- Ink Gamut: Knowing the limitations of printed color
- Soft-Prooﬁng: How to anticipate print appearance before printing
- Print Options: Photoshop workﬂows for inkjet, digital, and offset lithography
- Sharpening: Advanced sharpening techniques for ﬁne printmaking
- Paper Proﬁles: How to make them, where to get them, how to use them
- Color Management: The best color settings for Photoshop
- Color Correction: Solving basic and tricky color problems
- Special Print Problems: A bag of tricks for a world of problems
- CMYK: The other color space
- Paper: Best selection for outstanding prints
- On Press: Effective press checks
Hardware-accelerated selective blurs with direct manipulation? Yes please.
For your convenience I’ve grouped these sneak-peek videos in a single category.
Side note–and I debate whether to mention this: there’s no real need to comment (as someone does on every sneak), “What, that’s all there is…?”–because no, that’s not all there is. A peek is, by definition, “a quick and typically furtive look.” It’s just meant to pique your interest, not to show a whole product release (or even a whole feature).
A few years ago, John Penn was invited to attend the Internet Crimes Against Children Conference and share his knowledge as a Photoshop engineer. The experience changed his life. Now he’s a Senior Solutions Architect helping law enforcement agencies around the world use Photoshop to combat the exploitation of children.
Currently, there are 1,500 iPad, Kindle Fire, Nook, Samsung Galaxy, and other Android tablet publications created with DPS, including 12 out of the 20 top-grossing iPad Newsstand titles.
The first promising stat is that tablet publications keep readers’ attention, with 56 percent of DPS content being read for 25 minutes to 2.5 hours each month. Nine percent of readers spend up to 5 hours a month reading tablet publications.
Check out the team’s press release for more details & customer quotes.
Bandito Brothers used Premiere Pro, After Effects, Illustrator, and more to produce Act of Valor. It’s cool to see the new Warp Stabilizer getting used on the big screen. Check out this 3-minute overview:
[Via Bill Roberts]
This is very cool. Skala Preview says it offers “The fastest way to send pixel perfect, color-perfect design previews from your Mac to your iPhone or iPad.” Here’s the neat bit:
If you’re using Photoshop CS5 12.0.4 or newer, Skala Preview can preview your canvas as you edit. No saving, no keyboard shortcuts, just lossless previews in realtime. It is the absolute fastest way to preview a design mock up on an iOS device.
I’ve just given it a try, and dang if it doesn’t work like a champ. Nice going, guys!
The sort of free-range ideation & expression that Brian describes is just what we had in mind when building PS Touch. I’ve also rounded up Russell Brown’s great videos, which are full of quick, useful tips & techniques.
We honestly can’t wait to hear what you think & to see what you can create. Photoshop Touch is just a v1 app–a first step on what we hope is a long and interesting road–but we think you’ll find it pretty capable. Check out the user forum to let us know your thoughts.
Now, let me anticipate two questions which go hand in hand: Why does the app require an iPad 2, and why is the maximum image size 1600x1600px? The iPad 2 has twice the RAM, twice the processing cores, and ~5x the graphics grunt of the iPad 1. PS Touch brings some seriously powerful algorithms (e.g. Refine Edge) from the desktop to mobile, and we wanted to ensure a good match between hardware & image size. The app is geared more towards remixing photos & sharing them onscreen than towards print work; having said that, note that a 1600×1600 doc could be printed at 10.6×10.6″ at 150dpi.
- I… I really lack words for these. “60 Completely Unusable Stock Photos.” /via Andrew Kavanagh
- The Atlantic features some brilliant photos of the “Tough Guy 2012” competition. (Well, that plus muddy British guys in thongs.)
- Nicolai Howalt captured portraits of fighters before and after boxing matches. (Applies also to PMs after meetings with German dev teams.)
- *Man*, underwater dogs can look ferocious. (Keep your Nirvana babies away).
- Behold, Sumptuous Meatscapes (not the name of a band, as far as I know).
- Stellar times:
From Under Consideration:
Wimpy, a fast food restaurant in South Africa, wanted to let blind people know that they have braille menus, so they prepared hamburgers with buns that had the burger’s description set in braille in sesame seeds.
When’s the last time you saw someone take this much pleasure in a burger?
Join us tomorrow, February 24th, 2011 at 12 p.m. Pacific for Ask a CS Pro, Planning your website with Adobe Muse (code name). Product Manager Dani Beaumont as she shows you how to start planning your website with easy-to-use sitemaps, master pages and a host of flexible tools that allow you to get your site planned out and ready for design.
The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.
“Magic or Local Laplacian Filters?” asks Lightroom PM Tom Hogarty. To which I want to add simply “…ladies.” Tom pulls back the curtains a tad on how Adobe researchers & their colleagues in academia have been able to “recover shadow and highlight detail with a straightforward set of controls, without introducing artifacts or over-the-top, faux-HDR effects.”
[Warning: Probably of zero interest to non-nerd bloggers, and even then…]
I like sharing links quickly via Twitter (and thus Facebook), and later–time permitting–I copy, paste, and sort those links into groups that I can share here. Other times I’ll use Instapaper to capture links that I’m not quite ready to share.
Trouble is, it takes a non-trivial amount of time to scan back through either list, then copy/paste/etc. Thus my sharing of links via the blog has dropped dramatically. (Sorry/you’re welcome, depending.)
Would you by chance know of a way to automate converting tweets and/or Instapaper (or similar) links into blog-ready form, making it easy to sort them into piles? Thanks in advance for any suggestions.
Also, Cmd-J duplicates multiple selected layers & layer groups; woo! (“JDI,” for the uninitiated, stands for “Just Do It.”)
Meet the Photoshop hall-of-famer with his own fan club:
[Via Andrew Kavanagh]
About five years ago we gave Photoshop the ability to stack multiple images together, then eliminate moving or unwanted details. Similar techniques have appeared in other tools, and now it appears you’ll be able to do all the capture & processing with just your phone. Here’s a quick preview:
The Verge has a bit more detail on the user experience. [Via John Dowdell]
My question: if a Wookiee pushes you, do the stars turn into a bunch of lines?
This is one I keep failing to watch, but it sounds extremely useful (as I’m always running short of laptop HD space & am moving to an SSD):
This video (How To: Move & Archive Images and Export A Catalog) shows how to create a folder on an external drive and move your files to that drive from within Lightroom. Note that the first segment answers the question “What are the question marks on my images/folders and how do I relink files?”. If you prefer to skip this section, start the video at 4 minutes 38 seconds.
I know, I know: you need another username/password combo like you need a hole in the head. There are real benefits to having an Adobe ID, though (e.g. keeping track of your serial numbers). Jeff Tranberry quickly lists details. [Via John Dowdell]
The Edge team would like to hear your perspective on the relative importance of supporting older browsers, etc. If the subject is important to you, please fill out this quick survey. Thanks.
“I didn’t expect a road-to-Damascus, life-changing snap,” I told a fellow volunteer on my last morning in the country. “I didn’t expect it–but I guess one can always hope…”
The phrase “cognitive dissonance” keeps coming to mind: How does one work half days in an orphanage full of kids lacking toilet paper & teeth, then cruise off to swim in waterfalls with 18-year-old girls? None of it makes a great deal of sense. Much in our world doesn’t.
What follows is a lumpy mixture of the life-affirming, the very sad, and mostly the totally banal.
MIT Media Lab researchers have created a new imaging system that can acquire visual data at a rate of one trillion frames per second. That’s fast enough to produce a slow-motion video of light traveling through objects.
Learn how to create mobile apps or websites using Adobe Creative Suite 5.5 Web Premium software. Join Evangelist Paul Trani and discover the latest tips and tricks on Adobe Dreamweaver and Adobe Air for going mobile fast. We’ll cover how to customize content for different screens, create galleries, optimize graphics, and more.
Prior to joining Adobe, Paul led a team of interactive designers and developers at Starz Entertainment producing multimillion dollar web and mobile campaigns.
Artificial intelligence: Good.
Your intelligence: Better.
The two together: Best.
To reduce instances of “Content-Aware Fail,” the Photoshop team has been working on ways to let you guide the Content-Aware Fill algorithm. Check out this two-minute preview:
I’ve recently returned from my Guatemala trip, on which I carried a Nikon V1 borrowed from the Photoshop team. If you want a long & crazy-detailed overview, check out Rob Galbraith’s review. What follows is explicitly not that. Rather, it’s off-the-cuff impressions from a guy who normally carries a 5D and who didn’t have the new cam’s manual to consult.
On the whole it’s a camera I quite like. With a few improvements it could be one I love.
Highlights: Quality, silence, size.
- I found image quality to be excellent. (Here’s a totally untouched shot taken from a very bumpy van.) Granted, I was looking at reduced-res images on my iPad (making it harder to judge noise & sharpness), and I was relying on Apple’s built-in raw conversion (making it harder to judge flexibility of dynamic range), but still I was quite pleased. Even photos taken in a dark museums & caves came out well when using Auto ISO (a feature my 5D lacks) and the 10mm f/2.8 lens.
- I loved the cam’s total silence. People couldn’t tell that it was on or firing, making it great for candid shots. At one point a colleague asked me, “Are you actually going to take any photos?,” as she didn’t realize I’d been snapping away.
- The presence of a dedicated video start/stop button alongside the shutter release is a cool idea, making it easy to unambiguously capture video (i.e. no need to check or switch shooting mode first). Overall video quality is great.
Lowlights: Battery, lags.
- I found battery life on the whole to be somewhere between mediocre and awful. Even with the rear display turned off, I’d knock a fully charged battery down to 1 bar in maybe 150 shots. Unlike an SLR, you can’t just leave the cam on & ready to shoot at a moment’s notice. There’s no way to just leave it on (max setting is 10 min), meaning you can’t just raise the cam to your eye & know it’ll be ready to go. Weirdly, I found that when left on, the body grew quite warm to the touch. Even with access to my recharger every night, I stressed about battery life; without it (e.g. if backpacking), I’d have had to carry at least one or two spares.
- When you raise the cam to your eye, there’s a very slight delay before the digital viewfinder comes to life–nothing outrageous, but annoying for street photography. One can hack this by taping over the proximity sensor, but presumably that would just exacerbate the battery life issue.
- As noted in the Galbraith review, the camera insists on briefly showing the last-taken photo in the viewfinder. Again, it’s not horrible, but I often want to keep concentrating on what I’m shooting, not chimp at the shot I just took.
- Minor: I found it a bit too easy to turn the shooting mode wheel by accident. Suddenly I’d find myself in some odd burst mode, having nudged the wheel with my right hand.
For pop-up street photography, I found the Nikon 1 a good camera–just not quite a great one. Cutting out the lags, letting me leave it on, and adding a flip-out screen (so that I could compose & fire from waist height) would make it nearly ideal for the kind of work I was doing. As it was, I learned to work around the camera’s limitations, and I’m very happy with what it let me capture.
A few galleries, in case you’re interested:
- A trip to waterfalls & caves (many taken on the move or in the dark)
- Street life parts one and two
- Cemetery & vultures
Of all these, I think this is my favorite.
I get an absurdly large kick out of this. (Here’s the backstory.) Stick with it til 1:15 or so–if you can.
Join Ted Schilowitz, one of the founders of RED Digital Cinema, and Adobe’s Wes Howell, 10AM PST:
Adobe and RED have collaborated to bring a truly native, color-rich, 4K tapeless workflow to Adobe Premiere Pro CS5.5. Join this webinar to learn how you can enable a robust workflow for editing, grading, and delivering native R3D footage in real time using Premiere Pro.
Now I’m kind of tempted to get a QR code tat that links to “un gato vomitando.”
[Via Bruce Bullis]
Canada’s Bay of Fundy features a high tide that can be 50+ feet higher than low tide. Check out this time lapse:
In an old, obscure corner of my career, I was a Navy Midshipman who spent a month on the USS Zephyr. (Would you have guessed?) I sat on a dock in Alaska, sketching the aft 25mm cannon (below), which I’d just unsuccessfully shot at some seagulls (thankfully I missed). I tend to draw each part methodically, and I kept kicking myself as I failed to get the perspective right among the various pieces. Finally I realized that the tide was lowering the ship so fast that the lines were rapidly changing. Not a great place to draw in pen!
Matt Gemmell shares his tips on creating extremely small PDF graphics using a combo of Photoshop and Panic’s utility ShrinkIt (reducing the size of his test file by 85%).
“Rotting misery pumpkin”? “Catify” command? Where can I get this version?? [Note: Contains a little off-color humor]
Note the presence of controls for “real” stroke & fill (not dependent on the modal layer style dialog) on the options bar.
[Via Rob Cantor]
I mention it A) because I just ordered a new machine*, and B) people seem not to know about this capacity. Adobe’s Jason Levine says the upgrade is fast, easy–and now cheap.
I’ve always been a sucka for tons of memory, having jammed an eye-popping 512MB into my first PowerBook at Adobe (2000!). When I priced an 8GB upgrade on Apple.com 3 years ago, it cost $1200–as much as a MacBook + Apple TV. Now Apple will let you go from 4 to 8GB for $200. Strangely, though, they don’t list a 16GB option–which OWC offers for $249.
*This is part of my perverse effort to bring you high-DPI laptops: by ordering a current machine now, I ensure the arrival of a better option moments later. (See also my sales of ADBE and pretty much any other stock or commodity, ever.) I am, if nothing else, a man who *gives*.
Export to PNG and PSD functionality
When choosing Save to Camera Roll or Share by E-mail or on uploading to Creative Cloud, you can now save to either JPEG, PSD, or PNG.
Improved image quality of images saved to the local Camera Roll/Gallery
Save to Camera Roll saves out JPEGs which are compressed with max quality now instead of medium quality.
Improved compatibility with Android 4.0
This update addresses some issues related to Android 4.0 (Ice Cream Sandwich) compatibility; including resolving the in-app log-in issues with the Adobe Creative Cloud website.
General bug fixes and performance enhancements
Several performance and memory handling improvements (including Pinch & Zoom and Refine Edge).
Back button improvements
Standard Android Back button is accessible when it wasn’t previously. This button supports returning prior to screens and can be used for easier folder navigation.
As for the iOS release, I still can’t provide a specific release date, but rest assured folks are working hard to get it out ASAP.
From PM Sumner Paine:
Calling all active and enthusiastic Revel users!
The team at Adobe is looking for people to join our prerelease program. We’re working on new features and we need your feedback and help with testing.
If you are a Revel subscriber and you have it on all three device types (iPad, iPhone, Mac) just send an email to firstname.lastname@example.org with a brief explanation covering 4 things:
- Your favorite thing about Revel
- The most important thing that’s missing from Revel today
- List of devices where you have Revel installed (e.g., MacBook Air, iPhone 4, etc.)
- Names of other photo apps you use on your desktop computer, if any
There’s limited space in the prerelease program so we can’t accept everyone who applies, but we look forward to your submissions.
Sumner Paine, product manager
- Thursday, February 9 Event Meetup: Hosted at the School of Visual Arts with special guest SVA alum and pro photographer Sarah Silver. Bryan O’Neil Hughes, Photoshop Sr. Product Manager, will demo.
- Saturday, February 11 Event Meetup: Hosted at pro photographer Sarah Silver’s NYC studio. Bryan will demo.
Mike McHugh wireframes a mobile site using Adobe Proto & opens the HTML output in Adobe Edge to add animation. He then creates some SVG graphics in Illustrator, applies animations, and roundtrips the graphics back to Illustrator. (Skip past the first minute.)
I’ve gotta try something like this with our little dudes.
“A tip of the hat to America’s hat.” 🙂
Background save, anyone? How about massively faster Liquify?
Both of these features have been in the team’s sights for a long time, but they kept getting derailed by things like the Carbon-to-Cocoa conversion effort. Nice to have that behind us.
“Your photos look better processed in Lightroom 4. Period… The improvements in Lightroom’s Development module are so significant, and so much better than what we’ve ever had before, that I think you’ll be hard-pressed to find most anyone still using Lightroom 3 in just a few months from now.”
As Bryan demos & notes in the Photoshop sneak below, the same engine is coming to PS, and you can try it out in LR4 right now.
See anything you like?