Array (  => WP_Post Object ( [ID] => 54649 [post_author] => 30241 [post_date] => 2015-06-22 12:30:47 [post_date_gmt] => 2015-06-22 16:30:47 [post_content] => With the new release of Photoshop CC 2015 bringing a bunch of awesome new features, it unfortunately brought a not so awesome bug I've discovered specifically involving the healing brush tool. Myself, as a retoucher, needs this tool more than anything and whatever Adobe did to make the tool work faster (which was great), also... kind of broke it (not great). Basically, what happens is when you're using the healing brush, you get an outline around where you applied it brush that almost looks like salt. The effect gets worse the further you zoom out causing your image to look like someone was clumsy at the dinner table, but on your photo.For example, look at the first photo which is the exported final of what Photoshop does with the white pixels. It's not just a display issue while working in Photoshop, the "salt" look is having an effect on exported jpeg as well. Look closely at the dark areas on the left and right. In the second photo, that's a screenshot of the working file in Photoshop and will show you where exactly the exported jpeg has problems. For a closer look, here is a quick screen shot provided by my friend Nader in addition to the video above so you can see it a tad better: I'm really hoping Adobe fixes this soon, as there are tools in CC 2015 I would love to use. Currently there is a temporary fix for this which is simple, but not ideal. You need to merge all the layers into one, which helps, but it's not perfect. Check out the video above to see for yourself.
- - - Chris Lambeth is a Phoenix Arizona based photographer specializing in fashion, beauty and editorial work as well as high end retouching. He has worked with multiple international clients including Maxim and Elle Magazine. He eats way too much pizza and sleeps an average of 1 hour per night.www.chrislambeth.com
www.instagram.com/chrislambeth [post_title] => Critical Photoshop CC 2015 Healing Brush Bug: "Salt-Like" Pixel Artifacts Appearing [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => critical-photoshop-cc-2015-healing-brush-bug-salt-like-pixel-artifacts-appearing [to_ping] => [pinged] => [post_modified] => 2015-06-22 15:19:48 [post_modified_gmt] => 2015-06-22 19:19:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=54649 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 7 [filter] => raw ) => WP_Post Object ( [ID] => 54193 [post_author] => 30241 [post_date] => 2015-06-16 13:23:27 [post_date_gmt] => 2015-06-16 17:23:27 [post_content] => We got a look at what Adobe was doing in the app world a few months ago, and one of the apps that was incredibly intriguing was Project Candy, an app that would look at real world colors and allow you to create "looks" based on them and easily color grade footage. Today that app became reality, and it's finished name is Adobe Hue. It does basically what we were told it would, and after using it myself I have only one thing to say: It's fantastic. In fact, it's flawless.
Due to issues regarding release time and respect for embargoes, this post has been updated with additional information after the original publication time. I think part of the reason I am so impressed with Adobe Hue is that my expectations for the app were so low. I have huge expectations for the Lumetri Color Panel and Morph Cut, so those features have a lot to live up to when they finally become public. But with Candy, now officially called Hue, I really just sort of knew it existed, but I went into it about how I went into Pirates of the Caribbean 3: meh, ok. But man, Hue is basically now my favorite app out of all Adobe's iOS offerings. It's so fantastic, and it's integration with Premiere is so clean, I'm over-the-top impressed (which should be somewhat obvious now).So how does it work? Basically, you take a photo of anything in your environment. Literally anything. While you're searching around, the app actively shows you the colors it detects in that environment and pulls them out into floating orbs. Once you actually decide on a "look," the orbs stop adjusting and you are given a set of colors that were visible in that photo. You can then move through the orbs, select a specific color and see how it affects a scene which is provided in the app. That slider at the bottom? It allows you to adjust the intensity of that particular color and how it would look. What you decide doesn't affect what you can do with the color in Premiere, it's just there to show you what you can expect out of the spectrum. Once you're satisfied with the colors you can pick from, you save it and it appears in your Hue Library: That Library is then synced with all your CC programs, so you can access these "looks" from your desktop apps. And you know what? They work really, really well. For anyone who has done color grading, you understand how difficult it can be to nail a specific look. For those of you who have tried color grading and never have gotten good at it, you understand even more why this is such a big deal. Now whatever your eyes can see can become a look, and that is spectacular.The "looks" you take are filed in your Library, which appears in the "Color" panel. You can get to the Color panel by clicking Window -> Workspaces -> Color. Once the color panel is open, your Libraries are front and center. In that Library, you'll see all the "looks" you captured in Hue. You can then simply drag and drop those looks onto Adjustment Layers or directly onto clips. The only real problem I see with this whole interface is that you don't get EVERY color that Hue captured in a single scene at your fingertips in Premiere Pro. The color that you select inside of Hue and save as the look is the one that comes over in the Library. All the colors (which are the little floating orbs) are still available in Hue and you can change which one is active at any given time and it takes only a few seconds to make that adjustment in Premiere, it's just a bit annoying. I wish I could see all the colors inside of the Library in Premiere rather than have to change them on my phone.The colors you get look really close to what you saw in person, but because Hue basically "summarizes" the colors into orbs that are only active one at a time, you won't get the exact look of that sunset, for example, that you saw. You'll get an excellent starting point that gets you more than 75% of the way there, but you still might need to adjust things slightly in the Lumetri Color panel, which is another new feature in Premiere.Pros:
- A mobile app that actually makes sense only on mobile
- Intuitive, fun interface
- Detailed control over what colors you want a scene to represent
- Links with Libraries in Premiere quickly, giving you access to color profiles nearly instantly
The app is fast, responsive and the way it communicates with the CC universe is brilliant. It is a great mobile app because it is specifically something one could only do on mobile. For me, I like apps that add to an ecosystem rather than try and overextend it. It's why I love Hue and have never opened Adobe Mix. I'm going to be using Hue constantly, and that's a testament to an app that is built for a system we carry around with us every day. Well done Adobe, you've finally nailed a mobile app and I couldn't be more excited. We give Adobe Hue 5 out of 5 stars for being an app that just makes sense on mobile and works incredibly well with a desktop application. It's a true extension of the workspace, rather than an overreaching attempt to bring a full-featured application to a mobile device. Though not fully flawless, Adobe Hue comes close enough to garner a top score. [post_title] => Adobe's "Project Candy" is Available, Called Adobe Hue & Is Fantastic [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => adobes-project-candy-is-available-called-adobe-hue-is-fantastic [to_ping] => [pinged] => [post_modified] => 2015-06-16 13:24:23 [post_modified_gmt] => 2015-06-16 17:24:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=54193 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) => WP_Post Object ( [ID] => 53740 [post_author] => 30241 [post_date] => 2015-06-08 15:26:15 [post_date_gmt] => 2015-06-08 19:26:15 [post_content] => Last week we featured a timelapse of Pratik Naik retouching, and this week we're doing it again... with a bit more flair. Photographer Ben Von Wong had an epic photo shoot where everything seemed to go wrong and still got a great photo. What we have here is the 1.5 hour retouch on that photo in less than 7 minutes. Check out what one of the most sought after retouchers in the country does with a photo from one of the most iconic modern photographers out there.Here is the before and after: And a bit closer: [post_title] => Watch a 1.5 Hour Pratik Naik Retouch of a Ben Von Wong Photo in 6 Minutes [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => watch-a-1-5-hour-pratik-naik-retouch-of-a-ben-von-wong-photo-in-6-minutes [to_ping] => [pinged] => [post_modified] => 2015-06-08 15:26:15 [post_modified_gmt] => 2015-06-08 19:26:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=53740 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 53592 [post_author] => 30241 [post_date] => 2015-06-04 10:43:44 [post_date_gmt] => 2015-06-04 14:43:44 [post_content] => That is all. Watch it. This guy is next-level amazing.
- You don't have access to all colors from a given photo taken in Hue in Premiere. You have to adjust everything on the phone before bringing the filters into a project.
- Colors are very close to recreating a scene, but not perfect. But close is more than good enough in this case.
"Ever wonder what photo retouching really is? Here's a video that will give you an insight about what goes into retouching and cleaning up a photograph. It's not blurring or airbrushing skin, and there's no magic button. Half of the time, you won't even know an image is retouched when it's done correctly and that's what it should be. It should what a person looks like on their best day, realistic yet natural and full of visible skin texture. This is for people in the industry as well as outside of it, to bridge the gap of understanding what it's really about amid the bad media out there." So what's the point of all this? Pratik says that he wanted to show people not educated in retouching about what goes into cleaning up skin and hair and the length of time it may take in a quick overview, to show creatives who might be looking to see how other retouchers work to clean up an image without being destructive, but most importantly, "For fun!"Here is a before and after: [post_title] => Watch This Amazing Hair and Skin Retouching Timelapse by Pratik Naik [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => watch-this-amazing-hair-and-skin-retouching-timelapse-by-pratik-naik [to_ping] => [pinged] => [post_modified] => 2015-06-04 13:47:13 [post_modified_gmt] => 2015-06-04 17:47:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=53592 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) => WP_Post Object ( [ID] => 51618 [post_author] => 30241 [post_date] => 2015-04-27 12:34:40 [post_date_gmt] => 2015-04-27 16:34:40 [post_content] => If there is one fact that will help you become better at your craft it's this: learn from those who are successful, and emulate what has made them so. [RE]TOUCHED is a new digital magazine available through the iTunes App Store that brings together the exceedingly talented and puts their knowledge in front of your eyeballs. The brainchild of incredibly talented photographer and retoucher Julia Kuzmenko and edited by another amazing talent Philip Sydow, the magazine drops some serious knowledge about how to not only be a better retoucher, but how to actually succeed in a challenging and competitive industry.
[RE]TOUCHED Magazine is a bi-monthly interactive tablet-based publication designed to give photographers and retouchers the tools, techniques, and insights they need to hone their retouching skills and excel in their businesses. Packed with illustrated tutorials and business advice from top retouching professionals, product reviews, and timely industry commentary, [RE]TOUCHED Magazine engages artists of all skill levels. Each issue features stunning imagery by respected pros and aspiring artists from around the world, highlighting all genres of retouching and photography, from beauty and fashion to fine art and commercial advertising. The first issue, the Success issue, is packed with some outstanding content. Here are some highlights (Cover image by Joel Grimes):
The names that the [RE]TOUCHED team got together in this first issue are real heavy hitters. Heck, Joel Grimes is gracing the cover! The guys from Lightfarm Brasil are OUTRAGEOUS, and Rebecca Britt and Pratik Naik are truly outstanding photographers and retouchers that are killing it in the industry. These are the people you absolutely want to learn from, and now you can, easily in one place. I've read this issue and the interactivity and depth of information on this subject are unparalleled. There is simply no better source for this kind of information anywhere on the market, in any form.It's difficult to say anything more about this from a review perspective, other than that if you want high-level information, it's all here. Download your copy here! [post_title] => Want to Be a Better Retoucher? [RE]TOUCHED Digital Magazine is an Outstanding Resource [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => want-to-be-a-better-retoucher-retouched-digital-magazine-is-an-outstanding-resource [to_ping] => [pinged] => [post_modified] => 2015-04-27 12:34:40 [post_modified_gmt] => 2015-04-27 16:34:40 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=51618 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ))
- Interview with Joel Grimes, Commercial Advertising Photographer of more than 30 years
- INDUSTRY INSIDER: You must want it more than sleep, an article by Pratik Naik, Commercial & Editorial High-End Photo Retoucher and Educator
- Pro Tips & Artist’s Toolbox feature from Brandon Cawood, Commercial & Advertising photographer
- Beauty Retouching Tutorial + Artist’s Toolbox feature from Julia Kuzmenko McKim, Beauty photographer & retoucher
- In The Studio: Lightfarm Brasil, Creative & Advertising agency; the struggles, choices, synergy, and success of an amazing team of artists
- Special Feature: Visual Storytelling, Part 1: The Power Of Stories“, an article by John Flury
- Beginners’ Corner: Clone Stamp Tool tutorial, by Allen Turner
- Beginners’ Corner: Practical Advice by Rebecca Britt
- Mastering the Art of Self-promotion, an article by Marcin Migdal, Editor-in-Chief & President of Mad Artist Publishing
- 7 Deadly Myths of Internet Copyright, an article by Los Angeles-based copyright attorney David L. Amkraut