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trying to explain what's new in Photoshop — any edition — is like attempting to capture the essence of The Lord of the Rings trilogy in 10 phrases or fewer. You might be concise, but you lose lots of the subtleties. total books had been written about simply parts of Photoshop's capabilities, so I might not spend lots of time making an attempt to define what's new. For a much better seem to be, consult with the Adobe web web page at www.adobe.com/products/photoshop/family unit. i will, besides the fact that children, take a very brief analyze a totally new edition of Photoshop — Adobe Photoshop CS3 prolonged. or not it's Photoshop geared to these within the technical routine.
The application's facets offer much to movie, video, and multimedia specialists and to image and net designers the usage of 3D and movement of their creations. Manufacturing and medical authorities also will find much of use right here, as will architects, engineers, and scientific researchers. With this liberate, you get every little thing this is blanketed in Photoshop CS3, in addition to tools for editing 3D and movement-primarily based content and performing image evaluation.
Photoshop CS3 prolonged now without delay helps several 3D file formats: U3D (no surprise there), 3DS, OBJ, Collada, and Google KMZ. Native help is provided for info with 1–1.5 million polygons (figures 1 and a pair of). you could import, view, and engage with most 3D fashions, and you'll with ease render and contain 3D content into your second composites and edit latest textures on 3D models at once within the software to look the effects instantly.
The Vanishing element characteristic has been more advantageous with 3D guide in Adobe Photoshop CS3 prolonged, so that you can edit in standpoint on numerous surfaces — even those linked at angles aside from 90 levels. You also can measure in standpoint; wrap pictures, graphics, or textual content around diverse planes; and output 2d planes as 3D models.
New size equipment in Adobe Photoshop CS3 prolonged can help you extract quantitative counsel from photos. which you can calibrate or set the scale of a picture then use any of Photoshop prolonged's selection tools to outline and calculate distance, perimeter, enviornment, or different measurements. that you can list facts elements in a measurement log and export facts, together with histogram information, to a spreadsheet for extra evaluation.
Adobe Photoshop CS3 extended contains an Animation palette that lets you create an animation from a collection of pictures. After an animation has been described and created, you could export it to a wide variety of formats, including QuickTime, MPEG-4, and FLV.
just before the editorial time limit for this evaluation, Adobe launched a free plug-in enabling clients to look and download 3D models from Google 3D Warehouse without delay from within Adobe Photoshop CS3 prolonged. This free plug-in is attainable in the Adobe Labs element of www.adobe.com.
Adobe has taken a close study how a wide selection of valued clientele use Photoshop in daily work. The effect is a edition that mixes the entire incredible enhancing, compositing, and photograph-manipulation equipment that make Photoshop some of the premier purposes of our time. Adobe has performed this fantastically neatly, seamlessly blending an more advantageous and up-to-date version of its finest photograph-oriented software with additional technical equipment.
For a greater finished record of elements in Adobe Photoshop CS3 or CS3 prolonged, visit www.adobe.com. here you are going to find a wealth of product advice, as well as examples and case histories that display how individuals are using these items.
device requirements for Adobe Photoshop CS3 extended, home windows version, consist of a device in response to an Intel Pentium 4, Intel Centrino, Intel Xeon, or Intel Core Duo or suitable processor working Microsoft home windows XP with carrier Pack 2 or windows Vista home top rate, company, top-quality, or business (certified for 32-bit variants). The device additionally must have at least 512 MB of RAM and 1 GB of purchasable hard disk house (extra free space is required during installation) and a DVD-ROM pressure.
A monitor with at the least 1,024 x 768 decision and a sixteen-bit or stronger video card is required. Some 3D features in Photoshop CS3 extended require a DirectX 9–in a position graphics card with at the least 64 MB of VRAM. an online or mobile connection is required for product activation, and QuickTime 7.0 is required to use the QuickTime elements. on-line features, together with but no longer confined to Adobe inventory photos and Acrobat connect, may also no longer be obtainable in all languages and currencies.
The Macintosh edition of Adobe Photoshop CS3 prolonged requires a PowerPC G4 or G5 or multicore Intel processor Macintosh running Mac OS X v.10.4.8. you'll want at least 512 MB of RAM and a couple of GB of accessible hard disk house (extra free house is required right through product installing). you're going to also need a DVD-ROM pressure for setting up. As with the windows version of Photoshop CS3, you'll need a reveal capable of as a minimum 1,024 x 768 resolution with a sixteen-bit or more advantageous video card. Some 3D aspects in Photoshop prolonged require an OpenGL 1.four–able portraits card with at least sixty four MB of VRAM.
Adobe Photoshop CS3 extended is available for an estimated road price of $999, and Adobe Photoshop CS3 has an estimated rate of $649. Licensed house owners of Photoshop CS2, Photoshop CS, or Photoshop 7.x can improve to Adobe Photoshop CS3 for $199 or to Adobe Photoshop CS3 prolonged for $349. Photoshop features clients can upgrade for $899. Licensed homeowners of Photoshop CS2, Photoshop CS, or Photoshop 7.x are eligible for special upgrade pricing to definite variations of Adobe CS3 as smartly.
Photoshop has lengthy been an exceptionally advantageous software for design gurus in the visualization and digital content material creation routine, however the addition of help for 3D and the capability to obtain quantitative in addition to qualitative records from pictures adds awesome depth and capabilities to this already remarkably in a position product. With its additional integration with Adobe Lightroom and brilliant facility with digital photographs, Adobe Photoshop CS3 extended is a great product and a really valuable tool for design specialists. incredibly informed.
Ron LaFon, a contributing editor for Cadalyst, is a creator, editor, and a computer graphics and digital publishing specialist from Atlanta, Georgia. he is a principal at 3Bear Productions in Atlanta.
This didn't help. after I are trying to open a raw image in photoshop CS3 i get this message:could not finished your request since it isn't the right type of document solution First, you ought to down load Adobe camera uncooked Plug-In 4.1.1 right here
To installation with Adobe inventive Suite 3 or Photoshop CS3:
be aware: If regularly occurring digicam thumbnails appear in Adobe Bridge, observe these steps:
Now that you can open the .CR2 uncooked data in Adobe Photoshop CS3.observe thanks to xpcman for this tip on the forum
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published by using jak58. newest replace on February 13, 2012 at 08:19 AM by using Paul Berentzen.
full of new elements, Photoshop CS3 beta also includes a pre-unencumber edition of an enormous upgrade to Adobe Bridge, as well as a preview free up of the all-new Adobe machine primary. Photoshop customers can use Adobe machine relevant to design, preview, and test compelling cellular content material, created especially for smaller displays. This new tool, integrated within the Photoshop CS3 beta, simplifies and speeds up the introduction of cell content material through a preview atmosphere and constructed-in equipment profiles.
"this is a thrilling time for the Mac, and Adobe wanted to ease the circulate to new Intel-primarily based methods with a preview release of Photoshop CS3," observed John Loiacono, senior vice president of inventive options business Unit at Adobe.The beta version should be attainable Friday morning from the Adobe Labs web site. The Mac version is a familiar Binary, and equipment necessities call for a 1+ GHz G4 or G5 or any Intel-primarily based Mac with 512MB of RAM. A home windows edition is additionally obtainable.
Adobe says the beta will expire quickly after the formal liberate of Photoshop in Spring 2007. final pricing is yet to be determined, however Photoshop CS2 at the moment is offered at $649 (full edition, $169 upgrade).update: Early appears:Photoshop consumer short LookPhotoshop CS3 Sneak Peek Video PodcastUpdate 2: download link
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Let us leave to the side for the moment some of the needless complexity and conflicting information in Adobe certifications (covered in my last piece in this series). Today we shall focus on how to become an Adobe Certified Expert, or ACE.
Our Adobe.com page reference for today's post is this one:
Adobe.com: Become an Adobe Certified Expert in four easy steps
According to Adobe, those four steps are as follows:
Adobe divides their ACE program into three categories:
* Single product certification
* Specialist certification
* Master certification
A single-product ACE is an Adobe professional who wants to validate his or her expertise with a single Adobe product, such as the following:
On the other hand, a specialist ACE is geared toward using multiple Adobe applications by virtue of his or her job role (i.e., Print specialist, Web specialist, or Video specialist).
Please visit the The Become an Adobe Certified Expert page to view Adobe's requirement's matrix for the three ACE specialist tracks.
For example, if I wanted to earn my ACE as a Web specialist, I would have to pass the following three exams:
Finally, there is the ACE Master certification. Here you must pass all exams in an entire Adobe product suite.
The key issue here, friends, is versioning. You may be an expert in, say, Adobe Dreamweaver CS3, but how would you feel about taking a certification exam on MACROMEDIA Dreamweaver?
As I mentioned in my last post, in my humble or no-so-humble opinion, Adobe is doing a dreadful job in maintaining their certification program--just dreadful. In a future post this week I will help you figure out how to ensure that you are taking the "latest and greatest" version of your desired Adobe certification exams.
Adobe Photoshop CS3 Manufacturer: AdobeOperating system support: Windows XP SP2, Vista Home Premium or better, Mac OS X 10.4.8Price: Photoshop CS3: $649 (upgrade from Photoshop 7, CS, or CS2: $199); Photoshop CS3 Extended: $999 (upgrade from Photoshop 7, CS, or CS2: $349) — shop for Photoshop CS3
Well, it has arrived—probably the most-anticipated program for Intel Macs has made its way to Apple's newest CPU platform, and you can almost hear the collective sigh of relief from Mac users (it's only slightly louder than the mumbles of "don't do this to us again" from Adobe). But CS3 isn't just a small update—it's chock full of enough new stuff that's Adobe feels it's now worth branching out into two different versions: Photoshop CS3 and Photoshop CS3 Extended. Don't worry though—all of the Photoshop CS2 features are in still the standard edition and both include Bridge CS3. But don't just take my word for it.
My animated GIF:It's a fake!
The GIF opened in Photoshop CS3, showing only the first frame:It's not nearly as funny in Photoshop CS3.
This is the same behavior that Photoshop CS2 had, but if I feel like it's a bit of a loss to not provide all the features that were in both ImageReady CS2.
Anyway, I'm getting ahead of myself here so before I start slinging any mud, let's get back to basics.System requirements
Notice the larger disk space requirements for the Mac—"Universal" is city talk for "two versions."Test hardware
MacBook Pro Core Duo 2.0 GHz
Power Macintosh G5 Dual 2.0GHz
CS3 overall is a huge release for Adobe and they are rolling out a veritable truckload of applications this year, so the company has decided to overhaul the marketing. With that comes new icons. You can see a color wheel with all the respective product icons here:Sadly, it looks like turd brown is getting no love.
I hated (read: loathed) the CS2 icons since they looked like nondescript Yanni daydreams, so for me, the minimal look of the CS3 ones is a welcome change. Some people will complain that they lack creativity, but if you have to spend any brain time distinguishing what program that is in your Dock or application switcher, then those are bad icons. Check out the night and day difference between a bunch of CS2 and CS3 suite icons in my tiny MacBook Pro Dock.
Anyway, let's just say that I'm glad this was addressed.New palettes
With the CS3 overhaul has also come a new palette and docking scheme for most of the Creative Suite apps (Dreamweaver and Fireworks still look like Macromedia apps). Instead of my writing a dry description of the new palettes and how they behave, it's easier for me to just show you them in action:Click for animation.
Overall, it's all very handy and does a nice job of conserving space while still giving you access to everything you need. All palettes expand and close accordingly when their respective shortcuts or F-keys are pressed; Tab and Shift-Tab toggle their visibility just like CS2. Also new is the optional one-column toolbar, which is a very welcome addition since it's less distracting when working on smaller laptop screens:For the greybeards, it can be made two-column and undocked just like CS2.
Overall the CS3 interface feels easier on the eyes—the more even, subdued gray and blocking out of the desktop between palettes and full-screen images makes for less visual clutter:You suddenly feel like buying Canadian dub. Click for full size.
Some people are likely going to complain that the look of the new palettes don't conform to Apple's interface guidelines and look more like Windows palettes, but I personally like the less obtrusive X marks over the Aqua gumdrop in this case. But I can still hear the tank treads starting to roll for the world's most idiotic flame war...
I do have two gripes with the new CS3 palettes though: within the full-sized docked panels, lower palettes become moving targets. When you switch a panel at the top to something that's larger, all the ones below slide up or down according to the size of the top palette and vise versa. This takes some getting used to and unfortunately, if you choose to have it the old way with lined-up palettes, but not docked to the right side, you can't collapse the palettes to icons. The middle-of-the-road solution is a slightly clunky mix of the two schemes:It's not as pretty but at least the palettes don't affect the ones above/below when switching between tabs.
That is a slight nuisance you get used to but a real issue I have with the Photoshop CS3 interface is Exposé behavior with full-screen documents. In CS2, full-screen images didn't pose a problem with Exposé:
But in CS3, it trips up:
It's doesn't seem to be the fault of the new docking scheme, since dragging between full-screen documents in Illustrator CS3 works fine. Considering that I'm probably not the only one who has made this action second nature, losing this by fault of the app isn't really an option. It needs to be fixed quickly because users shouldn't have to give up working this way, especially since it's exactly what Exposé is made for. But overall, the CS3 interface and new icons create a really clean workspace that feels subdued but professional. Now, onto the meat of the program...Additions to tools, adjustments and filters
It goes without saying that a pretty face alone isn't enough to make an upgrade—they call that version the Scarlett Johansson edition—so let's look at the new features that Adobe has thrown in to convince us that they can play the professional part. All the things mentioned here are in the Standard edition as well as Extended; the features exclusive to Extended are covered clearly later.Quick Selection tool
As a tool borrowed from Photoshop Elements, the Quick Selection tool is designed to make area and object selection easier. It's sort of like the Magnetic Lasso tool combined with the Magic Wand tool with a small brain thrown in for good measure:Click for animation.
As you can sort of tell from the screen movie, it can be a little awkward getting great results in low-contrast situations and it's basically useless for hair, so it's no replacement for the Extract tool. That said, it does an good quick job for selecting solid outlines with clean edges:
The alternative for the selection above—making an initial area selection and then using the color range selection for the sweater—is much slower and produces basically the same results. The Quick Selection tool is just that—quick—and while it is limited, Adobe in clearly encouraging this to be used in conjunction with another new feature.Refine Edge
Selections and masks often go through a lot of filtering themselves to accommodate for things like image focus and edge transitions so Photoshop CS3 hopes to shorten this process (while making it less esoteric) by putting the controls more upfront and center in the Options toolbar of the selection tools.
When a selection is made, you hit Refine Edge, and a dialog pops up that lets you interactively do a combination of selection modifications, while being able to preview them in a variety of mask modes.Refine Edge in action. Click for animation.
The Refine Edge will save time since there's no need to do all these operations separately or to enter Quick Mask mode to visually blur the mask to match the image focus. In combination with the Quick Selection tool, it makes for quick and decent quality selections and masks. It's not mind-bending stuff, but it's very handy once you get used to it.New curves dialog
As I pointed out in my Editing your digital images without the mystery tutorials, the curves dialog is the shortest route to powerful color tweaking and it's the bread and butter of professional color adjustment. Adobe knows it and has given it a significant upgrade: it now has a histogram overlay.The real benefits of art directing an entertainment magazine: goofy desktops for life.
This basically means you'll never have to see the Levels palette again just to visually clip in on white and black points; the fewer adjustments you have in your Layers palette, the better. This came at a cost though: to make room for the 256-line histogram, the Curves palette has gotten bigger, and on laptop screens the lost real estate is very noticeable. You'll also notice the Preset popup in the pic above—this is something that has been added to a lot of the common adjustment dialogs and the curves palette comes prestocked with some common tweaks that will help imaging newbies understand what things like an S-curve for contrast looks like:
To professional retouchers and photographers, the histogram in the new Curves dialog is going to become instantly valuable, but I can't help feel like it's been a long time coming. Still, for my work, it's a huge plus.Black and white conversion
Converting images from color to grayscale typically gives you a very flat image that can't be fixed just by adding contrast so Photoshop CS3 has added a more controlled adjustment (and optional Adjustment Layer) for black and white conversion. Working much like a color filter on a camera lens, the Black and White adjustment gets better contrast and tone by letting you specify colors to suppress and increase. If you don't know exactly what colors need filtering, the conversion process can be made much simpler by just clicking and dragging within the image to adjust the relevant tones. Or you can just start with one of the presets to get a quality you like:The true power of the Black and White adjustment: from Al Jolson to Robert Smith in under five seconds.
Adobe is doing a lot of this click and drag for tweaks in Lightroom and I'm hoping it catches on more since it takes out a lot of the guesswork for color work like this.
The Black and White adjustment is really great but I do have one small nag: it can't be done in CMYK mode. I'm sure there is a good reason for this technically but this will cost many people time in CMYK to RGB conversion, which isn't particularly fast for larger images. But as you can see, the results are really nice.More adjustments Improved brightness and contrast
In my Photoshop tutorials, I stressed that anyone working with images should stay far, far away from the Brightness and Contrast adjustment in Photoshop, since it's basically like dumping white or black paint into every part of your image, with no attention to clipping blacks or blowing out highlights. The even bigger problem is that this feature is so intuitively named that almost any Photoshop newbie will reach for it thinking that this is the best way to adjust brightness and contrast (go figure).
So Adobe has done us all a favor and overhauled it to be more of an exposure or gamma-like adjustment, making it impossible to get the gross posterized garbage that was the trademark of the old adjustment. But rest assured, if you want to ruin your images, the old style of adjustment is available by checking "Use Legacy" in the dialog. I'm sure that I'm not alone in thinking that this button should be under thick glass.Photomerge, Auto-Layer Blending and Alignment
Previously, Photoshop's ability to deal with panoramic software was very basic and didn't give much of the control or quality of stitching that third-party panorama tools have been providing for years so Adobe has stepped up these tools in hopes of catching up. The new layout options in File/Automate/Photomerge provide a number of methods for controlling how images are joined into panoramas:All that stuff at the left, she's new.
For most panoramic shooting, it proves to be very accurate, with very clean joins (no noticeable fading between shots), all with very little work required.The overlapping portions can be very complex.
On closer inspection, you see how the layers aren't mixed with a soft gradient mask:The two layers blended.
The left tile hidden.
This absolute edge makes a lot of sense since it's generally soft gradient blends that give away panorama composites. The only drawback is that Photoshop generally needs quite a bit of overlap to do this smart blending and it doesn't fare as well as in situations with more ambiguous intersections:The waves and relatively small amount of overlap choke the auto-alignment of Photoshop's Photomerge, leaving one shot completely out while the left portion just chills below.
In cases like that, it should be falling back to file names or use other tricks that consumer-level panorama tools use to know how it should tile the image. In the above image, it was also annoying to bring the whole scene together since you can't shift-select portions and move around completed areas in the interactive mode, you have to break the whole thing to realign them one by one. That needs to be addressed in future versions for sure. But if you are doing less messy merges with accurate overlaps, Photomerge works very well and it's definitely replaced the other tools that I had been using.Auto-align and auto-blend layers
Photoshop leverages this new smart blending tech for panoramas in the new auto-alignment and blending of layers feature. Basically, it's like the panorama tool, but you just drag the layers into one image, shift-select them in the Layers palette, and select Edit/Auto-Align Layers... and then Photoshop does the hard work.Auto-Align and Auto-Blend seamlessly joins my badly scanned art book pages
I think that this, more than the panorama tools, is what will appeal to professionals since panoramas tend to be hobbyist or once-in-while type things (I've just offended someone who makes a living doing panoramas). It's powerful stuff and considering how it just eliminated the ugly hotspot in the joined scans above with no work on my part, it's fair to say that it's going to be a popular feature.Clone tool revisited
Like curves, the Clone tool is a staple of day-to-day Photoshop work and any update to it is likely to affect a lot of people. The latest addition is the ability to more finely control what layers are sampled when cloning:
This alone would be okay but the really welcome feature is the new ability to turn off sampling of Adjustment Layers when cloning from other layers.I know a lot of people are feeling the familiar pain seeing that light mark caused.
It's definitely one for the "Why didn't they have this in there to begin with?" pile, but what can you do? It's in now and it's going to make a lot of photographers' and retouchers' lives easier. My only complaint now is that this "ignore adjustment layers" feature now seems to be glaringly missing from other things like the Color Replacement Brush, which often works much like the Clone with reference to layer sampling. Baby steps, I guess.Clone Source palette
Also included in the Standard edition is the Clone Source palette, which lets you select up to five separate sources for the cloning/healing tools as well as letting you perform translations on the clone source itself.The Clone Source palette: like a temporary scrapbook that can also sample other documents.
For most retouching, you will probably find the overlay option distracting and redundant and it should only really be needed in cases like above or for cloning over time for animations, which is an Extended-only feature.These filters are a lot smarter Smart filters
With Photoshop CS2 came Smart Objects—the special layer format for non-destructive transformations, and if my own workflow is any indication of the majority, they've become essential for shortening the time it takes to go from mockup to approved final art. In CS3, Adobe has upgraded Smart Objects to include Smart Filters that can be edited at any time, much like After Effects filters.A vector Smart Objects with an organic-feeling Filter Gallery filter.
Smart Filters, like blending mode effects, can be turned off and on—individually or all at once—and they can be reordered at any time to give different results. You can also option-drag smart filters to other Smart Objects, meaning that you never again have to remember what exact setting you used the last time you wanted another layer to receive the same filtering. On top of that, you can mask out the Smart Filters, making for some serious control over how a layer is processed.
Gone are the days of having to have old hidden layers should you want to fall back to an unfiltered version. Also, because Smart Objects can be opened and the contents edited separately, this has great potential for shortening the time it takes to go from mock-ups to final art. Buy the stock, open the Smart Object and drop in the high res, save the temp file, and the layer updates in the master document, filters and all. For heavily filtered layers, this gives you a lot of freedom to not have to worry about what values were used; you can just concentrate on working.
Finally, you can also set apply modes and transparency for the individual Smart Filters by clicking the slider icon to the right of the filter:Mechadeer gets a halftone overlay.
This has the added benefit of saving time and layer clutter.
All these newfangled features are great but since Photoshop still only has one .PSD document version, what happens when you open a Smart Filter layer in an older Photoshop? When you open a document with a lot of CS3 things like Smart Filters and 3D layers in Photoshop CS2, you're told that the document contains unknown data and that it will be thrown away:
If you're scared of losing image data, you can just read the flattened composite that is saved with the file, but fortunately, it seems that the Photoshop team has done a very good job of not losing much in the translation as 3D layers and layers with Smart Filters imported properly but just don't have their editable qualities intact.Document in Photoshop CS3
Document in Photoshop CS2
Unless my eyes are broken, those look identical. Photoshop CS2 seems to be using the cached layer data and hasn't tossed away anything needed for the image to render properly. It's nice to know that if a file isn't flattened and given to someone with an older version of Photoshop, that they aren't going to end up printing something you didn't want. Thanks for not getting us fired, Photoshop CS3.Camera RAW 4
Another popular feature of Photoshop is its included RAW converter and aside from just new camera support, CS3 brings expanded RAW conversion tools and compatibility for edits done in Lightroom. Although not all tweaks done in Lightroom are fully editable, certain features the app have been brought to ACR 4: The Nondestructive Clone, Heal tools, Fill light and Black and White conversion. The latter works much like the Black and White adjustment within Photoshop, except it inexplicably lacks the ability to click and drag inside the image to edit the sampled color, which is a shame. As an added bonus, you can now open JPEGs in ACR (specified globally in the applications preferences).My panorama JPEG with a nondestructive Heal within ACR 4
I won't go into a review of ACR 4 here since it's the same RAW conversion engine that Lightroom uses, which I previously reviewed. It's safe to say that anything you see in the Lightroom RAW conversions, you will see in Photoshop CS3's. That said, it's a very good RAW converter with very up-to-date support for a lot of newer cameras.Vanishing Point
Vanishing Point was new in CS2 and in CS3. It's received some tweaks to make it less about perspective cloning on perpendicular faces, and image planes can now be interactively rotated (by holding option/alt) to non-right angles. That will make it more versatile for sure but another new feature with wider appeal is the ability to now copy and paste art into the perspective grid to map onto objects:Click for animation
It's not hard to imagine this becoming commonly used since unlike just faking it with Free Transform distortion, the perspective grid creates a mesh that obeys the rules of perspective, highlighting a mesh in red when it doesn't conform properly to these laws. Now, that's not to say that the results are always predictable:The bottom plane was pulled directly off of the top face, so there isn't much explanation for the orientation problem. Click for animation.
What also makes Vanishing Point a bit tough to work with is that you can't rotate plane edges after they have a sub-plane extended. As it is, you have to delete extended planes to make a tweak to a parent plane's angle. Overall, Vanishing Point in CS3 has received some nice changes but it still could be less finicky to use.Extended-only Vanishing Point features
One of the subtler enhancements to Vanishing Point is the ability to measure in perspective. You set an initial measurement with the ruler tool within the VP interface and then enter an absolute value that you know and all future measurements are calculated based on that. These measurements are retained with the document data and are available any time you open the Vanishing Point window.I know that the typical street board is 7.5" wide, so I can get a general idea of the flat part's length by using the measure tool within Vanishing Point.
I wouldn't build a house with these measurements but it's accurate enough that you could, say, make a wall poster that goes around a door by measuring a low res photo of the room, knowing just the height of the ceiling and when you have a large Vanishing Point grid set up, you can quickly get estimates of the lengths by double clicking the plane borders.Knowing that the door has 12" clearance, you can deduce that jumping from the top of this building is a bad idea. Click for animation.
You wouldn't send final art with those measurements, but you could definitely start the work based on them and do slight adjustments when you receive the real figures. Anyway, it beats sitting in front of your monitor with a ruler and a calculator.Features unique to Photoshop CS3 Extended
It's time to switch gears from the across-the-board features of Photoshop CS3 and concentrate on things that Adobe reserves for the more expensive Extended edition. Strap in.Advanced HDR image editing
One of Photoshop CS2's major weaknesses was its handing of 32-bit HDR images. Although it would let you clone and adjust exposure, editing was otherwise extremely limited. The Standard version of CS3 still allows for the same limited editing of CS2 but CS3 Extended allows for some more common retouching tools and filters: you can use layers with masks, more adjustments/Adjustment Layers, more filters and the brush tools can now be used on 32-bit images.32-bit images can also contain Smart Objects and Smart Filters with custom blend modes.
This isn't going to convert many Photographers to 32-bit, but for the game developers and 3D artists who need 32-bit for image-based lighting or environment maps, it will make it much easier to touch up existing files or make composites within 32-bit mode.
Also beefed up is the Merge to HDR feature for making 32-bit images from multiple 8-bit exposures. The smarter tech from layer auto-alignment has been incorporated into the feature so much less work needs to be done if you weren't using a tripod at the time of shooting.
Sure, it would have been nice to see 32-bit images made as friendly and as editable as 8-bit ones, but that's easier said than done and I think CS3 goes a long way to address the limitations of Photoshop CS2.3D layers and texture editing
Probably the most surprising addition to Photoshop CS3 is the new 3D engine. PSD images can now contain fully-editable 3D layers and those 3D layers can then be subgrouped within Smart Objects for Smart Filtering. It sounds rather convoluted but it makes sense when you get into the mindset of what each level of subgrouping does and there are clear markers on the layer types to show you what is what.A 3D layer is indicated by the cube icon in the Layers palette. Mapped textures are shown below.
When you place or open a 3D file, Photoshop prompts you for the size of the layer or document:
Depending on the complexity of the model and size of the textures, rendering time can take from a second to however long but it hasn't choked on any of the larger models I've thrown at it. The quality of the rendering is a high-quality OpenGL/Direct-X one which supports bump mapping and existing lights and if you don't have an adequate 3D card, Photoshop will fall back to software rendering.A stock 3D model renders with smoothed normals and transparency
File support is limited to .kmz (Google Sketchup/Earth), .u3d (Acrobat 3D), .3ds (3D Studio) and .obj (Alias Wavefront) files, which are strictly polygonal formats. This may not please everyone in 3D since these are relatively antiquated with a few limitations, but hopefully plug-ins for more modern formats like .fbx are coming from their respective creators.
All controls for the 3D layers are found in the Options palette:
The first set of buttons toggles between object and camera transformation:
The home button resets all transformations that are set in the line of buttons to the right (the last of which is an FOV adjustment for the camera). The View popup jumps between default side, top, left, etc. orientations as well as your bookmarked camera views, with custom lens focal lengths and positions.The kids, they love the wide angle.
Apart from the basic view and orientation stuff, there are also controls for lighting and rendering. The variation of drawing styles is decent but don't expect much from the lighting section—the set light schemes are all pretty similar (with a few crazy color options thrown in for those "gel-lit clown" models) and lighting positions and intensities aren't editable. You can get away from the flatness of the basic lighting though by using an Exposure adjustment and then add Smart Filters to add a bit of grit or bloom to the models for a less plastic feel.In about 5 minutes, a plain-looking OpenGL rendering gets the gritty Motorstorm treatment, with the Gaussian blur Smart Filter set to linear dodge mode to simulate bloom.
If you're looking for more a graphic rendering, you can get a nice line render that works well in a drafting style image:Click for animation
For the architecture people, there is a cross-section option that lets you create that "hey look, there's people in that there building" effect:A full model layer set to partly transparent while the layer with the cross-section is set to 100 percent opacity
Finally, the Options menu includes a playback option for imported models that contain 3D animation. I wasn't able to test this though since the .obj format that Maya exports to can't contain animation.Texture editing in CS3 Extended
When models are imported, all relevant images are loaded into the layers palette and can be double clicked and edited in a separate window. Photoshop is limited to working with the existing UV maps and the model's UV coordinates can't be edited so it is meant strictly as a texture editor, not a modeler in this sense. Images can be resized though if you want, since they will just get mapped into the 1,1 UV space.A model for a Quake 3 map I made when I had way too much time on my hands
Although there's no UV/polygon overlay in the texture window, you can get a good idea of where the joins are by setting the 3D layer to solid wireframe mode in the 3D layer window. It overlays a white wireframe on top of the default smooth rendering.
The nice thing about editing 3D textures within Photoshop is that you can store everything within the Photoshop file and then export the textures (which can be made as complex and layered as you want) to overwrite the flat originals when you're happy with them. All in all, 3D within Photoshop is very friendly, both for 3D artists and newbies and I think that it will help put 3D into a lot more people's hands.3D Layer quirks
You would imagine that a major feature like this wouldn't make it in completely perfect and there are some things that need to be addressed with 3D layers in Photoshop CS3. The first of these things is that line thickness for the line illustration look can't be changed—the default one-pixel hairline isn't good for print and in an image like this, it's going to get eaten by any slight shift of color plates on press:I want the lines around the trucks and wheels to be a graphic effect, but it just looks like a mistake since it's blocky and insignificant at one pixel thick
The only workaround is to make a new layer and paint in thicker lines from an expanded selection of the white line from the line rendering layer (Refine Edge makes this very easy). This works well enough, but it would be nice to see this rather crucial stroke thickness option added later since I'm sure the illustration style rendering will be very popular in creating a faux toon effect. Another slight annoyance is that if you use Place as opposed to Open for 3D files, Photoshop automatically embeds the 3D layer within a Smart Object, leaving you to open a separate window just to orient the initial state of the layer.
But these are small quibbles and aside from the Smart Filters, I think that this is a pretty huge upgrade for Photoshop and it has a much wider appeal than most people might think. 3D modeling and rendering is notoriously difficult to learn (It has taken me 6 years of learning Maya in my free time to get to an intermediate level), but the benefits of having 3D for use in images or design is worth it and for obvious cases like architectural firms, package design, or interior decoration, having 3D be more accessible is going to empower a lot of people to visualize things on the cheap. In the best-case scenario, third-party plug-ins will be able to interact with the 3D data itself and not just the output raster content. If that happens, it could be entirely plausible that we could see someone develop a more sophisticated toon renderer, which would then be incredibly overused and you could then curse me for even suggesting that it was a good idea.More CS3 Extended goodies Science!
I'm not going to pretend I know much about scientific research or medicine—other than my briefly impersonating a doctor in kindergarten—so I can't give a very critical look at the new scientific application features in Photoshop CS3 Extended but I can outline what they are for those interested.
Apart from adding DICOM image and Matlab support, Photoshop CS3 adds some features that will likely appeal to a lot of scientific researchers. It won't be hard for them to find these things either since in CS3 Extended, they're clearly available in the Analysis menu:Heh, he said anal. Measure and Count tools
Like the Vanishing Point's ruler tool, the measurement tool is designed to let you establish a scale for the image you are analyzing based on a single known measurement (slide width is x length) and then accurately measure everything else based on that proportion.A ratio of amount pixel to microns is entered for the image below. You can create a preset for these scales for use across multiple documents.
And then you use the Ruler tool to measure the relevant distances and then record those values in the Measurement Log palette:Heh, he said log.
As well as simple measurements, area selections and their contents (perimeter, gray value mean, etc) can be logged as well. I would guess that this would be good for things like tumor size and density measurement. When you have your measurements, you can then export the values to a tab-delimited text file for a spreadsheet.
This would likely save a lot of manually entering values but it's hard for me to do this feature justice. To get a better understanding of this feature, you can check out Adobe's web tutorial.
Yes, I was the guy in science class copying other people's homework. Which leads me to...Image stacks
Another significant image analysis feature in CS3 is Image Stacks, which takes a number of different images and combines them to produce an image that can more clearly show a similarity or overall trend. But let the plagiarized documentation speak for me:
An image stack combines a group of images with a similar frame of reference, but differences of quality or content across the set. Once combined in a stack, you can process the multiple images to produce a composite view that eliminates unwanted content or noise.
You can use image stacks to enhance images in number of ways:
This would ostensibly help visually cut to the chase, eliminating any random Waldos creeping up in your image.
While it's hard for me to see a non-scientific application of the Image Stacks feature, I can see the 2D measurements being used much like the ruler in Vanishing Point. You could quickly measure a logo's height, assign it a known height, do another measurement and then tell the guy on the phone that you're going to need two feet by 4349 feet of bright green sticker stock, stat.Animation and video layers
While Adobe ImageReady let you open Quicktime or other movie formats for use with animated GIFs, true video support and exporting has now come to Photoshop CS3 Extended. Considering that for animated web buttons, it's often overkill to buy an Application like After Effects, Adobe has loosened the reigns to allow a certain level of feature overlap so that video can be imported, filtered, combined with other animated layers, and then exported to a variety of video or frame formats:The background video updates as you move through the Animation palette's timeline.
Video layers are indicated by a little film reel icon in the Layers palette and they can be further embedded in Smart Objects for lossless scaling and Smart Filters. As you can tell from the timeline mode in the Animation palette above, it caches frames and works similarly to After Effects (ImageReady style frame by frame animation is toggled at the bottom right). But this clearly isn't a replacement for AE—you can only translate mask layers, you can't animate the contents; there's no audio; there's no changing filter values over time; no spline-based motion curve (it's purely linear); there isn't an AE-style 3D translation option for layers and no light layers.
I can't complain that Adobe hasn't done a good job of replacing After Effects with Photoshop, but it's just to give you an idea of what kind of animation you'd be doing within it. Its main advantage over After Effects for video is that you can do retouching on a frame-by-frame basis so you have the immediate access to pixel data that you're used to with Photoshop but in an animated file. Also, to work more with drawn or frame-by-frame elements, there is an onion-skinning option to show previous and next layers as an overlay. This works well with the Clone Source palette covered earlier since and makes flipbook style animation very easy. When you have an animation that you're happy with, go to File/Export/Render Video...
... and you're greeted by a familiar style video export dialog.
Adobe was smart about the creation of these video-aware documents, so there's no need to export a compressed video if you intend to bring it into After Effects CS3 or Premiere CS3—they can read the animated PSD file. If you want to export to an animated GIF, you use the familiar Save for Web function, instantly giving you those much-loved 300MB animated Myspace icons.
The video layer execution is quite nice overall, and while it won't blow video people out of the water with its power, it does enough to make it useful for the intended audience of people who need to work with video occasionally for various export scenarios. Just be aware that you can't just copy QuickTime footage and paste it into Photoshop—you always need to have a referenced movie file (or image sequences) for Video Layers. This might have been to eliminate the creation of giant Photoshop documents with redundant frames eating hard drive space.
But video layers are a little limited in one way: Flash integration. While it can export directly to .flv Flash video files, Photoshop doesn't recognize them to open or place in documents. Sometimes you just want to eyeball the video within a sliced site layout and all you have to work with is the final video (which is also much smaller), so being forced to use the uncompressed source QuickTime files is limiting here, since in a team environment the interface guy isn't likely to be the video editor. This forces you to have three versions of the file: one uncompressed, one for web and one proxy for the interface guy.
Also, you can't export slices as movies, which is how many web movies are used (animated Flash backgrounds or placement in a larger table). You're forced to crop the PSD file to export size. But that's the worst of my complaints and even with the limitations relative to After Effects, video layers can produce sophisticated results when coupled with time-based cloning, hand drawn elements and Smart Filters. It's a more pixel-pusher friendly melding of ImageReady animation with a basic After Effects.Speed, stability, and benchmarking
Overall, Photoshop CS3 is as stable or more so than it was in the past, in my experience. This is quite a feat considering the amount of legacy code that had to make it to Xcode for Intel Mac compatibility. I'd say in the last week, it may have crashed twice between my MacBook Pro or Quad Xeon at work. I was partly prepared for a crash every few days considering its being ported and fortunately, even during the public beta, we haven't had to sacrifice stability or speed to get Photoshop on Intel Macs. But the proof is in the PSBench.PSBench Advanced
All machines set to 55 percent RAM, 1 history state. Times are in seconds.Photoshop CS2 (Power Mac G5) Photoshop CS3 (Power Mac G5) Photoshop CS3 (MacBook Pro, Mac OS X) Photoshop CS3 (MacBook Pro, Windows XP) Rotate 90 0.3 0.3 0.3 0.3 Rotate 9 1.3 1.4 1.1 1.2 Rotate 0.9 1.1 1.3 1.0 1.1 1px Gaussian blur 0.3 0.3 0.5 0.7 3.7px Gaussian blur 1.3 1.1 0.7 0.6 85px Gaussian blur 1.6 1.6 1.3 1.4 50%, 1px, 0 level unsharp mask 0.5 0.5 0.7 0.6 50%, 3.7px, 0 level unsharp mask 1.2 1.3 0.9 1.0 50%, 10px, 5 level unsharp mask 1.5 1.6 1.1 1.1 Despeckle 0.4 0.5 1.3 1.2 RGB to CMYK 1.8 1.8 2.2 2.2 Reduce 60% 0.4 0.4 0.5 0.7 Lens flare 2.7 2.9 3.4 3.1 Color halftone 9.6 10.7 6.6 8.1 NTSC color 2.0 2.8 2.2 2.2 Accented edges 9.2 9.3 7.4 12.0 Pointillize 20.2 8.7 6.6 7.8 Watercolor 20.8 21.3 18.3 25.6 Polar coordinates 1.5 1.7 2.6 3.2 Radial blur 19.6 20.1 10.7 10.1 Lighting effects 1.5 1.4 2.7 1.3 Total 98.8 91.0 72.1 83.5
No surprises from the G5 results between CS2 and CS3, with the exception of the Pointillize feature, which must have been buggy in CS2 (9.0.2) since the time is so bad compared to all the other versions. The Despeckle is faster on the almost four-year-old, first-gen G5, probably due to some Altivec optimizations that couldn't make it into the Intel version. That's more than made up by the Radial Blur filter on the Intel MacBook Pro, which completes in half the time.
I wasn't prepared for the MacBook Pro to be faster on the Mac OS X side, considering that Photoshop has been on x86 Windows for a long time now and this is the first we're seeing of Photoshop on Intel Macs.
I was also thinking that the Windows side would be a bit faster since brush performance is still a bit better in Windows on the same machine (this has always been the case). I checked all my background processes before starting and the Windows install is very fresh so I know it's a level test ground. Either way, it's nice to see that right from the start Photoshop on the Intel Macs is no slouch.Conclusion
Photoshop CS3 is a tricky one to rate since what it does, it does very well. Not all of the Extended features will appeal to everyone, but things like the Black and White adjustment, curves with histogram, layer auto-align and auto-blend, Camera RAW 4, Smart Filters and interactive art placement in Vanishing Point are all part of the CS3 Standard package and they are valuable on their own.
And while it's clear that some things like video layers and scientific measurement target more specific users, I don't see 3D layers and measurement in perspective as niche things that would appeal to a very small audience. Stock 3D models are cheaply available online (I bought that skateboard model for $5) and the ease of use compared to a complex 3D program gives users a lot of freedom to create convincing mock-ups for all types of scenarios. For product pitches, this has a lot of appeal, and when combined with Smart Filters, it means less time spent creating final art from those mock-ups. If it can give you more tools while saving you time, then it's a good upgrade.
Now, off I go to buy Intel versions of all my plug-ins...
Adobe Photoshop CS3
Adobe Photoshop CS3 ExtendedPros
Trying to describe what's new in Photoshop — any version — is like trying to capture the essence of The Lord of the Rings trilogy in 10 words or fewer. You might be concise, but you lose a lot of the subtleties. Whole books have been written about just portions of Photoshop's capabilities, so I won't spend a lot of time trying to define what's new. For a better look, visit the Adobe Web site at www.adobe.com/products/photoshop/family. I will, however, take a very brief look at a totally new version of Photoshop — Adobe Photoshop CS3 Extended. It's Photoshop geared to those in the technical pursuits.
The software's features offer much to film, video, and multimedia professionals and to graphic and Web designers using 3D and motion in their creations. Manufacturing and medical professionals also will find much of use here, as will architects, engineers, and scientific researchers. With this release, you get everything that's included in Photoshop CS3, as well as tools for editing 3D and motion-based content and performing image analysis.
Photoshop CS3 Extended now directly supports several 3D file formats: U3D (no surprise there), 3DS, OBJ, Collada, and Google KMZ. Native support is provided for files with 1–1.5 million polygons (figures 1 and 2). You can import, view, and interact with most 3D models, and you can easily render and incorporate 3D content into your 2D composites and edit existing textures on 3D models directly within the application to see the results immediately.
The Vanishing Point feature has been enhanced with 3D support in Adobe Photoshop CS3 Extended, so you can edit in perspective on multiple surfaces — even those connected at angles other than 90 degrees. You also can measure in perspective; wrap images, graphics, or text around multiple planes; and output 2D planes as 3D models.
New measurement tools in Adobe Photoshop CS3 Extended allow you to extract quantitative information from images. You can calibrate or set the scale of an image then use any of Photoshop Extended's selection tools to define and calculate distance, perimeter, area, or other measurements. You can record data points in a measurement log and export data, including histogram data, to a spreadsheet for further analysis.
Adobe Photoshop CS3 Extended includes an Animation palette that lets you create an animation from a series of images. After an animation has been defined and created, you can export it to a wide variety of formats, including QuickTime, MPEG-4, and FLV.
Just before the editorial deadline for this review, Adobe released a free plug-in allowing users to search and download 3D models from Google 3D Warehouse directly from within Adobe Photoshop CS3 Extended. This free plug-in is available in the Adobe Labs section of www.adobe.com.
Adobe has taken a close look at how a wide variety of customers use Photoshop in day-to-day work. The result is a version that combines all of the superb editing, compositing, and image-manipulation tools that make Photoshop one of the premier applications of our time. Adobe has done this superbly well, seamlessly blending an enhanced and updated version of its premiere image-oriented application with additional technical tools.
For a more comprehensive list of features in Adobe Photoshop CS3 or CS3 Extended, visit www.adobe.com. Here you'll find a wealth of product information, as well as examples and case histories that show how individuals are using these products.
System requirements for Adobe Photoshop CS3 Extended, Windows version, include a system based on an Intel Pentium 4, Intel Centrino, Intel Xeon, or Intel Core Duo or compatible processor running Microsoft Windows XP with Service Pack 2 or Windows Vista Home Premium, Business, Ultimate, or Enterprise (certified for 32-bit editions). The system also needs to have at least 512 MB of RAM and 1 GB of available hard disk space (additional free space is required during installation) and a DVD-ROM drive.
A monitor with at least 1,024 x 768 resolution and a 16-bit or greater video card is required. Some 3D features in Photoshop CS3 Extended require a DirectX 9–capable graphics card with at least 64 MB of VRAM. An Internet or phone connection is required for product activation, and QuickTime 7.0 is required to use the QuickTime features. Online services, including but not limited to Adobe Stock Photos and Acrobat Connect, may not be available in all languages and currencies.
The Macintosh version of Adobe Photoshop CS3 Extended requires a PowerPC G4 or G5 or multicore Intel processor Macintosh running Mac OS X v.10.4.8. You'll need at least 512 MB of RAM and 2 GB of available hard disk space (additional free space is required during product installation). You'll also need a DVD-ROM drive for installation. As with the Windows version of Photoshop CS3, you'll need a display capable of at least 1,024 x 768 resolution with a 16-bit or greater video card. Some 3D features in Photoshop Extended require an OpenGL 1.4–capable graphics card with at least 64 MB of VRAM.
Adobe Photoshop CS3 Extended is available for an estimated street price of $999, and Adobe Photoshop CS3 has an estimated price of $649. Licensed owners of Photoshop CS2, Photoshop CS, or Photoshop 7.x can upgrade to Adobe Photoshop CS3 for $199 or to Adobe Photoshop CS3 Extended for $349. Photoshop Elements users can upgrade for $899. Licensed owners of Photoshop CS2, Photoshop CS, or Photoshop 7.x are eligible for special upgrade pricing to certain editions of Adobe CS3 as well.
Photoshop has long been an extremely useful application for design professionals in the visualization and digital content creation pursuits, but the addition of support for 3D and the ability to obtain quantitative as well as qualitative data from images adds great depth and capabilities to this already remarkably capable product. With its additional integration with Adobe Lightroom and superb facility with digital images, Adobe Photoshop CS3 Extended is an exceptional product and a very useful tool for design professionals. Highly Recommended.
Ron LaFon, a contributing editor for Cadalyst, is a writer, editor, and a computer graphics and electronic publishing specialist from Atlanta, Georgia. He is a principal at 3Bear Productions in Atlanta.
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