happy birthday photoshop ideas


Photoshop has been a part of every web designer’s life since they picked up their first mouse.
On February 10th, 2010, Photoshop turns twenty. To mark this anniversary, we’ve come up with an article that takes you through the evolution of Photoshop from its modest beginnings as a bundled program sold with scanners to its current version.
For each version and major feature listed, we couldn’t help but think “did Photoshop ever exist without that feature?”.
Some of the minor details are fun too, such as the one-liner Easter Eggs that Photoshop developers hid in some versions and the fact that the most current versions of Adobe Photoshop CS are equipped with anti-counterfeiting measures for multiple world currencies.
Please join us in thanking the Knolls and Adobe for making all of our lives more awesome, every day.

Photoshop: Origins

One of the most impressive things about the company is the fact that one gifted family, consisting of an engineering prof, a PHD engineering student, and a talented special effects whiz working at Industrial Light and Magic came up with the core idea of Photoshop.
Thomas Knoll, the PHD student, is still heavily involved with Photoshop years later.
Glen Knoll was a college professor with two sons and two hobbies; computers and photography.
He had a darkroom in his basement, and an Apple II Plus that he was allowed to bring home from work.
Thomas Knoll adopted his father’s photography habit throughout high school, while his brother, John Knoll, purchased one of the first Macs available to the public.
Fast forward to 1987: Thomas Knoll was a PHD student studying Engineering at the University of Michigan. His brother was working at Industrial Light and Magic.
Thomas Knoll wrote a subroutine for a program to translate monochrome images on his monitor to grayscale.
The successful subroutine led Knoll to create more and very soon he had a number of processes for achieving photographic effects on digital images.
After his brother John saw what Thomas was doing, he recommended that Thomas turn what he was doing into a full-featured image editor.
The combination of Thomas’ programming abilities with John’s pragmatic design background led to a collaboration between the two brothers to develop more processes and improve on the initial application.
Even though the process led to interruption in Thomas’ thesis work, the brothers released “Image Pro” in 1988.
John suggested that they begin to sell Image Pro as an application.

Within six months, the brothers had a partnership with a company that manufactured scanners, Barneyscan.
They purchased 200 copies of the program to ship with their scanners.
They called on Supermac and Aldus, but were turned away at both, a move that Aldus would come to seriously regret.
Shortly after, the Knoll brothers struck gold when they won over Adobe management with their product, and formed a licensing partnership with Adobe that was to launch their software and Adobe into the stratosphere.
In February of 1990, Adobe 1.0 was released.
This video, shot in January of 2010, is a great interview with John Knoll about the early days of Photoshop:

Photoshop Through the Years; Version Changes

We’ve included major changes within each version and some minor ones. This is meant to be a fun stroll down memory lane rather than a complete version catalogue.
If you have a particular version change that got your hackles up or a feature that you’d to mention, feel free to add it to the comments section.



Adobe Photoshop, my favorite utility for manipulating existing images and passing them off as original work, just turned 20 years old.  It’s a rare distinction when a product or company name is so ubiquitous that it becomes a verb.  Google, Photoshop, and Netflix are the three that come to mind.  I can’t think of others off the top of my head, so comment if I’m missing any.Contraband Eightees Night
I started learning Photoshop in high school, although my computer back then was so slow that just applying a filter meant it was time for a soda break.  I got more heavily into it in college when I started working with video and designing flyers for bands.  Fark.com’s Photoshop contestswere a fun place to practice and see what other people could do.  If you haven’t seen these before, Fark.com periodically offers up an image and lets readers hack away at it and post their “improved” versions.  As the contest threads grow in length, readers tend to build on ideas, and you’ll often see multiple variations on the same joke.  The quality of editing varies wildly, so Fark enables voting for reader favorites.  This was the starting image for one recent contest (full thread of submissions here):
Wire Wrangler
Learning Photoshop is like picking up a musical instrument in that it takes minutes to understand the basics, but years of practice to master.  When someone says, “I know how to use Photoshop,” it’s as vague a statement as “I know how to play guitar.”  Most people who know the basic chords on a guitar can’t improvise a jazz solo over a 5/4 time signature.  This is why I know better than to call myself an expert Photoshopper.  After 10+ years of casual editing, I’m proficient, but the more I work with it, the more I realize I have to learn.  For me, Photoshop has always been a supplemental tool for other creative pursuits.  

photoshop advanced composition

photoshop advanced composition
Whoa 45 mins… I know I know its a bit on the lengthy side but its jam packed full of photoshop goodness. And if you consider you can be rocking like the pro’s and design this yourself in under an hour it’s time well spent. This tutorial will run through isolating images using masks, brushes, blend modes and plenty more in between. Sorry in advance for the mic crackles these wont happen again. As mentioned in the tutorial HUGE shout out to a good freind of mine upheaval for supplying the more then awesome photograph of the lemonade girl.


Photoshop is one of the most popular tool used among graphic artists. Photoshop tutorials are definitely one of the best ways to learn and master this tool. There are lots of high quality and variety tutorials on the web available for free so you can learn something new by yourself not going out from home. Today I’d like to focus on surrealism related tutorials. I’ve collected 30 amazing tutorials on creating surreal artworks in Photoshop.
Photoshop Tutorial: Advanced collage tricksMost of the covered techniques are blending options, color variations, composition, contrast and much more. These tutorials will be useful for beginners as well as advanced Photoshop users.










Calculating with the Add mode


We are having problems maintaining color consistency for digital output (as well as color shifts on proofs) due to the recent CS6 Pantone Plus color library update.
We have had to remove the updated libraries and replace them with the previous versions due to the unexpected color differences on output.
Has anyone else been having problems with the Plus update?
Is there a good explanation of why it was changed in the first place? We want to make sure we're not missing a good reason for the revised color libraries.
Chuck
Pantone Plus (Solid) color libraries are now based on Lab value compared to previous one using CMYK as default in Illustrator And InDesign.
Lab values help to keep consistency between Photoshop, Illustrator and InDesign when you want to convert to CMYK.
Each application are doing a color transform like this: Source (Lab) -> Destination (CMYK or RGB) using the related working color space defined in the color setings preferences.
This make sure that when you convert to CMYK for example, the best match will be made for the current CMYK working space you are using.
If you set all your color setings the same within each application, you will get the same CMYK values.

Can you tel me more about the problem you have with the new Pantone Plus libraries?

I jumped to get AI CS6 as soon as it came out- and now, honestly, I'm regretting it.
We do large digital output, and PMS spot colors are critical. I'm finding that anything I copy into a new doc, converts to lab- and I have to manually plug in the CMYK mixes for the spot colors. It's taking a ton of time that I wouldnt otherwise have;
If you find the magic bullet, please share it with the class.


the popular and comprehensive series Photoshop CS6


The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
Topics include:
Adjusting the color settings in Photoshop
Placing and blending Smart Objects in a scene
Transforming and warping vector objects
Correcting for lens distortion
Mitigating halos and enhancing contrast with Shadows/Highlights
Adding and editing points on a curve
Editing multiple images in Camera Raw
Creating a pro-quality sepia tone or quadtone
Colorizing with blend modes and opacity
Reducing and smoothing over noise
Creating depth-of-field effects with blur
Selecting with Color Range and Quick Mask
Perfecting a mask with Refine Edge
Drawing paths with the Pen tool
Converting path outlines to vector masks
show more

Using the Scale and Offset values


If you find that your whole animation is a bit too long or too short, or you just want to offset it by a few frames, you can do so with the Sequence commands. These commands give you control over animation by offsetting or scaling (stretching or shrinking) the motion of all or selected objects, or even just the marked parameters of selected objects.
You can offset, scale, or retime function curve animation, including fcurves in animation layers.
TipYou can also use the dopesheet or select all keys in the timeline to scale and offset animation for the whole scene or for selected objects. Using the dopesheet may be useful if you encounter some problems with animation not scaling properly with the Sequence commands. For information, see Scaling Regions of Keys.
You can choose to either scale and offset using explicit values, or else you can retime an animation by fitting it into a specified frame range. For example, you can easily retime an animation that used to go from frame 1 to 100 so that it now goes from frame 30 to 50. You can also reverse an animation easily: for example, instead of going from frame 1 to 100, it goes from frame 100 to 1.
To offset, scale, or retime animation
Do one of the following, choosing the corresponding Animation  Sequence Animation command from the Animation panel:

To offset, scale, or retime animation for only marked parameters, select the objects and mark the parameters whose animation you want to change, then choose Sequence Animation  Marked Parameters.
For information on marking parameters, see Marking Parameters for Animation.
or
To offset, scale, or retime all animation for selected objects, select the objects whose animation you want to change and choose Sequence Animation  All Parameters on Selection.
or
To offset, scale, or retime all animation in the scene, make sure that nothing is selected and choose Sequence Animation  All Scene.
In the Sequence dialog box that appears, select the appropriate Input Method:

A
Select Offset and Scale as the Input Method to either offset or scale the animation. Then follow the steps in Offsetting or Scaling Animation.
 
or
B
Select Retime (Before/After Range) as the Input Method to retime the animation.
Then follow the steps in Retiming Animation.
Tip
The main timeline's start and end frames are not updated automatically if the resulting scaled/offset/retimed animation goes outside the current frame range.
To view your entire animation, you must either reset the start and end frames on the timeline or open the animation editor to view the scaled or offset function curves.
Offsetting or Scaling Animation
Select Offset and Scale as the Input Method in the Sequence dialog box.
With the Offset, specify the number of frames by which to offset the animation.
Enter a Scale value by which to stretch or shrink the animation.
This value is the number by which the current length of the scene (or frame range) is multiplied. For example, using a value of 3 here makes a 100-frame scene 300 frames long.
When you scale you can also choose to Pivot the animation at a certain frame, which lets you reverse an animation at that point.
Specify the frame range you want to affect by setting the Start and End Frame values for the Affected Scale & Offset Range.
Select the Affected Items you want to scale or offset from the Sequence Mode list. You can choose from function curves, clips in the animation mixer, or all animation sources, as well as a combination of these types.
As well, you can scale or offset the fcurves in either all or just the current animation layer.
In this image, the Selected fcurve has been scaled to twice its size. The ghosted fcurve in gray shows the original fcurve's size.

In this image, the Selected fcurve has been offset by about 20 frames. The ghosted fcurve shows the original fcurve's position.

Retiming Animation
You can retime an animation by fitting it into a specified frame range. For example, you can easily retime an animation that used to go from frame 1 to 100 so that it now goes from frame 30 to 50. You can also reverse an animation easily: for example, instead of going from frame 1 to 100, it goes from frame 100 to 1.
Select Retime (Before/After Range) as the Input Method in the Sequence dialog box.
Specify the Retime Range Before values, which are the frames of animation you want to use for retiming.
Specify the new frame range in which you want your animation to fit by setting the Retime Range After frame values.
Select the Affected Items you want to retime from the Sequence Mode list. You can choose from function curves, clips in the animation mixer, or all animation sources, as well as a combination of these types.
As well, you can retime the fcurves in either all or just the current animation layer.
Below, the selected fcurve has been retimed so that a range of 125 frames in the middle of the sequence has been compressed to into a range of 80 frames. The ghosted fcurve in gray shows the original fcurve's size and shape.


1. Calculating a Hair Mask




1. Calculating a Hair Mask
Introducing the hair masking options 4m 18s
Calculating with the Add mode 5m 58s
Using the Scale and Offset values 3m 47s
Calculating with the Subtract mode 5m 19s
Enhancing a mask with Apply Image 4m 42s
Traditional blue screen masking 3m 7s
Painting in the missing details 4m 23s
Compositing dark hair 5m 47s
Creating an in-text reflection effect 4m 1s
2. Masking Dark Hair41m 43s
Creating a contrast mask 4m 34s
Cleaning up a base mask 5m 55s
Reinstating missing details 5m 12s
Building a second-pass mask 6m 30s
Bringing back the most fragile hairs 5m 17s
Smudging bad transitions 5m 19s
Painting in missing hairs 5m 6s
Matching the light source 3m 50s
3. Masking Light Hair51m 12s
Calculating blonde hair 4m 50s
Creating two contrasting iterations 3m 27s
Merging two iterations inside a mask 4m 44s
Performing selective edits with Dodge and Burn 5m 19s
Painting in Airbrush mode 4m 30s
Repairing details with a warped ellipse 6m 18s
Pulling a background with Apply Image 3m 57s
Blending clipped layers independently 6m 42s
Building a flame mask 7m 25s
Compositing and coloring the flame 4m 0s
4. Masking the Tough Stuff48m 16s
Making a first-pass calculation 4m 54s
Making a second-pass calculation 4m 32s
Refining and combining the two passes 5m 28s
Painting and editing the third-pass mask 6m 16s
Merging channels inside a mask 4m 5s
Cleaning up with Dodge and Brush 7m 41s
Adding the earring to the mask 4m 16s
Tweaking and integrating the hair 6m 1s
Restoring the mask's focus with History 5m 3s
Conclusion1m 17s
Next steps 1m 17s

Subtract blending modes



The Add and Subtract blending modes are available only for the Apply Image and Calculations commands.

Add

Adds the pixel values in two channels. This is a good way to combine nonoverlapping images in two channels.

Because higher pixel values represent lighter colors, adding channels with overlapping pixels lightens the image. Black areas in both channels remain black (0 + 0 = 0). White in either channel results in white (255 + any value = 255 or greater).

Add mode divides the sum of the pixel values by the Scale amount and then adds the Offset value to the sum. For example, if you wanted to find the average of the pixels in two channels, you would add them, divide by 2, and enter no Offset value.

The Scale factor may be any number between 1.000 and 2.000. Entering a higher Scale value darkens the image.

The Offset value lets you lighten or darken the pixels in the destination channel by any brightness value between +255 and -255. Negative values darken the image; positive values lighten the image.

Subtract

Subtracts the pixel values in the source channel from the corresponding pixels in the target channel. As with Add mode, the result is then divided by the Scale factor and added to the Offset value.

The Scale factor may be any number between 1.000 and 2.000. The Offset value lets you lighten or darken the pixels in the destination channel by any brightness value between +255 and -255.