how to fix adobe photoshop cc if its crashing or slow

how to fix adobe photoshop cc if its crashing or slow

Adobe Photoshop is a big, resource-heavy app. Sometimes, it can slow to a crawl or, even worse, crash. If youre having problems, there are some simple steps you can take to get it working again. Heres what to do to fix Photoshop.

Turn it off and back on is the most common tech support tip for a reason: it often works, and Photoshop is no exception. If youre working with large files or photos, your computer has to store a lot of data in RAM. This includes every file and its history, plus whatever else Photoshop needs to keep things running. All of this can add up to quite a few megabytes.

Restarting your computer might also workespecially if a lot of other apps are running in the background or you havent restartedin a while. Photoshops performance is impacted by whatevers going on in the background. If a different app or system utility has crashed, it can affect how Photoshop runs, but restarting your computer will fix it.

If Photoshop continues to run slow or crash after you restart it, things get a bit trickier. The first step for fixing recurring problems is to make sure youre running the latest version of Photoshop.

Open Photoshop and go to Help > Updates to open the Creative Cloud app. (If Photoshop wont open, you can also open the Creative Cloud app directly.) Click Updates in the sidebar. Click the ellipsis at the top right, and then select Check for Updates.

Let the Creative Cloud do its thing, and then try Photoshop again. Keep in mind the Creative Cloud updater wont automatically remove the old version from your system. Each year, the app changes (Photoshop CC 2019 was replaced by Photoshop CC 2020, for example), so make sure you open the newest version.

If Photoshop isnt behaving as expected, it could be as simple as a misconfigured preference in some obscure dialog box. Rather than digging through every setting and testing every tool, you can just restore Photoshop to its default state.

Use Photoshop and see if the problem still occurs. If it doesnt, the issue was caused by one of the plugins youve installed. Update them all to the latest version. If that doesnt work, uninstall plugins one by one until it fixes the issue.

If everything lags when youre connected to a large screen, disconnect it, and use your laptop screen instead. You can also adjust the resolution on the large display to a level your computer can handle.

Photoshop is optimized to run on low-end machines, sothe minimum system requirements are pretty basic: a 2 GHz Intel or AMD processor and 2 GB of RAM. As of 2020, the latest version runs perfectly on my mid-2012 MacBook Air.

Its unlikely any computer youre using to view this site fails to meet these requirements, but you also need to have realistic performance expectations. For example, while my old MacBook Air can run and perform most Photoshop operations, it doesnt do so quickly or without a lot of fan noise.

If Photoshop is constantly slowing down while you do 3D modeling or work with multiple large dSLR photos, you might just be hitting the limits of what your machine can handle. Unfortunately, no amount of troubleshooting can fix that.

how to crush blacks in photoshop for a matte film effect | fstoppers

how to crush blacks in photoshop for a matte film effect | fstoppers

Crushingblacks is a popular trend in Photoshop for achieving a more film-like matte effect that pairs well with vintage styling. It won't work with every image, but if it's a look you are after, photographer Mathieu Stern has put together a video suggesting three ways you can go about achieving and customizing the effect. In this article I will add on one more quick method in addition to the video which will give you plenty of options to play around with this effect and see which method works best with your workflow.

Next you will want to pull the bottom slider inwards from the left to the rightthereby reducing the range of tones in that area. Also known as "crushing the blacks."Adjust to taste by pulling the slider various amounts.

Peter House is a commercial fashion photographer from Toronto, Canada. He shoots over 10,000 pieces of clothing every year for a variety of lookbooks. Clients range from small local boutiques to international brands such as Target, Winners, and Sears. In addition to that Peter runs one of the most popular rental studio's in the Toronto area.

Some confusion in terms maybe? Usually "crushing blacks" refers to the deepening and therefore often losing detail in blacks by (in the case of the writer's method) sliding the black point in from the left on the TOP slider of the Levels dialogue. Many video cameras with low dynamic range "crush" the blacks and blow out highlights giving the footage the so called "video look". Film usually has a better dynamic range leading to retention of detail in both shadows and highlights. What this article is showing how to do is "lifting the blacks" as you are quite literally lifting the black point...the blacks become dark greys...it is often used in conjunction with dropping the highlights to give the "faded" or "matte vintage" look. It also can be done by lifting the black point and dropping the white point in a Curves adjustment layer.

There's a another technique that I recently picked up. Use an exposure adjustment layer. Push the gamma slider to about .95 and the offset to roughly .0013. Those are generally the settings I go with but obviously you can adjust to your own taste.

shiny effect photoshop | creating shiny effect in adobe photoshop

shiny effect photoshop | creating shiny effect in adobe photoshop

With Photoshop Shiny Effect, you can turn a dull and gloomy image into one that shines. You can make the paint stand out and shine by changing the layer properties of the painting. Let us discuss How we can create Shiny Effect in Photoshop? in a very easy and interesting manner. For applying this effect on any text, you just have to follow some simple steps.

Creating Shiny Effect in Adobe Photoshop is not a very big task. You just have to follow these simple instructions, and by following these steps of instruction, you will definitely get a good result for shiny effects. So let us start our learning.

Step 1: First of all, we will make a new document for our leaning. For new documents, Go to the Menu bar and click on File Menu. A drop-down list of some options will be open. Choose the New option from here.

Step 2:A New Document Box will open. Make the setting of the page according to you and take White color as the background color of this document. Now click on Create tab of this dialog box for applying these settings.

Step 6:Now, type a text on which you want to give Shiny Effect. I will type SHINY as my text for the shiny effect and adjust it at the center of the working area by using the move tool. Adjust the size of this text according to you by pressing Ctrl+Shift > for increasing the size of text or press Ctrl + Shift + < for decreasing the size of the text.

Step 10:And click on the color box of this effect. A Color Picker box will be open. Choose your desired color from here, which you want to give on your text, or you can type code of the particular color in color code box.

Step 15:Now, let us move to the next effect that is Bevel & Emboss, and we make some setting in this effect also for enhancing shiny effect on our text. Take Inner Bevel in the style of this effect and Smooth in Technique option, set Depth up to 20%, size up to 25 px and make Soften up to 8 px. In the Shading section, make an angle of 120 degrees and an altitude of 46 degrees. Now take Linear Burn in Shadow mode and make opacity 0%.

Step 21:Now go to the layer section and double-click on the background layer to make it a simple layer. A new layer dialog box will be open. Give a name to this layer according to you and press the Ok tab of this dialog box:

Step 23:Click on the Gradient Overlay effect of this dialog box to increase the smoothness of the shiny effect of text and choose the gradient colour according to you. I will choose a combination of black and white colors for my gradient effect. Now choose Reflect in gradient style. You can choose any of the styles which suit your text:

After looking at this article, you can easily understand what is Shiny Effect? in Photoshop and How you can apply it on any object of your project in Photoshop software? Learning these types of effect features of Photoshop will help you in the polishing of your graphic designing skills.

This is a guide to Shiny Effect Photoshop. Here we discuss the Introduction and How you can apply shiny effect photoshop in the step by step manner. You can also go through our other related articles to learn more

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how to create a photoshop peeling sticker text effect

how to create a photoshop peeling sticker text effect

This quick tip tutorial will teach you how to create a sticker peeling effect mockup, using simple steps to transform text into a realistic sticker effect using Adobe Photoshop. The effects used to achieve this Photoshop sticker are Smart Objects, Transform, Layer Styles, and Blending Options.

After you learn how to make a sticker design in Photoshop, you'll probably want to stick it on something. Placeit comes with a massive collection of custom sticker mockups. With just a few clicks, you can check how your final Photoshop sticker would look on a custom sticker mockup like this one. Bur first, let's learn how to make stickers in Photoshop.

Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width box and 600 in the height box, and then click that More Settings button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click that Create button. Now let's create a sticker effect in Photoshop.

Select theHorizontal Type Tool(T) from the toolbar and focus on the Character panel (Window > Character). Select the Richson font, set the size to 270 pt and the color to R=250 G=176 B=0, and then click on your canvas to type in the text. Now that we have some text, let's continue and learn how to make a text sticker.

To give the text aStroke, open the flyout menu (top right corner) from theLayerspanel, and selectBlending Options... or double-click the text inside the Layers panel. This will open the Layer Style window, where you can easily apply a Stroke for your text sticker.

Make sure that your 'STICKER' smart object is selected and go to Edit > Free Transform or use the Control-T keyboard shortcut. Focus on the control panel, set the rotation angle to -4 degrees, and then press Enter.

If you can't find that collection of patterns, you need to open the Patterns panel (Window > Patterns), open the flyout panel from the top right corner, and go to Legacy Patterns and More. Get back to the Layer Style window, and now you should be able to find Legacy Patterns and More in your list. Open the Legacy Patterns > Color Paper subcategory and select the Beige with White Flecks pattern. Enter the rest of the settings shown in the following image, and then click OK.

The next thing we want to do is learn how to create a peeling sticker effect in Photoshop.Grab thePolygonal Lasso Tool (L)from the toolbar and highlight a section on the bottom right of the text sticker, roughly as shown in the second image.

With your 'FLIP' layer still selected, press Control-T to rotate your selection. First, drag that reference point from the center of the bounding box to the corner of the flipped area, as shown in the first image, and then rotate the selection around so it appears as if it is folded over, as shown in the second image.

Now that you know how to make stickers in Photoshop, you can check how your peeling sticker looks in a realistic sticker mockup. There's no need to learn how to make a sticker mockup as Placeitis an excellent resource for realistic sticker mockups.You can find circle sticker mockups, window sticker mockups, and other custom sticker mockups.

Now that you've learned how to create a sticker effect in Photoshop, let's see how easy it can be to apply it using a realistic sticker mockup. This circle sticker mockup gives you the opportunity to apply your Photoshop sticker on three different buttons.

how to create a sketch effect action in adobe photoshop

how to create a sketch effect action in adobe photoshop

In this tutorial, I'm going to teach you how to create a Photoshop sketch effect. You will learn how to turn your photos into amazing, advanced sketches. I will try to explain everything in so much detail that everyone can create it, even those who have just opened Photoshop for the first time.

The effect shown on the left is the one I will show you how to create here in this tutorial. If you would like to create the effect shown on the right, a sketch with a paint effect, and just using a single click, then check out my TechnicalArt Photoshop Actionover on Envato Elements or as part of a bundle on GraphicRiver.

Now we are going to create the base sketch. Select Background layer and go to Layer > New > Layer Via Copy to duplicate theBackground layer and then drag that new layer to the top of the layers in the Layers panel. Press D on your keyboard to reset the swatches and go to Filter > Filter Gallery > Sketch > Photocopy and choose the settings below:

Now we are going to create a draft sketch. Go to Layer > New > Layer Via Copy to duplicate theBase Sketch layer. Pick theLasso Tool (L), click anywhere inside the canvas, choose Free Transform, and increase the width and height to 105% as shown below:

Select the Base Sketch layer and go to Layer > New > Layer Via Copy to duplicate theBase Sketch layer again. Pick theLasso Tool (L), click anywhere inside the canvas, choose Free Transform, and decrease the width and height to 95% as shown below:

Now we are going to create a rough sketch. Select the Background layer and go to Layer > New > Layer Via Copy to duplicate theBackground layer, and then drag that new layer to the top of the layers in the Layers panel. Go to Filter > Filter Gallery > Artistic > Cutout and choose the settings below:

Now we are going to create more rough sketch layers using the same method. So repeat Step 1 and Step 2 in this section, but in Step 1 instead of using the settings we used the previous time, use the new settings below:

Now we are going to group all these rough sketch layers. While the layer RS_6 is selected, Shift-clickon the RS_1 layer to select these two layers and all other layers between them. Then go to Layer > New > Group from Layers to create a new group from the selected layers and name it Rough Sketch.

Now we are going to create some subtle shading. Select the Background layer and go to Layer > New > Layer Via Copy to duplicate theBackground layer, and then drag that new layer to the top of the layers in the Layers panel. Go to Filter > Stylize > Find Edges and then go to Image > Adjustments > Desaturate.

Now we are going to add contrast. Press D on your keyboard to reset the swatches and go to Layer > New Adjustment Layer > Gradient Map to create a new gradient map adjustment layer and name it Overall Contrast.

undo/redo and history in adobe photoshop

undo/redo and history in adobe photoshop

Beginning with the October 2018 release of Photoshop CC (20.0), you can undo multiple steps in your Photoshop document using Control + Z (Win) / Command + Z (Mac). This new multiple undo mode is enabled by default.

You can use the History panel to jump to any recent state of the image created during the current working session. Each time you apply a change to an image, the new state of that image is added to the panel.

For example, if you select, paint, and rotate part of an image, each of those states is listed separately in the panel. When you select one of the states, the image reverts to how it looked when that change was first applied. You can then work from that state.

By default, the History panel lists the previous20 states. You can change the number of remembered states by setting a preference under Preferences > Performance. Older states are automatically deleted to free more memory forPhotoshop. To keep a particular state throughout your work session, make a snapshot of the state (see Make a snapshot of an image).

Hold down Alt (Windows) or Option (MacOS), and choose Clear History from the panel menu to purge the list of states without changing the image. Ifyou get a message that Photoshop is low on memory, purging states is useful, because the command deletes the states from the Undo buffer and frees up memory. You cant undo the Clear History command.

To save one or more snapshots or image states for use in a later editing session, create a new file for each state you save, and save each in a separate file. When you reopen your original file, plan to open the other saved files also. You can drag each files initial snapshot to the original image to access the snapshots again from the original images History panel.

Makes changes to a selected state without deleting the states that come after. Normally, when you select a state and change the image, all states that come after the selected one are deleted. In this way, the History panel can display a list of the editing steps in the order that they were made. By recording states in a nonlinear way, you can select a state, make a change to the image, and delete just that state. The change is appended at the end of the list.

You may need to keep careful track of whats been done to a file in Photoshop, either for your own records, client records, or legal purposes. The Edit History Log helps you keep a textual history of changes made to an image. You can view the Edit History Log metadata using Adobe Bridge or the File Info dialog box.

You can choose to export the text to an external log file, or you can store the information in the metadata of edited files. Storing many editing operations as file metadata increases file size; such files may take longer than usual to open and save.

By default, history log data about each session is saved as metadata embedded in the image file. You can specify where the history log data is saved and the level of detail contained in the history log.

The Snapshot command lets you make a temporary copy (or snapshot) of any state of the image. The new snapshot is added to the list of snapshots at the top of the History panel. Selecting a snapshot lets you work from that version of the image.

You can compare effects easily. For example, you can take a snapshot before and after applying a filter. Then select the first snapshot, and try the same filter with different settings. Switch between the snapshots to find the settings you like best.

With snapshots, you can recover your work easily. When you experiment with a complex technique or apply an action, take a snapshot first. If youre not satisfied with the results, you can select the snapshot to undo all the steps.

Snapshots are not saved with the imageclosing an image deletes its snapshots. Also, unless you select the Allow Non-Linear History option, selecting a snapshot and changing the image deletes all of the states currently listed in the History panel.

To automatically create a snapshot, click the Create New Snapshot button on the History panel, or if Automatically Create New Snapshot When Saving is selected in the history options, choose New Snapshot from the History panel menu.

For example, you might make a snapshot of a change you made with a painting tool or filter (with the Full Document option selected when you create the snapshot). After undoing the change to the image, you could use the History Brush tool to apply the change selectively to areas of the image. Unless you select a merged snapshot, the History Brush tool paints from a layer in the selected state to the same layer in another state.

50+ best paper textures and overlays (old, crumpled, creased, and folded)

50+ best paper textures and overlays (old, crumpled, creased, and folded)

Check out this beautiful collection ofcreased paper textures. The collection contains ten hi-res images of various paper textures that are a perfect backdrop for your drawings, photos, and other projects.

Looking for a collection of crumpled paper textures? Well, here's just the thing for you. This pack contains 30 hi-reswhite crumpled paper textures that you can use as backgrounds for your print, graphic design, web design, as paper overlays, or as a mask to fill any shape or text.

Need a folded paper texture? Take a look at thisfolded paper overlay. Use any of these24 simple overlays from Folded Paper Texture Photoshopto add a folded look tophotos or other projectsinstantly. Simply place your chosen overlayover your image, change the blending mode to linear light, and youre done.

Crumpled and Creased Paper Textures offers you a used paper look that will give texture and variety to your projects. There are ten hi-res images included in this pack, and you can use them in both Photoshop and Illustrator.

If you're interested in creating a vintage look in your project, then this set of distressed paper textures is the right choice. The pack contains ten different backgrounds, so you have plenty of choice for experimenting to find the right look for your project.

Torn paper has a wonderfully tactile quality, and if that what's you've been searching high and low for, you'll love this pack oftorn paper overlays.The package contains four realisticripped paper overlays, all in one fully layered andeditable PSD file. You can customise the files to suit your needs, eventurning the shadow on or off as you please.

If you're in need of hi-res folded paper texture overlays, then check out this collection of 20 vector fold paper textures. They're an excellent choicefor craft projects, business cards, and other projects. They are fully editable, so you can use themindividually or in combinations for different effects.

If the vintage look is your thing, you'll love these aged paper textures. The pack contains 30 hi-res vintage anddistressed paper textures that can be used as backgrounds or overlays. Download them today and have fun.

Crumpled & Folded Paper Texture Overlay Photoshop gives you everything you need to add texture and depth to your images and projects. The pack contains 20 hi-res paper textures that can be used to createstationery, artwork, craft projects, and more.

If you're looking to accentuate the sense of distress in an old photo texture or an aged paper texture, consider adding small touches ofthis old iron texture. It will not only create more depth and intrigue in your images but also increase their tactile quality.

This collection is a bit unlike the others featured here in that it combines 30 radically different textures in one package. The emphasis is on grunge and damaged, so you will find old paper overlays, crumpled paper textures, distressed paper textures, folded paper overlays, deconstructed cardboard, and more.

Newspapers and traditional photos age in a similar sort of way, with a yellowing and browning of the paper and its edges as it grows brittle and more fragile.Old Photo Textures & Old Newspaper Textures are the perfect overlays and backgrounds bringing those authentic qualities to your photos and newspaper articles. There are seven A4 photo/newspaper overlays and five textures included in this set.

All hail this artistic pack of 40 grunge and rippedpaper overlays that offer a plethora of textures to suit every need. From watercolour to cardboard to compressed papers and much more, this collection is a designer's andscrapbooker's dream.

So if you're interested in purchasing just one paper textureoverlay instead of experimenting with several,then Graphic Rivermay be a better choice for you.You can download a single overlay for one-time use for a low fee.Let's take a look at some of the top-quality offerings there.

Use any of the eight layered PSD files fromOld Paper Texturesas a magazine texture overlay to add a vintage quality to scrapbook pages, wallpaper, or any other project where you want to bring a sense of the weathered and used.

This package of ten textures is a bit different from those we have featured so far, in that they are not paper. However, they are perfect for those looking for distressed paper texture as they mimic the cracks and peels you would find in posters that have been exposed to the elements for a long time.

These ten grunge paper textures/backgrounds/frames are perfectly layered so that you can use them all together or split them apart and useseparate layers as textures. A great collection for those looking for different effects likeclear overlay paper, magazine texture overlay, newspaper overlay, etc.

Use this wonderfully versatile template to create folded photo textures,coffee and ink stains, drops, and more.Just insert your photo and select the effect you like, ormix a few of them together. The pack contains one PSD Photoshop template, 15 different paper textures, seven folds, ten wrinkles, two stains, and five types of dust and scratches.

did photoshops new feature just crush this ai product? | fstoppers

did photoshops new feature just crush this ai product? | fstoppers

One of the latest buzzwords in tech and editing has been AI. While the earliest implementations were a bit of a gimmick, powerful tools and developments from companies like Adobe, NVIDIA, and Luminar have brought AI to the end-user in a meaningful way. Photoshops March 2021 update introduces a new AI tool that promises massive resolution improvements for any camera. Does it live up to the hype?

If youre not caught up on Photoshops notes, Adobe Camera Raw has received a new feature called Super Resolution. Currently available in Camera Raw 13.2 and coming soon to Lightroom and Lightroom Classic, Super Resolution uses a machine learning model to intelligently enlarge photos while maintaining clean edges and preserving important details.In practice, its a one-click way to quadruple your photos megapixel count, while retaining much more detail than dumb upscaling, like bicubic and nearest neighbor methods.

This isnt a new idea, however. AI upscaling has been around for a while. Its even been implemented into existing consumer products, most notably in Topazs Gigapixel AI software. Gigapixel is built around a similar principle: train a machine learning model with a set of low- and high-resolution image pairs so that the computer eventually learns what a low-resolution area could look like in high resolution. This model can then up-sample the photos and create details to fill in the blanks. Depending on how this is implemented, it can be pretty computationally intense, relying on your computers GPU to perform a lot of work.

While there are some differences between how these programs work, with PSs feature integrated into ACR instead of being a standalone programand Gigapixel offering some more options for customizing the processing, the end results are perfectly comparable.

For these tests, I wanted to take a look at a couple of different types of images that I often shoot and that often benefit from more resolution. To compare, I grabbed some raw files from my Mavic Air 2 (to represent aerial shots) and my Nikon Z 7 (representing architecture and product photography, as well as higher resolution). While these files are unprocessed, each program handled them slightly differently, the most important distinction being ACR automatically applying lens corrections. This resulted in a slight difference between FOV and brightness between the files, but Im not really considering that relevant in the comparison, as you could pass a processed file through Gigapixel without a meaningful difference. Also, in the following images, the Photoshop Super Resolution version will be on the left, with Gigapixel's on the right.

In my mind, this is the worst-case scenario for upscaling. While the Mavic Air 2s files are very impressive for a camera that can fly at 40 mph, they arent gorgeous at a pixel level. They can be a bit noisy even at low ISOs, and the Quad Bayer sensor, like Fujis X-Trans, has historically had problems with some demosaicing processes.

One thing that stuck out to me when reading about Super Resolution was how it included ACRs Enhance Details processing step by default. Enhance Details was an earlier foray into ML-poweredtools and offered a way to demosaic raw files with fewer resulting artifacts. Its a very minor improvement in many cases, but Ive found that it can help in cases of tricky moire, or with atypical sensor setups like X-Trans or Quad Bayer. As a result, I dont do it by default but appreciate that its available.

First, lets talk about processing time and workflow. Loading the raw file into Photoshop, then right-clicking the image and selecting Enhance brings up the relevant menu. From here, a preview is quickly generated, and a new DNG can be created. Via this flow, you still have access to the same features youd have if youre processing the raw file normally and can also quickly see what benefit Super Resolution will offer.

With Gigapixel, loading the raw file and setting things up is quite a bit slower. Theres a delay as the preview generates, a significant delay each time you scroll or change an option as it redraws, and finally a very significant difference in actual processing times. Super Resolution produced a finished file in 3 seconds, while Gigapixel AI took 1 minute and 23 seconds.

As for the finished files, Photoshops version is significantly better. Two major improvements are visible. The first is an area that has been a problem for many other software tools when dealing with Quad Bayer or X-Trans files: wormy looking green areas. In Gigapixels version, theres a very watercolor-y, unnatural look to this area of foliage.

The second major improvement is the relative absence of major artifacts in Photoshops version. To personify it, Gigapixel is overly aggressive in making up details. It creates faint patterns in areas that should beplain texture and generates noticeable artifacts in areas like text and faces. Photoshop, meanwhile, appears to just deliver a very good upscale. The drone shot, after processing, becomes a 48-megapixelshot. While it isnt going to match a DSLR for microcontrast and sharpness, its surprisingly closeand a drastic improvement from the original 12-megapielshot.

While my Z 7 offers great resolution with its 45-megapixelsensor, more is always better. To that end, I was curious how these two scaling methods would work with a file offering a mix of organic shapes and straight lines, along with some fine details.

From this test file, I observed a similar pattern in usability, but to an even greater degree. Photoshop rendered a finished file in 6 seconds, while Gigapixel took 5 minutes and 1 second to finish its version.

Comparing the two files, Photoshop again delivered a surprisingly neutral file. There are no major problem areas, and the files still have quite a bit of bite at the pixel level. As Photoshop auto-applies lens corrections, the FOV is a bit different, but I think these corrections would need to be applied anyway to Gigapixels file, as theres noticeable distortion present in the buildings. At the pixel level, PSs version only has a slight issue with some fine details, like the stars on the flags. Photoshop renders them as stars, but with a bit of false color creeping in. In Gigapixels version, these are unrecognizable smudges as well as artifacts from false color.

Gigapixel also runs into that watercolor problem again along the chain-link fence. Here, Photoshop renders the fence as expected, while Gigapixels version is smeary, with individual strands of the fence almost seeming to blur out of focus.

In the architectural details, both are competent. Photoshop seems to err on the side of preserving a bit more noise and texture, while Gigapixel smooths things to a greater extent, but I think you could push either file to the same place with a bit of sharpening and noise reduction.

For about $100, I just cant see the value in Topazs Gigapixel AI product for my workflow now that Adobes Super Resolution is available. In my testing across therange of subjects I shoot, Super Resolution delivered equal or better results in every case. Architecture, landscapes, nightscapes, product photos, aerial shots, and more all came out better in Super Resolution. That isnt even considering the significant workflow benefits:Super Resolution is built-in to Photoshop, respects the existing ACR workflow better, and is anywhere from 20 to 50 times faster to process. If you havent tried out Super Resolution yet, definitely give it a try!

May I suggest including a caption below the comparison images or a tag on the image for future articles?. Without mentioning it explicitly it's kind of confusing to tell if we are seeing before/after images, Pp/Topaz, or Topaz/Pp

Yeah, its always a balance between information density and readability - the inline image sizes are so small that I prioritized getting as much of the screenshot in there as possible. If these were blueprints, it might be a different story :)

Im a bit sour as i just bought gigapixel a few weeks ago...but until this is completely integrated into Lightroom ill keep using Gigapixel for my a7siii Files. It pretty much solves the one weakness of the hybrid camera. The video-version is mindblowingly good tho. I recently remastered an old documentary dvd with this and it brings the mostly 720p footage with great detail to life. Amazing. Cant wait, until Resolve integrates something similar in the base program...but i guess that will take a few years...

Don't worry, you made a good choice when you purchased Gigapixel AI. In a nutshell, I tried both Adobe and Gigapixel AI on a TIF of a portrait and the Gigapixel AI did a better job. Please see my post below for more details.

I dont quite think this is a fully fair comparison. ACR is absolutely going to have a better raw processing algorithm. That is a different question then which has a better super resolution algorithm. I would very much like to see a comparison of a TIFF file out of ACR that is then put through gigapixel. I did a quick one-off test myself and was actually happier with gigapixel. Adobe Super resolution had fewer but nonzero artifacts but topaz did a much better job reducing noise and putting in realistic sharp detail. In the end I think Im going to try both products whenever Im generating a high-resolution file for output but I suspect Ill continue to use topaz. In my workflow increasing resolution is the second-to-final step (last being output sharpening with Nik). Creating an eight times larger DNG file and then doing all of my Photoshop work on a file with four times the pixels is significantly slower workflow than finishing the project and kicking off gigapixel while I have a cup of coffee or run a batch before printing. If you think gigapixel is slow wait till you actually wait for the large format printer. Plus Im always going to have a large camera ready TIFF file; I dont also want an enormous DNG that needs to be backed up as well.

I just took my own advice and tried a TIF of a portrait I processed in Capture One. At first glance they are similar, but when looking closer, the Adobe file has much more artifacting and the Gigapixel AI version was very smooth and natural (while still maintaining detail and sharpness). Plus, Gigapixel AI gives you more options for controlling the processing. I used the Standard mode, but there are also modes for Architecture, Art and Compressed files. On top of that, Gigapixel AI lets you go larger. The Adobe result is good, but the Gigapixel AI output is very good. The trick is to process raw files first with your normal raw processing software, then use the Gigapixel software to enlarge.

GPAI can produce better images - particularly with high-frequency man-made or architectural objects. In fact sometimes it's nothing short of astonishing. You do need to tweak the settings, but of course ACR has no settings at all so you get what you are given. For low-frequency stuff like portraits, GPAI is ever so slightly better, but generally not worth the wait and you have to look really closely.

GPAI is worth the fee IMO - I bought a copy after my tests using the demo, but it's hard to fit into an efficient workflow. It's sloooooow, even on my 10 core iMac. But, to my eye at least, it can squeeze out a bit more definition.

Update: I should add that I do not see the change in contrast that the all the sample images above show. Maybe the author is doing something different. I exported my 12MP DNG files to 16 bit TIFF before running them through GPAI, if you run the same DNG file through GPAI, I got muddy results too.

Here are screenshots of what I got with Adobe and Gigapixel AI. The Adobe image has the artifacting. Be sure to click on an image to really see the differences! These are created from a 16bit TIF file and NOT the RAW file.

Why does the GAI image have CA? Also, can you work offline with the latest version? I may be wrong but it appears the app "phones home" to tap into a larger database in order to process, which may partly be the reason for the longer processing times.

I believe that the main use of software like this, be it from Topaz Labs or Adobe, is the possibility to enlarge certain segments of an image and still be usable, instead of enlarging the whole image for the sake of printing a XXL sheet. Knowing which part of an image you want to enlarge, first cropping and then running it through the enlargement will also greatly improve the processing speed. If you don't have a somewhat reasonable computer the resulting filesize of uncropped enlarged images can bring photoshop down to it's knees. Since most people who look at a print hanging on a wall rarely use a magnifiying glass to check for artefacts, I think you will find this method yield very pleasing results, especially if you run the cropped image through another piece of sharpening software, like I did on the example posted below. The large image is stitched from two photos (24MP each), I then made a crop of the altar, used the new ACR-enhance feature and afterward ran it through a sharpening process. The result is on the right, with some perspecitve, exposure, and color adjustments.

Which of the two (PSR or GPAI) would work best for automotive light painting images taken with an EM1 mkII for printing at 30x40 inches or larger? Currently my first step is run RAW through DXO 4 for Deep Prime noise reduction and optical corrections, output as DNG. I then load into PS as layers and mask multiple images to create the final result, then flatten image. After flatten I go to LR for final global edits. Next step would be PSR or GPAI for upsizing, then output sharpen. Thoughts?

My thoughts -- if your images show a lot of noise - reduce noise before resizing. But generally I allways apply any resizing process before doing any other post-processing. So in your case, depending on the amount of noise, either at a first step or as a second step after your deep prime noise reduction. But just do two test runs: one using either software at the beginning or the end -- I kind of think you wont really be able to tell a difference, at least not once the image is printed out. Since a 40x30 inch image will be viewed at some distance (propably about at least 40 inches away), the subtle differences that might show from "pixel-peeping" wont be perceived. Since you actually asked for which software is better suited - I use PSR since its faster. And even though GPAI -- like all other Topa AI software,-- has more controls, most people still just use the "auto" function" and leave it at that. Good luck!

In addition to my TIF portrait samples posted in this comment section, I tried an architectural JPG shot. My results were the same: Gigapixel AI does a better job compared to Adobe. The photos speak for themselves. Be sure to click to see the photos large! On a technical note, I used the Architecture mode when using Gigapixel AI and did not make any other adjustments.

In the end I think people are just going to reach for the immediate solution in their RAW processor. The good thing about Adobe adding this feature is that Topaz will be force to drop the price of Gigapixel, which frankly is overpriced, so it'll be win-win all around.

I love AI Gigapixel but it's so slow that by the time the uprezzing is done I've missed my client's deadline. Further, if I am correct Topaz has a subscription model for updates which for some products is as much as the entire Adobe CC price. So for me this new Adobe feature is a real plus. Hopefully to compete Topaz will work to speed up AI Gigapixel and offer the updates free as they used to or at a significantly more modest price than they charge now, as I would like to have both options at hand for critical work.

This comparison is a little off. The automatically applying lens corrections and camera raw processing is making the Photoshop images look better in each comparison. I believe Dan Donovan is correct in having the challenge run on a 16-bit TIFF would be a more fair comparison.

I considered purchasing Topaz Gigapixel AI about two months ago. I wanted to enlarge a few bird images by 2x I realize this does not add uncaptured detail. I downloaded the trial version. I was literally floored at how many artifacts I saw when comparing 1-to-1 with the original. Gigapixel just didn't multiply the number of pixels, it literally manufactured all kinds of little patterns not present in the original, and they were detectable even when the resulting image was viewed at less than 100%. I tried the regular PS bi-cubic sharpener as a comparison and it did a much better job of doubling the image while keeping it true to the original.

I tried it too and not only is it slow as a damn turtle, I did not see any additional detail that it supposedly adds. It honestly looked like garbage in every single case. It wasn't even "meh this is good but not good enough to buy" it was "this is destructive to the image" - I always ended up just upsizing the photo in PS instead.

The reality, though, and I say this as someone who owns a large format printer and regularly uses it, extremely high resolution is overvalued for printing unless you're 1) printing very large from, say, a 12MP image - though even then I've printed many of my D700 images that look beautiful without any upsizing, or 2) you crop heavily, which is probably the most valuable use of it. I've absolutely never needed to upsize a file from my Z7, unless it was heavily cropped.

There is, however, value if the process is actually able to enhance detail. Which Gigapixel absolutely did not for a single file I tried. And before someone comments about it, yes, I was using TIFF files, not RAW.

Thanks for taking the time to write this up, as I didn't even catch the implementation of this myself. I do look forward to more nuanced comparisons, as many people have rightfully pointed out, there is more to this than simply processing for raw files.

Use cases vary widely, and its great that there are tools out there to handle different things, some will naturally be better than others, but not all the time necessarily. I sometimes enlarge old scanned photos that are in jpg or tif. In these scenarios that i tested, it took little more than a few minutes to see Gigapixel results flexed easily over ACR, in terms of sharpness, detail and noise suppression. Not to mention, Super res feature is strictly set on x2 scale (for now?), Topaz offers greater flexibility, of course like anything it has its limits.

I've been using gigapixel for over a year. I do large format printing. This software is a game changer when it comes to increasing file size. As with any upsampling software, the larger the original file, the better the results. The new ACR is a good start for Adobe, but is not in the gigapixel class. Not even close. Gigapixel does 2 important things that ACR doesn't do. It reduces noise to very acceptable levels. It also sharpens the image as it upsamples. I use many image editing softwares. Gigapixel is is great.

Haven't tried it yet but definitely will. AI functions are everywhere nowadays and I'm really curious to see how are these features different from the ones in Photoworks or other editors. I loved the way one of the previous posters had put it: photo editors try to outshine each other and photographers are the ones who definitely win.

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candy style photoshop collection
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 psddude

candy style photoshop collection | psddude

Fresh collection of candy styles for Photoshop that you must have. The list contains free candy styles but also some premium files if you are willing to spend some money. You will see that some of the free candy styles are better than the premium ones. The pop candy is one of my favorite styles ever. If you want to read some more related resources like candy tutorials, how to create chocolate and cookies check out our candy resources. This collection includes only Photoshop styles, that means you are downloading a file with ASL extension. After you download the ASL file you have to install it in Photoshop; double click on the file or simply drag and drop in Photoshop. Open the layer styles window of any layer and from the Styles choose the style that you have just uploaded.

Fresh collection of candy styles for Photoshop that you must have. The list contains free candy styles but also some premium files if you are willing to spend some money. You will see that some of the free candy styles are better than the premium ones. The pop candy is one of my favorite styles ever. If you want to read some more related resources like candy tutorials, how to create chocolate and cookies check out our candy resources.

This collection includes only Photoshop styles, that means you are downloading a file with ASL extension. After you download the ASL file you have to install it in Photoshop; double click on the file or simply drag and drop in Photoshop. Open the layer styles window of any layer and from the Styles choose the style that you have just uploaded.

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