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Each of Photoshop’s panels can be turned on and off from the Window menu.

If you’re not seeing the Color panel, you can select it by going up to the Window menu in the Menu Bar along the top of the screen and choosing Color from the list of panels. A checkmark next to a panel’s name means it’s currently open somewhere on your screen:

The Color panel is found (by default) at the top of the panel area on the right.

If you’re working in Photoshop’s default Essentials workspace , you’ll find the Color panel in its usual spot at the top of the panel area along the right side of the interface ( colorful model photo from Shutterstock):

Of course, to benefit from these new features in Photoshop CC 2014, you’ll need to be a monthly subscriber to Photoshop .

As we’ll see, not only is the Color panel now fully resizable, but it also gives us two new ways of choosing colors — the Hue Cube and the Brightness Cube — both of which have been borrowed from Photoshop’s Color Picker and designed to make choosing colors in Photoshop faster and more intuitive.

In this tutorial, we’ll take a quick look at the improvements and enhancements Adobe has made to the Color panel in Photoshop as part of the Creative Cloud 2014 updates.

Resizing The Color Panel

Dragging towards the left to make the Color panel wider.

Dragging downward to make the Color panel longer.

Undocking the Color panel from the other panels in the column.

Now, you may be thinking, “Well, that’s sort of cool, but what’s the point? You’ve made the Color panel bigger, sure, but why? What’s the benefit?” An excellent question, and certainly, when using the Color panel in its default RGB Sliders mode (with sliders for mixing red (R), green (G) and blue (B) to create the colors we need), there isn’t much of a reason to resize it. However, Photoshop CC 2014 introduces two new ways to choose colors, and as we’re about to see, it’s these new options — the Hue Cube and the Brightness Cube — that make resizing the Color panel such a great and useful feature.

The New Hue And Brightness Cubes

This would open the Color Picker (and still does, by the way) where I could select the color I need:

The Color Picker has been the most common way to choose colors in Photoshop.

The Color Picker gives us lots of different ways to choose colors, but by far the most common way is by first selecting a main hue (often thought of as the actual color itself) from the narrow vertical bar:

The main hue strip.

Once we’ve chosen the hue, we then choose a brightness and saturation level for the color from the larger square (the “cube”) on the left. The brightness levels run from top to bottom while the saturation levels run from left to right:

The brightness and saturation box.

The reason the Color Picker is set up like this initially is because by default, the H option is selected in the center of the dialog box. H stands for Hue, which means we’re selecting colors based primarily on their hue, with brightness and saturation as secondary attributes:

The Color Picker is set to Hue by default.

Watch what happens if we switch from H to B:

Switching the color selection mode from H to B.

B stands for Brightness, and by switching from H to B, we’ve changed the way the Color Picker is set up. We’re now selecting colors based primarily on their brightness, with hue and saturation as secondary attributes. The narrow vertical bar on the right becomes the area where we select a main brightness level for the color:

With B selected, we choose a brightness from the main strip.

Then, once we’ve chosen the brightness we need, we choose a hue and saturation from the square on the left. The hue values now run from left to right while the saturation levels run from top to bottom:

The hue and saturation box.

The Color Picker needs to be closed before we can continue working.

The two new options, Hue Cube and Brightness Cube, are listed at the top of the menu. I’ll choose the first one, Hue Cube:

Selecting Hue Cube from the Color panel menu.

With Hue Cube selected, the Color panel now lets us choose a color the same way we’d choose it from the Color Picker when H (Hue) is selected. We first choose a hue from the narrow vertical bar on the right, and then we choose a saturation and brightness level for the color from the larger square on the left:

The Color panel set to Hue Cube behaves just like the Color Picker set to H (Hue).

Use the swatches to switch between the Foreground (upper left) and Background (bottom right) colors.

I’ll select the second new option, Brightness Cube, from the menu:

Selecting the Brightness Cube from the Color panel menu.

With Brightness Cube chosen, the Color panel now acts just like the Color Picker when set to B (Brightness). We select a main brightness for the color from the vertical bar on the right, then we choose a hue and saturation from the square on the left:

The Color panel set to Brightness Cube behaves just like the Color Picker set to B (Brightness).

The great thing about being able to choose colors like this from the Color panel, rather than the Color Picker, is that we can leave the Color panel open on the screen the entire time we’re working, letting us change colors effortlessly and on the fly without needing to open up a separate dialog box (and being blocked from doing anything else in Photoshop while the dialog box is open). Here, we see my Color panel again in the upper right of the interface where it appears by default, but this time, it’s set to the Hue Cube rather than the default RGB Sliders mode. Also, I’ve resized it to make it larger, as we learned how to do earlier, so that while it takes up more screen real estate, it also gives me a wider range of colors to choose from as I’m working:

The resized Color panel set to Hue Cube.

Of course, the Hue Cube and Brightness Cube are only two of the many ways Photoshop’s Color Picker gives us for selecting colors, so these new Color panel options haven’t completely replaced it. What they’ve certainly done, though, is greatly reduced the need for it. The next time you’re doing any sort of colorizing work in Photoshop, rather than jumping to the Color Picker every time you need to change colors, try out the newly-resizable Color panel, set it to either Hue Cube or Brightness Cube, and see for yourself how much of a difference it makes to your design or retouching workflow.

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Color Grid Design In Photoshop

I’ll be using Photoshop CS5 throughout the tutorial, but any recent version will work.

In this Photoshop Effects tutorial , we’ll learn how to create a colorized grid design ! We’ll use Photoshop’s guides and rulers to set up the initial spacing, then a couple of rarely used selection tools to convert the guides into an actual grid. We’ll learn how to easily select random squares in the grid and colorize them with adjustment layers and blend modes, and finally, how to color and adjust the appearance of the grid itself!

How To Create A Color Grid Design Step 1: Create A New Photoshop Document

Let’s begin by creating a new document for the grid. Go up to the File menu in the Menu Bar along the top of the screen and choose New:

The New Document dialog box.

Step 2: Show Rulers

Go up to the View menu at the top of the screen and choose Rulers, or press Ctrl+R (Win) / Command+R (Mac) to quickly turn the rulers on with the keyboard shortcut:

Step 3: Change The Ruler Measurement Type To Percent Step 4: Drag Out Horizontal And Vertical Guides At 10 Percent Increments

Do the same thing to add a guide at each 10% increment (20%, 30%, 40%, and so on), all the way up to the 90% mark. Your document should now appear divided into 10 equally-spaced vertical columns:

The guides divide the document into 10 vertical columns.

The guides divide the document into a grid of squares.

With the guides in place, press Ctrl+R (Win) / Command+R (Mac) on your keyboard to hide the rulers, since we no longer need them.

Step 5: Add A New Blank Layer And Name It “Grid”

Name the new layer “Grid”.

The new blank layer appears in the Layers panel above the Background layer:

Photoshop adds the new layer and names it “Grid”.

Step 6: Create A Selection From The Guides

We’ve divided our document up into a grid using Photoshop’s guides, but the guides are just for visual reference. They won’t be of any real use to us unless we somehow convert them into an actual pixel-based grid, and we can do that easily using a couple of Photoshop’s rarely used selection tools – The Single Row and Single Column Marquee Tools.

A grid of horizontal and vertical selection outlines.

Step 7: Fill The Selection With Black

Go up to the Edit menu at the top of the screen and choose Fill:

This fills the selections with black, although it may be hard to see with the guides and selection outlines in the way, so go up to the Select menu at the top of the screen and choose Deselect, which will remove the selection outlines:

With the selection outlines and guides removed, we can see our black grid on the Grid layer:

The black grid lines now appear.

Step 8: Open The Photo You Want To Use With The Effect

Open the photo you’ll be using with the grid effect. Here’s my image:

Open the photo.

If you’re using Photoshop CS3 or earlier, the photo will automatically open in its own floating document window. If you’re using Photoshop CS4 or CS5, depending on how you have things set up in Photoshop’s Preferences, the photo may open in a tabbed document. If that’s the case, to make the next step easier, go up to the Window menu at the top of the screen, choose Arrange, and then choose Float All in Windows (CS4 and CS5 only):

Step 9: Drag The Photo Into The Grid Document

Grab the Move Tool from the top of the Tools panel.

With the Move Tool selected, hold Shift and drag the photo into the grid document.

Release your mouse button, then release your Shift key, and the photo will appear centered inside the grid’s document window. You can close out of the photo’s document at this point since we no longer need it:

Holding the Shift key is what centers the photo inside the document when you drag it.

Notice that the grid appears in front of the photo. That’s because, if we look in the Layers panel, we see that the photo has been placed on its own layer under the Grid layer, just as we wanted:

Photoshop placed the photo on a new layer directly above the layer that was active, which is why we first selected the Background layer.

Step 10: Resize The Photo If Needed With Free Transform

If you need to resize your photo inside the grid document, go up to the Edit menu at the top of the screen and choose Free Transform:

This places the Free Transform bounding box and handles around the image. If you can’t see the handles because the edges of your photo extend beyond the viewable area in the document window, go up to the View menu and choose Fit on Screen:

Drag any of the corner handles to resize the image with Free Transform.

If you zoomed the image out a moment ago using the Fit on Screen command and want to zoom back in now that you’re done resizing the image, go back up to the View menu and choose Actual Pixels (see our Zooming and Panning in Photoshop tutorial for more info on zooming in and out of documents):

Step 11: Select The Grid Layer Step 12: Select The Magic Wand Tool

In Photoshop CS3 and higher, the Magic Wand is hiding behind the Quick Selection Tool.

Step 13: Select The Outer Edge Squares

All of the outer edge squares now have selection outlines around them.

My initially selected squares.

Step 14: Add A New Layer Below The Grid Layer

The new layer appears below, not above, the Grid layer.

Step 15: Fill The Selected Squares With White

Set the Use option to White.

Photoshop fills the selected squares with white. Deselect the squares by going up to the Select menu and choosing Deselect, or simply press Ctrl+D (Win) / Command+D (Mac) to deselect them with the keyboard shortcut:

A border of white squares appears around the image.

Step 16: Select The Grid Layer Step 17: Select Different Squares Step 18: Select The Photo Layer

Select the photo layer in the Layers panel.

Step 19: Colorize The Squares With A Hue/Saturation Adjustment Layer

Choose Hue/Saturation from the list of adjustment layers that appears:

Choose Hue/Saturation from the list.

Step 20: Change The Blend Mode For The Adjustment Layer To Color

If we look in the Layers panel, we see the adjustment layer sitting directly above the photo layer. Make sure it’s selected (highlighted in blue), then go up to the Blend Mode option at the top of the Layers panel and change its blend mode from Normal (the default mode) to Color. This makes sure we’re changing only the colors in the image, not the brightness values:

Change the blend mode of the Hue/Saturation adjustment layer to Color.

Here’s my document after colorizing some of the squares red:

A few red squares have been added to the effect.

Step 21: Select And Colorize More Squares

You can also use a Hue/Saturation adjustment layer to completely desaturate some of the squares, leaving them black and white. To do that, select some squares, then add a Hue/Saturation adjustment layer as you normally would, but rather than choosing a color with the Hue slider, simply drag the Saturation slider all the way to the left, which will remove all the color (no need to select the Colorize option, either):

Remove all color from some squares by dragging the Saturation slider all the way to the left.

Here’s my effect so far after colorizing more squares with additional Hue/Saturation adjustment layers. In case you want to use the same colors I did, for blue I set Hue to 200, Saturation to 30. For Green, Hue was set to 120, Saturation 25. For Purple, Hue was 289, Saturation 35. And as I just mentioned, for the black and white squares, Saturation was set to -100 by dragging the slider all the way to the left:

The colorized grid effect so far.

Step 22: Try A Different Color Mode For Some Of The Adjustment Layers

The one problem I have with my result so far is that it doesn’t really look as bright and colorful as I was hoping for. One way to change that is to change the blend mode for some of the adjustment layers. If we look in the Layers panel, we can see all the adjustment layers I’ve used to colorize the squares. There’s five in total, including the one I used for the black and white effect:

Five adjustment layers were used for the effect.

Selecting the red Hue/Saturation adjustment layer, then changing its blend mode to Screen.

Changing a blend mode may require adjustments to the color’s saturation level.

Here’s my image after changing the blend mode for red to Screen and increasing its color saturation. Notice the red squares now look brighter:

Screen is a popular blend mode commonly used to quickly brighten images.

Different blend modes will give you different effects. Screen, Multiply and Overlay are good ones to try.

Step 23: Change The Color Of The Grid Lines To White Step 24: Fill The Grid Lines With White

With the Lock Transparent Pixels option selected on the Grid layer, anything we do to the layer will affect only the pixels themselves. It will not have any affect on the transparent areas. This way, if we fill the layer with, say, white (as we’re about to do), only the grid lines will be filled with white. The transparent areas on the layer will remain transparent.

Photoshop fills the layer with white but only the grid lines are affected.

Step 25: Add A Stroke Layer Style

Choose Stroke from the list of layer styles that appears:

Select Stroke from the list.

Change the color of the stroke to white, then adjust its width with the Size slider.

The final result.

Macphun Takes On Lightroom Cc With Improved Luminar 2023 Photo Editor

The Mac is in the midst of a photo editor renaissance, with applications like Photos for macOS continuing to improve and third-party options likes Affinity Photo popping up. Adobe, too, recently launched Lightroom CC, an all new cloud-based version of Lightroom for the Mac. Today, Macphun, the developers behind several popular photography applications for macOS, are introducing Luminar 2023, their answer to the increasingly competitive software landscape.

Adobe’s Lightroom CC has generated a bit of controversy in photography circles, as users find themselves faced with adopting new workflows and rethinking their organization strategies. The 2023 release of Luminar hopes to provide a viable alternative. I’ve been testing Luminar 2023 alongside Lightroom CC to see how both applications fare.

Interface

The first change of note when you launch Luminar 2023 is an improved user interface. The application feels truly at home on the Mac, much more than Lightroom. Controls are intuitive, and the entire interface has a pleasant dark theme, perfect for working with images. With the exception of batch processing, working in Luminar today is a photo-by-photo process. Each photo you edit is opened and managed separately – at least for now. Macphun has teased a free update coming in 2023 that includes an image browser and digital asset manager, allowing better integration with existing Lightroom libraries:

Photographers will be able to sort, rate, organize, and backup their photos at great speed. The new digital asset management platform in Luminar will work without subscription and will work with any storage (cloud or local).

The existing management workflow feels a little tedious and old-fashioned, so this will be a very welcome addition.

Workflow

Luminar 2023 brings new and powerful editing features. Pros will appreciate a new RAW engine for processing photos taken with high-end cameras. Also new this year is support for LUTs, or lookup tables, custom adjustment presets that many professionals create and rely on for saving and applying a specific look to multiple images.

Macphun has greatly expanded the number of adjustments available in Luminar, which they call filters. New for the 2023 release are Sun Rays (my personal favorite), LUT Mapping, Dodge & Burn, RAW Develop, Hue Shift, Matte Look, Brilliance/Warmth, Lens Correction, Transform, Image Flip & Rotate, as well as realtime noise reduction capabilities. All of these filters can be added manually or queued up with default workspaces, which group together commonly used tools for editing different types of photos. Coming from an Adobe background, I was still able to dial in the look I wanted faster in Lightroom, but existing users of Apple’s Photos app on macOS, and those familiar with photo editing workflows on iOS apps will probably find Luminar more intuitive. It feels like it was designed by Mac users, for Mac users.

Sharing

After you’ve edited your photos, Luminar makes it simple to distribute them, using the Mac’s native share sheets and a conveniently placed share button in the upper right-hand corner of the interface. Luminar can also export your photos to other editing apps for additional adjustment, including Macphun’s Aurora HDR, Photoshop, Lightroom, and Apple Photos. New for 2023 is support for third-party Photoshop plugins as plugins for Luminar.

Availability & Pricing

Check out 9to5Mac on YouTube for more Apple news:

FTC: We use income earning auto affiliate links. More.

2014: The Year Of Free Hardware

Usually, I avoid making predictions. However, increasingly, I believe that the sleeper trend of 2014 will be free-licensed hardware — and that its availability could transform free and open source software (FOSS) as well as hardware manufacturing.

Meanwhile, the newly founded MakePlayLive is developing the KDE-based Vivaldi tablet, and has released the Improv engineering board to help small developers bring their product to market. Almost certainly, others are flying under the radar.

Having FOSS on commercial devices is hardly new, of course. As Jim Zemlin, the executive director of The Linux Foundation, is fond of pointing out, Linux increasingly runs the hardware of our daily lives.

What makes these efforts different is that they are not simply cases of corporations using FOSS to speed development and shorten time to market. Instead, to varying degrees, they represent the new trend of community projects starting to manufacture hardware and entering the commercial market.

For some, the trend is a small step. Ubuntu has always been dominated by its commercial arm Canonical, while the size of Mozilla has often made it seem as much a corporation as a community.

But for others, the trend means combining the community and the commercial in a way unimagined since the idealistic days of The Cluetrain Manifesto. It not only means making devices that are as free-licensed as possible, but also attempting to graft FOSS ethics on to business. Make PlayLive, for example, sees itself as a “cooperative brand” much like a FOSS project, consisting of a group of individuals who pool their skills to accomplish what they could never do by themselves.

Transformative Works

Many of these efforts are going to fail — not necessarily because they are flawed, but because most new manufacturing ventures fail. Manufacturers and distributors of computerized hardware are intensely conservative, and newcomers without a record of success have trouble gaining footholds. Even when they do strike deals, their products are often not promoted with the same enthusiasm as products that are the clones of popular devices.

Many, too, are entering saturated markets. Often, one effort at free hardware will be competing against others.

All the same, the very effort to create free hardware is likely to reverberate through the FOSS community. For one thing, the effort means that pockets of the community are going to have a knowledge of manufacturing that, right now, very few have. Simply by trying to market their devices, participants are going to shed the naive suspicion of business that is still a feature of many parts of FOSS community and replace it with practical, firsthand experience.

Such experience can hardly help but change the way participants interact with companies like Google or IBM, for whom FOSS is primarily one strategy among many. The community will gain negotiating strength simply by being better informed and better able to assess announcements and events. It will be able to look after its own interests better.

Furthermore, if some of this community-based capitalism succeeds, the effects will be even greater. As the number of people involved simultaneously with the community and commercial efforts increases, new roles and relationships emerge. It already sounds, for instance, as though MakePlayLive is reinventing the idea of the cooperative.

But what happens if free hardware becomes a priority for dozens of small manufacturers over the next decade? Then, slowly, free hardware gains a voice in the industry, and perhaps manufacturers rethink proprietary firmware, and completely free devices become a market choice.

Yes, the idea is quixotic, even absurd. But so was free software once, and now it is a serious alternative.

The way events are shaping, 2014 could become the start of all these changes, to say nothing of others that we can’t foresee. Win or lose, these efforts at open hardware promise to renew the idealism and plans for world domination that are FOSS at its best.

Photo courtesy of Shutterstock.

Iphone 12 Pro And Pro Max Unveiled With Gorgeous Displays And Improved Cameras

iPhone 12 Pro and 12 Pro Max – The jewels of 2023

Apple is offering its high-end models in two distinct sizes. The iPhone 12 Pro flaunts a 6.1-inch display while the 12 Pro Max brings a 6.5-inch panel. Both are upgraded in comparison to the last year’s bezels. Worth noting that Apple also has done a good job this year by making the bezels slimmer. Both devices bring an IP68 rating and stainless steel build. The iPhone 12 Pro brings a 2,532 x 1,170 pixels of resolution, while the Pro Max has a slightly higher 2,778 x 1,284 resolution. Both displays are quite bright with 1,200 nits. The display is covered with Corning Ceramic Shield material to keep it resistant to scratches and durable.

Both displays are of the OLED kind, but unfortunately, Apple is not following Android standards here. For instance, users still get a 60Hz refresh rate. So anyone hoping for a smooth display experience will have to wait until the next year. The rectangular notch is also alive and kicking and is behind all the magic that keeps Face ID working at fully.

The high-end models are quite similar to the recently released iPad Pros. As we’ve mentioned before, the stainless steel finish and the squareish frame will bring back some iPhone 4 vibes. Apple is selling the new handsets in Gold, Gray, and Silver. If Samsung has the Mystic Bronze hero color, Apple brings the Pacific Blue as its bet for the Q4 2023.

Upgraded Cameras

Both handsets bring improved cameras, but the setups aren’t exactly the same. For instance, the iPhone 12 Pro brings a 12MP wide, 12MP ultrawide, and a 12MP telephoto lens. The brighter lens has an f/1.6 aperture, according to Apple this sensor can get up to 27% more light than its predecessor. The Telephoto unit brings an f/2.0 aperture and a 52mm focal length along with OIS.

Gizchina News of the week

The iPhone 12 Pro Max has a larger 1/1.7″ sensor with 1.7 um pixels. This sensor is 47% larger than the 12 Pro and the last year’s 11 Pro Max. It also brings an f/1.6 aperture which brings 87% more light to the sensor. The company also changed how the image stabilization works. Now it uses the sensor instead of moving the optic lens to react and make the footage stable. According to Apple, the new system is faster and more reliable now.

Apple A14 Bionic, Smart 5G, and fast-charging

Under the hood, both iPhone 12 Pro models bring the excellent Apple A14 Bionic to the table. For starters, this is the first 5nm chipset to hit the market. It brings 2 big CPU cores and 4 small cores and provides 50% higher performance than the last year’s model. The GPU performance is also improved by 50% in comparison to the iPhone 11 Pro models.

An interesting detail about the new chipset is that it finally enables 5G support on the Apple devices. Interestingly enough, the new iPhones aren’t just capable of using the fifth-gent network, but they do know how to use it in a smart way. If the new devices decide that the extra speed isn’t necessary there is a Smart Data mode that swaps connectivity to 4G to preserve battery.

Pricing and Availability

The iPhone 12 Pro retails at $999 in the United States and you get the variant with 128GB of Storage. The 12 Pro Max will retail at $1,099. Users can pre-order the new devices on October 16, with the actual launch scheduled for October 23 in the US. Other availability details will be disclosed in the coming days.

How To Download The Photoshop Beta And Preview Upcoming Features

How to Download the Photoshop Beta and Preview Upcoming Features

This step-by-step tutorial shows you how to download and install the latest Photoshop beta so you can try out upcoming features like the amazing new Generative Fill.

Written by Steve Patterson.

As a Creative Cloud subscriber, you have access not only to official Photoshop releases but also the beta versions. Downloading the latest Photoshop beta lets you preview upcoming features that Adobe’s Photoshop team is working on (like the mind-blowing new Generative Fill). This means you can try out features before they are officially released, and even help improve them by reporting bugs, submitting ideas and joining the Photoshop beta online community.

You’ll need a Creative Cloud subscription to download the Photoshop beta. Both the official Photoshop release and the beta version can be installed at the same time.

Let’s get started!

Download this tutorial as a print-ready PDF!

Step 1. Open the Creative Cloud desktop app

Open the Creative Cloud Desktop app (the same app you used to install the official Photoshop release).

The Creative Cloud Desktop app.

Video: How to download the Photoshop beta and use Generative Fill

Learn more about Adobe Creative Cloud

Step 2: Select Beta apps

Selecting the Beta apps category.

Step 3: Install the Photoshop beta

Depending on your Creative Cloud subscription, you may see beta versions of other Adobe apps as well. But we’ll stick with Photoshop.

Installing the latest Photoshop beta release.

Step 4: Open the Photoshop beta

Once the Photoshop beta is downloaded and installed, you’ll find it listed under Installed beta apps.

Note that the Photoshop beta can only be opened from the Beta apps category. It will not appear in the All apps category with the official version.

Opening the Photoshop beta.

Got the Photoshop beta? Learn how to use Generative Fill with these tutorials:

Step 5: Confirm you are running the Photoshop beta

The Photoshop beta opens to the Home Screen.

The Photoshop beta and the official release look nearly identical.

Opening the About Photoshop screen.

The About screen confirms you are running the Photoshop beta.

The Beta Feedback button and dialog box

So now that you’ve installed and opened the Photoshop beta, how do you know which upcoming features are available to try out? And where do you find them? All the information you need is in the Beta Feedback dialog box.

The Beta Feedback button.

The Beta overview screen

The Beta overview screen.

Learning more about a beta feature

Selecting a beta feature to learn more.

Here you’ll find details about what the feature does (or at least, what it’s supposed to do) and how to use it.

The Beta Feedback dialog box provides all the information you need to get started with a feature.

How to provide feedback on a beta feature

Once you’ve tried out a beta feature, be sure to let Adobe know what you think of it so far.

After trying the Photo Restoration Neural Filter (which I will cover in a separate tutorial), I think it’s very impressive but still needs work.

Trying the upcoming Photo Restoration Neural Filter.

Telling Adobe that the beta feature still needs work.

Sharing my opinion about the beta feature with Adobe.

And there we have it! That’s how to download and install the Photoshop beta release, preview upcoming features, provide feedback, and help shape the future of Photoshop!

Related tutorials:

Don’t forget, all of my Photoshop tutorials are now available to download as PDFs!

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