realistic.
1. Displacement Filter
It doesn’t matter if you did a Blockbuster, a Stencil, or a Piece, you need to integrate it into the wall in order to make a graffiti out of it. This is where the displacement map you created in the prep work comes into play.
Just go to Menu->Filters->Distort->Displacement. In the pop-up window, select the values you want. I’ll use a value of “10” in both. Click “OK” and it will open a window for you to browse your files.
Choose the grayscale image of the wall you did in the prep work and apply it.
To fully incorporate this ‘distorted’ image into the wall, right-click on the empty part of the layer and choose Blending Options from the menu. Then use the “Blend If” sliders until you’re happy with the results.
2. Adding perspective
This step is completely optional, but if you want to give more depth, you need to add a vanishing point. For this, make a new layer that merges all of the other by pressing Shift+Ctrl+Alt+E for PC or Shift+Command+Option+E for Mac.
Now select it and go to Edit->Transform->Perspective. Pull one of the corners up and stop when you’re happy with the result. Apply the transformation and your Graffiti effect is ready.
The finished artwork uses Blockbuster, Stencil and Piece graffiti effects.
Conclusion
Graffiti is a very rich and complex art form that is very difficult to sum-up in just one article. However, I hope these tips and tricks will help you achieve a real graffiti effect.
There really is a lot of material to get creative in this area, so try it out, and have fun. Share your results and tips in the comments section.
The post Tips and Tricks to Achieve a Graffiti Effect in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.
One of the most frustrating things that can happen while editing photos is lag. Especially photoshop brush lag. Imagine, you’re right in the middle of doing some intricate touch-up edits to finalise an amazing photo for your portfolio or for a client and you cannot get the photoshop brush to do the edits in the exact place that you want Continue Reading
The post How to Fix Photoshop Brush Lag: 5 Steps appeared first on Photodoto.
Last week, Adobe released its latest updates for Lightroom, Photoshop and Camera Raw, bringing new and improved features to each of its photo-centric apps. While the list of updated features is exhaustive, Colin Smith from YouTube Channel Photoshop CAFE has broken down every new feature so you don’t have to.
Smith’s feature overview is split between two videos: one that focuses on Photoshop and Camera Raw, and one that focuses on Lightroom Classic.
For the 12-minute Photoshop video, Smith covers the improved AI-powered Select Subject tool in Photoshop as well as the updated Lightroom-inspired interface for Adobe Camera Raw.
The Lightroom video comes in at 11 minutes and addresses the new Local Hue tool, the updated Tone Curve interface, ISO Adaptive Presets and the new performance improvements Adobe has made throughout the app.
You can keep up to date with Smith’s Photoshop and Lightroom tips and tutorials over on the PhotoshopCAFE Youtube Channel.
The post Great Photoshop Tools to Edit Backgrounds in Images for Online Use appeared first on Digital Photography School. It was authored by Ana Mireles.
Are you moving your business online? You’re probably noticing the huge amount of possibilities? From blogs to Instagram; from banners to thumbnails – you need to keep editing your images to fit your every need. Fortunately, there are some Photoshop tools to edit backgrounds that come to the rescue. Keep reading to learn how to solve some of the most common issues about backgrounds.
Are your white backgrounds really white?
Photoshop tools to edit white backgrounds
There are a number of Photoshop tools to edit white backgrounds, so let’s break them down.
Curves
A white background shot seems simple, but it ‘s not so easy to achieve. You can always cut out the subject and replace the backdrop, but this can be very time-consuming even if you did it right in the photo-shoot. You still need to do some editing, and one of the best Photoshop tools to edit a backgrounds’ brightness is Curves.
When a white background image is placed on top of a digital background you can see if it was really white.
Often, despite your best efforts, your seemingly white background is not 100% white. Look at the example above. On the left, you can see the result of the photo-shoot, which appears to be okay. But, if I add a white background layer, you can see it’s not. Notice how you can see the difference in the corners. To easily fix this, you have to add a Curves Adjustment Layer.
To add a Curves adjustment, click on the Adjustments icon at the bottom of the Layer palette, denoted by a circle with black and white halves.
Then, lighten your image by dragging the top part of the curve. Keep going until the transition between your photo and the digital background is not visible. Don’t worry if your subject is getting too light, you’ll fix that in the next step.
Now, grab the Brush tool, and with a soft brush at 10 or 15% flow, start painting black over your subject. This will mask out the adjustments from the curve to keep the original exposure on the subject, including its shadows.
Photoshop tools to extend backgrounds
There will be times when you also need to extend your image backgrounds. Here are some tools to help you do that.
Clone Stamp
The Clone Stamp is one of the most useful Photoshop tools to edit backgrounds. Being able to clone one part of the image to another, helps you to retouch almost anything.
You can correct any specks, dust, or scratches in your image.
I want to show you another situation where it can come in handy too. Imagine you need to extend your background to gain some negative space. You can clone your background to cover a bigger area. First, enlarge your document by going to Menu->Image->Canvas Size and set up the new size.
For this example, I was turning a thumbnail into a header.
Grab the Clone Stamp and take a sample from the background to start cloning. If you are working on a separate layer, make sure to set Current and Below in the options bar. If you’re working on the same layer, use “Current Layer.”
Keep going by sampling from different areas each time, that way, it’s less noticeable, and you’ll get a better result. If the area is too big for this, then the Pattern Stamp tool will be more efficient.
Pattern Stamp
First, use the Rectangular Marquee tool to select a sample of the background. Then go to Menu->Edit->Define Pattern. This will open a pop-up window where you can name and save this background as a pattern.
Pick the Pattern Stamp tool that you’ll find under the Clone Stamp. On the options bar, you can open the pattern menu and choose the one you just created.
Now you just have to paint all the space you want to fill. You can adjust the size of the brush, the hardness, and flow for better results.
If the separation between stamps is noticeable, then go back to the clone stamp tool and smooth out the junctions.
Photoshop healing tools for backgrounds
Similar to the Clone Stamp is the Healing Brush, which has two variations. Unlike the clone, both of them will blend the new pixels with the existing ones. As a result, the correction is much smoother. Let’s see the difference between them.
Spot Healing Brush
The Spot Healing Brush will automatically sample the pixels it thinks are best to use as a source. It will take the texture and reproduce it while blending the color and luminosity with the pixels in the new spot.
This is really useful when you’re working on large empty areas, like textures. In most cases, I find it’s very unpredictable, and it includes pieces that don’t belong, so I don’t use it often. However, it’s a matter of finding what works best in each situation.
I wanted to extend the background. Notice how it included the texture from the subject.
If you cancel the action by going back on your history or using the command Ctrl+Z and try again, it will give you a different result. It works better when you use a small brush and tackle small areas at a time.
If you want to cover a big space, you’ll be better off using the Healing Brush Tool.
Healing Brush
This tool is a mix between the Spot Healing Brush and the Clone Stamp. You can manually choose where to sample by clicking on the spot while holding the Alt key. Then click on the area you want to ‘heal’ and it will blend the source pixels with the current ones. This way the result will be much more uniform. Make sure that “Sampled” is marked as the Source in the Options bar.
You can use this tool to extend your background or to retouch any details on it. It’s very versatile, so try it out.
Conclusion
Your background can complement, enhance, or distract from the subject, so it’s just as important and you want to give it enough attention. Whether it’s a blemish or an extension, these Photoshop tools to edit backgrounds can help you out for most of your online needs.
What is your favorite tool? Share it in the comments section!
The post Great Photoshop Tools to Edit Backgrounds in Images for Online Use appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Adobe’s Exciting New Updates to Lightroom, Photoshop, and ACR appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Adobe has released several impressive updates to its Creative Cloud programs, including Lightroom, Photoshop, and Adobe Camera Raw.
The changes give Adobe users a number of features to be excited about, including:
Enhanced subject selection in Photoshop
Easy movement from Lightroom to Photoshop on iPad
An interface makeover for Adobe Camera Raw
The addition of local hue adjustments in Lightroom
While you can read about the many new and improved features on Adobe’s blog, I’ll run through the most important new upgrades for photographers, starting with:
Photoshop offers updated Select Subject tool
Photoshop’s Select Subject tool has been steadily improving since the feature was first released.
But with these new updates comes a huge advance in terms of Select Subject’s capacity to identify complex edges.
As explained by Adobe, Select Subject has advanced in two key ways:
First: “Select subject is now content aware, and applies new custom algorithms if it detects a person is in the scene.”
And second: “Hair and treatment around hair has been vastly improved.”
When it comes to subject selection, any improvements are welcome; for most folks, better selection tools means less time spent in Photoshop and more time out shooting photos.
Hair has traditionally been the most difficult aspect of selecting, even with Adobe’s most powerful tools in hand. But with these improvements, subject selection should become at least slightly easier.
Lightroom on iPad offers easy Edit in Photoshop button
If you frequently edit images in Lightroom on your iPad, you’re in luck:
Adobe has now added an easy method for moving your photos from Lightroom to Photoshop:
The Edit in Photoshop button, which you can access from the export menu in Lightroom and use to quickly open an image in Photoshop.
Adobe explains that, after editing an image to Photoshop, “you can either send it right back to Lightroom, or keep it as a new cloud document.”
This should be a massive improvement for folks frustrated by the lack of integration between Lightroom and Photoshop on iPad.
(According to Adobe, this was among the “top requests” of iPad users.)
Adobe Camera Raw starts to look sleek
The new ACR layout looks far more stylish!
It’s finally happened:
Adobe Camera Raw has shed its aging skin and turned into something better; it’s still not exactly modern, but it’s certainly much sleeker.
Take a look at ACR, and you’ll now see a new interface, one that’s designed to “feel familiar to any Lightroom user.”
The layout has changed, the sliders have changed, and you even have some tool enhancements (for instance, the Curves tool is much easier to work with).
You also get a brand new tool, which comes to both Adobe Camera RAW and Lightroom in the form of local hue adjustment:
Lightroom and ACR gain local hue adjustment feature
Lightroom (and ACR) has long offered global hue adjustment capabilities in its HSL panel:
You select the original color, then you shift it along the color spectrum via a slider.
Up until now, this has remained a global editing tool. Lightroom included no option to selectively adjust hue via the adjustment brush, radial filter, or graduated filter, which meant that selective color editing was a feature largely confined to Photoshop.
But all that has changed, because you’ll now see a new slider when using local adjustment tools, one that allows you to select an area and shift its colors via a handy hue slider.
With this new local editing option, you can selectively adjust skin tones, clothing color, sunset color, and much more.
So here’s my recommendation:
Head over to your Lightroom, Photoshop, and Adobe Camera Raw applications right now.
And try out these new options!
Now I’d like to ask you:
Which of these new updates are you most excited to try? And were there any changes that you’d still like to see from Adobe? Share your thoughts in the comments!
The post Adobe’s Exciting New Updates to Lightroom, Photoshop, and ACR appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Adobe has released its June Creative Cloud updates, bringing with it a number of new features for its cloud-based product suite, including Photoshop, Lightroom and Adobe Camera Raw.
Adobe Photoshop
First on the agenda is Photoshop for desktop. Adobe has updated its Select Subject tool with new algorithms to help it better recognize what’s being selected and alter its selection accordingly. Specifically, Adobe has worked on portrait selection, which will recognize when a person is being selected and more accurately select the subject’s hair and other details using its Sensei AI machine learning technology.
Adobe has also added rotatable patterns, Adobe Fonts auto-activation (no more messages about missing fonts) and an updated Match Font feature that can detect fonts in an image and suggest similar-looking fonts within your library to use in the image.
You can find a detailed post explaining all of the new Photoshop features in depth on Adobe’s announcement blog post.
Adobe Lightroom
Moving on to Lightroom, Adobe has added a new Local Hue adjustment (ACR, Lightroom Classic, Lightroom CC macOS/Windows, iOS and Android), Versions (Lightroom CC macOS/Windows, iOS and Android), Raw defaults (Lightroom CC macOS/Windows, iOS and Android) and ISO Adaptive Presets (ACR and Lightroom Classic).
The new Centered Crop Overlay makes it easier to center a subject in an image.
The Local Hue adjustment makes it possible to edit the color in select areas of an image, the new Versions feature makes it possible to create and edit multiple versions of the same image without needing to duplicate it, Raw defaults makes it so you can apply specific default settings to Raw photographs to make the images reflect the internal picture profile you’ve set in-camera and the ISO Adaptive Presets makes it possible to change how a specific preset looks based on what ISO the image was captured at.
One of the new features in Lightroom CC for macOS, Windows, iOS and Android is ‘Versions,’ which lets you make multiple edits of the same image without having to duplicate the file.
Other new features include Centered Crop Overlay, Watermarks and Lightroom for iPad finally has an Edit in Photoshop’ option for immediately editing the image in Photoshop for iPad (with a reverse option to ‘Send to Lightroom’ when you’re done with your edits).
The ability to export an image from Lightroom for iPad to Photoshop for iPad and back is a very welcomed addition that’s been requested by users for quite some time now.
Lightroom Classic has also received performance improvements. GPU acceleration for image editing came about last year, but these new improvements focus on a smoother experience while scrolling through your library, searching and filtering collections and scrubbing sliders in the Develop module. Adobe says ‘you’ll experience faster scrolling and less stuttering especially while navigating up and down larger catalogs and sifting through longer lists of collections.’
You can see a detailed breakdown of each of the new features and updates in Lightroom on Adobe’s announcement blog post.
Adobe Camera Raw
The new ACR interface more closely resembles that of Adobe’s more recent Lightroom and Photoshop updates.
Adobe Camera Raw (ACR) has also received an update that brings its interface and feature set more in line with Lightroom. In addition to the Local Hue adjustment, ISO Adaptive Presets and center crop overlay, ACR has also moved many of its local tools to the right-hand side of the interface and put its various adjustment in stackable panels, similar to what’s found in Lightroom’s Develop module. You can also choose whether the Filmstrip (image thumbnails) appears on the left-hand side of the interface or on the bottom, underneath the images.
You can find a rundown of all of the new features on Adobe’s ‘What’s new in ACR’ announcement post.
One of the new features in Lightroom CC for macOS, Windows, iOS and Android is ‘Versions,’ which lets you make multiple edits of the same image without having to duplicate the file.
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