When we do live photo critiques at my workshops and on The Grid (my weekly podcast about photography), one of the most common problems we see in photos is that they look flat (in other words, they need contrast—like the flat-looking image you see below). You can create contrast right in Camera Raw.
In this tutorial, Daniel Bryant goes over some of the increased abilities of Premiere Pro when it comes to masks and tracking. In his examples, he uses Levels adjustment and blur effects on his footage and then isolates those effects using an ellipse mask. He also shows how Premiere can now track a moving subject and maintain a mask that is applied to the subject moves through the frames.
Improved interaction between Photoshop and Reflow will help boost your productivity by allowing users to quickly and easily generate a Reflow project from a Photoshop document. This video covers how to export fro Photoshop to Reflow, how to create a background gradient for your webpage using Reflow code rather than an image created in Photoshop, and how to use the Photoshop connect panel.
The workflow from Illustrator to Edge Animate and Reflow just got much, much simpler. Before the new CC update, users had to export a .SVG file from Illustrator which could be confusing based on the setting options. Now, all they have to do is copy the drawing from Illustrator to the clipboard, and paste it into Animate and Reflow. The new updates have made this really simple.
In Part 1, I talked about putting the images you want in your photo book into a collection and finishing them off (in the Develop module). Then, heading to the Book module to choose your book’s final size, paper quality, and stuff like that, and then using Auto Layout to at least get your images into the book. Now, we’re going to learn how to tweak those layouts.