[Music] [Meredith Payne Stotzner] Hi, everyone. Welcome to New and Incredible Innovations in Photoshop. My name is Meredith Stotzner. I'm so glad you could join us today. We have not a lot of time to cover everything new in Photoshop desktop since MAX of last year. We're going to kick things off with new and improved features and then move on specifically to new and improved generative AI features. And finally, we'll wrap things up with the Photoshop Public Beta. All right. Let's take a look at our first new and exciting feature just announced at MAX this week is the Remove tool with distraction removal for people and wires and cables. And what this does is it intelligently and automatically detects, selects, and removes non-subject people and unwanted wires. And it replaces that content seamlessly so it's as if they were never there. Let's look at it in action. All right. Let me get my layer set here, and we're going to find this in the Remove tool, which is right here in the Healing Brush group, second tool down. And then we mosey up to the Options bar to this Find Distractions. And under the Editable category, we're going to choose People. And it's going to automatically detect and select the non-subject people. And you can tell that they're selected and readied for removal because they have this magenta overlay on them. And you can add to and subtract from what's been selected for removal. Just go up to the Options bar here, there's a plus and minus brush. I can grab the minus brush and brush away.
That's how the Remove tool works like a brush. Or I could grab the plus and add to what's going to be removed as part of the distraction removal. And then all you really need to do is hit Enter or Return on your keyboard or click this check mark up here. Now you notice I'm working on a blank layer with sample all layers selected, and that way I can work non-destructively and over top of smart objects or Generative Fill layers. Shazam! Look at these results. There's the before. There's the after. It's done a great job of removing those non-subject people to bring focus back to my subject in this image. Okay. Next, let's take a look at the Wire Distraction Removal. So still in the Remove tool and then up here in the, Find Distractions, we're going to click Wires and Cables under the one-click removal. And what that one-click removal means is that this is truly a one-click process. So you're not going to see that magenta overlay. We're not going to add to or subtract from it because it's doing this all in one step. So really a hands free operation. All right. This is taking a second here. Let's see what Photoshop gives us. Oh, that is nice. Look at that. There's the before and there's the after. I want to show you one more example here. This image has over 20 wires, and here is the result from the Wire Distraction Removal. Can you imagine how much time and the drudgery of editing all of those out? So this is really, like I said, one of my favorite new features, completely new and exciting, and it's going to save tons of time. All right. Moving on, let's talk about the Selection Brush Tool. We introduced this earlier this year, and what it is, it's a way to make selections by brushing over what you want to select. This gives you maximum control not just because you can control the brush size, but the brush opacity and the brush hardness to give you transparent and soft edge selections. Let's look at it in action here. So we're going to find this Selection Brush Tool over here in the top of the Lasso group.
And I'm just going to go ahead and brush across the canvas here so you can see it at work. It has a magenta overlay to show you what's been selected. And if you switch to any other tool, I'm going to move to the Brush tool, it will visualize that selection as marching ants that you know and love. But then when you return to the Selection Brush Tool, it is visualized again with this magenta overlay. Let's look up here in the Options bar. You can add to or subtract from the selection. You can change the brush opacity, which is going to impact the transparency of your selection. You can change the brush size and hardness. You can also do that with keyboard shortcuts, and you can also change the color of this magenta overlay. Now because this is just a standard selection, everything in the Select menu still applies as does everything in the Contextual Task Bar. I'm going to hit Deselect there. This brush also works like a lasso. Look, I'm going to encircle this lemon. And when I mouse up it's going to auto close and autofill that selection. This is really convenient when you're making selections for Generative Fill. Speaking of Generative Fill, this opacity control actually controls the intensity of generated variations. Let me show you what I mean. All right. So I want to create a straw inside this cup, but I want the straw to look deep inside the cup, not up against the glass. And we do that with a semi transparent selection. So I'm going ahead using this 40% opaque brush to make a semi transparent selection for the straw inside the cup, and I'm going to finish it up with a 100% for the straw outside of the cup. And then I'm going to click Generative Fill and use the prompt striped straw. I'm going to go ahead and pull one I already cooked out of the oven, and you can see that it gave me the effect I was looking for. So I've really only been able to touch on the power and precision that this tool gives you. I hope you give it a try and like it as much as I do. All right. Next up, I'm really excited to talk about the Adjustment Brush Tool. This is a new tool that applies non-destructive edits to your image with a brush. And what we've done is we've combined and streamlined the steps of creating a new adjustment layer and applying where you want that adjustment layer to be. Let me show it to you in action. So I've got my layer here and let me show you where this new Adjustment Brush Tool is here in the toolbar all on its own, the Adjustment Brush Tool. And then you can start either in the Contextual Task Bar or in the options panel and you'll want to first choose which adjustment you want to use. I'm going to use levels to brighten their face. And then select your brush size, hardness, etcetera, and brush over where you want to apply that. Now the default settings are pretty extreme, so you're going to be able to see where you brushed. Notice we've got a new levels adjustment layer with a mask here in the Layers panel. And then over in the Properties panel, I just tweak those settings to be exactly what I want. Now I'm going to add a new adjustment layer with this Adjustment Brush Tool. Over here in the Contextual Task Bar, I'm going to click New Adjustment and choose Hue/Saturation. And then I'm also going to try this Apply to Object. And what this does is it looks an awful lot like the Object Selection tool. Right? So I just mouse over where I want to apply this adjustment, and I'm going to click on it. And you can see it's created a new hue adjustment layer with an umbrella shaped selection. And I just pop up again into the properties panel to tweak my settings and get it exactly where I want it. So this is a really convenient and powerful way to make non-destructive, re-editable adjustments in your images. The next feature we're going to look at is the Improved Font Browser, which we introduced earlier this year. And what this does is it provides a more streamlined experience to access and use more than 25,000 Adobe fonts from the cloud without leaving Photoshop. Let's look at it in action here. All right. I've grabbed my type layer. I've grabbed the Type Tool, and you'll find this wherever you choose Your Fonts, either the Type Tool options here I'm actually going to use the Character panel so you can see what I'm doing. It's over here in the More Fonts and you can filter by language, you can filter by class or tags, and when you hover over the fonts here in the More Fonts tab, you can see a real-time preview on your canvas. Now to download and use these fonts, you just double click and then they become a part of the Your Fonts. So this is really an exciting and time-saving feature.
Next up, we have Bullets and Numbering. And we've added Bullets and Numbering to the Type Properties panel and the Paragraph panel. And this lets you use the Type Tool with familiar controls to add structure to the layout of your text.
All right. Next up we have the Contextual Task Bar. Now the Contextual Task Bar itself is not new. You've seen me demo it a few times already today, and it's something that we introduced last year. But for those of you who aren't familiar, it's this little guy right here. And what it does is the Contextual Task Bar is a persistent floating menu that presents the most relevant next steps in your workflow, and it depends on, the state of your document or what tool you have selected. So new this year, we have a Contextual Task Bar for shapes, so you have those Fill and Stroke controls right there at your fingertips. We've also added a Contextual Task Bar for gradients, so you have those controls right there on the canvas where you need them. And we've updated the transform Contextual Task Bar. The next feature I want to show you is Hover Layer Bounds. And I need to pull out my Layers panel here for you to really get a good look at it. This is, it visualizes, it gives you a real-time visual feedback on your layer boundaries. And let me show you how that works. I got to turn on all these little guys here. Okay. So when you have the Move tool selected and you hover over your layers, you can actually see the layer bounds, the content of the layer bounds on your canvas, inside this little blue line. At the same time, you can see the corresponding layer highlighted in the Layers panel. But this one looks special. It's got two lines. It's actually showing you the content of the layer bounds and the layer mask. Oh, and also as you hover over the layers panel, you can actually see those layer bounds highlighted on the canvas there again with that blue line. You can change the color and thickness of that layer boundary over in the Guides, Grids, and Slices preferences. If you really needed to, you could actually turn these off over here in the Move tool options bar, in this gear, show layer bounds on hover, and the show hover bounds from layers. All right. This next feature I want to show you, this is a small one, but it's a big one. If you've ever used the Line tool to try and create arrowheads, you know that you have to do that before you create the line. But now here in the Properties panel, if you have a line selected, you can modify or create arrowheads right here from inside the Properties panel. So it's a little thing, but it's a big thing. Let me put this back where it belongs. Close enough. There we go. Okay. Next up, we have OCIO Configuration and 32-bit Tool Support for HDR Workflows. So that's new this week at MAX. We announced native support for OpenColorIO configurations and increased 32-bit Tool functionality that they're new in Photoshop. Creatives in the film and VFX industries managing multi-team projects where unity and color consistency are key will appreciate access to a fully enabled HDR workflow that supports consistent, high fidelity color management and display.
Finally, we're going to wrap up this section with Other Changes and Enhancements. We've already taken a look at the arrowheads. So Actions Import and Export behavior has changed. Generator Plugins have moved to the File, Automate menu, and Single adjustments have reclaimed their position at the top of the Adjustments panel. Let me show you that. I really like that big and bold view. If you really want to go back to the Legacy View over here in this Adjustments flyout menu, you can go to Classic View, but I really appreciate this Modern View. Next, we're going to move on to new and improved generative AI features inside Photoshop. But first, I wanted to assure you that Adobe does not use your content to train its generative AI models. The Adobe Firefly generative AI models have always been trained on licensed content such as Adobe Stock, where the creative contributor has been compensated. We also train on public domain content. Furthermore, Adobe does not claim ownership of any of your content, including that created in Adobe Firefly. If you'd like more information, please see the Adobe Generative AI Commitments. I've included a link inside the download for this class. Thank you. All right. Moving on to the Latest Adobe Firefly Image Model just announced at MAX this week. So this powers Generative Fill and Generative Expand and this new model has better photographic image quality. It understands your prompts better, and the results have more variety. And, as always, you can create confidently knowing that the content created out of Adobe Firefly is designed to be commercially safe. All right. Let's take a look here. Now, to be fair, for a fair comparison, first select the layer. I'm going to use a selection that I also used when I generated out of the previous model. So we want to do apples to apples comparison here, and I'm going to use the same prompt, which is baby seal on the sand. And I'm going to click Generate. And what it's going to return is a cute baby seal on the sand, and it's going to use that beautiful photographic depth of field quality that we have in this image. All right. Let's see what Firefly gives us here. Okay. He's really cute. I like that guy too. All right. I'm going to go with the first one. He's far away though. All right. So for comparison, let's see what we got with last year's generative AI model. That's not it. There we go. This is what came out of last year's generative AI model. I'm really liking what we have on the latest version better. So this also applies for Generative Expand. I'm going to go ahead and jump over to some Generative Expand I had run earlier. So you can see here with the latest model, she's got good hair detail, a nice continuation of the pattern on her blouse. If we compare that to the previous model, we get some crazy hair, and it didn't really imagine the pattern of her blouse very well. I do want to jump over to another new feature. Let me see if I can zoom in on this one a little bit for you. So this is Enhanced Detail for Generative Fill. It also works for Generative Expand. And what this is, it's a locally run super resolution technology that we run on the content returned from Firefly. I'm going to show you how that works. Let me go back here to this image, and I'm going to zoom in onto a detail on her blouse. And I'm zoomed in almost 400% here, over 350. And you can see the generated area. Now this was a pretty extreme expand. It's really fuzzy compared to the original image. So I'm just going to mosey over here to the adjustments panel and I'm going to hover over the variation. And you can see this button, Enhanced Detail. And when I click on that, it's going to run that super resolution on that variation, create a new variation to the left of the original. So you can toggle back and forth and see the results. Let's take a look. There's the before and there's the after. And it really adds some sharpness crispy detail there. Okay. Going back to the updated Firefly model. One last point I wanted to make is that these features, this updated Firefly model, also powers the new Generate Similar and Generate Background features. Let's take a look at those.
So with the new Generate Background feature, you can create a new background for your image with generated content that matches the lighting, shadows, and perspective of your subject. And here's how it works. So we grab the layer and we click on Remove Background. And this is a two-step process. Sorry, I meant to do that. Two-step process. And then next, I'm going to click on Generate Background and enter some prompt. Now just to save a little time here, I'm going to pull up a pre-baked one that I've already did earlier. And you can see we've got busy restaurant bar. We've put them in a cafe outdoors in Paris, hospital waiting room, inside an alien spaceship, and inside a restaurant with wood tables and a big picture window.
This is another example where we have streamlined the process to simplify things for you, and we've taken advantage of Adobe's innovative technology. All right. Next, we're going to come over here and look at Generate Similar. And what this does is this lets you choose a variation and make more variations using it as a reference image. Let me show you what I mean. So here I have this image and pretty generic prompt. Oops. Let me get rid of those. Pretty generic prompt of dog sitting. So I've got three different dogs, and that's an example of the new model giving you more variety instead of having, like, three Golden Retrievers. And I really like this dog, so I want to see more variations like this. So I'm coming over to the Properties panel. I'm going to click on that three dots menu, and I'm going to choose Generate Similar. And it's going to immediately start making three more variations riffing off this little dog right here. So let's see what we got. Give it to me now, Photoshop. It's taking a moment there. All right. That's more like it. So we have three dogs very similar to the dog that I wanted more of. So to wrap that up, this feature lets you achieve your vision more efficiently and then you have to do less experimenting with text prompts.
Next, we're going to cover Generate Image inside Photoshop. And what this does is it lets you generate dozens of ideas in a matter of minutes jump starting your asset creation. Let me show you how it works. You can find Generate Image in the Edit menu. It's also here at the bottom of the toolbar. Let me zoom in so you can see that. And if you have a new blank document, it will also be in the Contextual Task Bar. So I'm going to click on the Generate Image and I get the Generate Image dialogue. And then you enter in the prompt that describes what you're imagining. If you're having a hard time finding the words, check out the Prompt Inspiration gallery here. Just click on some of these images and see the words that were used to create them. I have prompt already in my clipboard. I'm going to paste that in. And then, next, you choose your content type. Do you want illustrative art or photographic art? And then, you move on to your Style settings. So do you want a reference image to pull the color and texture from? You can choose one of your own. I'm going to choose one. Actually, thank you, Mike Shaw. Or you can choose from this gallery below something to pull the color and the texture from. Next up let me clear that. You choose as many effects as you think you need to guide your results. So I'm going to choose Antique Photo and Cinematic. And then I'm going to click Generate. And you can look over here on the Properties panel and you can see the Effects icon has a blue check mark on it, indicating that we've used some effects. The Reference Image icon has a blue check mark on it, indicating we've used a reference image. We also have a thumbnail in the Properties panel of the reference image. And this generative layer, it's going to cover the entire layer here. And we've got some results. Cool. And if you wanted to remix or try something different, you just go ahead back to the properties panel and you can reiterate by clicking on these icons or changing your prompt and just tweaking your settings. So keep regenerating to re-imagine and remix those ideas to perfect your vision. All right. We've come full circle here. We kicked things off talking about the Remove tool in Photoshop and now we're going to end things talking about the Remove tool. So under the hood, the Remove tool has always chosen from a variety of technologies to pick the best one for your fill selection. So I am excited to announce that the Remove tool now has the Adobe Firefly image model as one of the options to replace pixels. Let me show you how that works. Okay. So I've got the Remove tool here and I'm going up to the Options bar. Let me zoom in so you can see that. We've got this mode setting. So if you have accepted the generative AI terms of use, this mode will be set to Auto, may use generative AI if that is the best option for filling your area. If you have not accepted the generative AI terms of use, this will be set to Never Use Generative AI. And then you can always manually change these including the option to Always Use Generative AI. I'm going to stick with Auto here, and then I'm going to brush in this small area here. I'm going to brush also away this larger area and then finish it up by-- I want to get rid of that angled tree and this whole section over here. And then I'm going to click Enter or Return on my keyboard or Apply up here. And what it's doing, it's individually analyzing each of these different selections I have here. And so the smaller one, it's probably going to send to a Content-Aware Fill technology. This larger one on the right, it's definitely going to send a Generative Fill. And look at that. That is pretty awesome there. So you'll notice that I didn't get any variations to choose from to keep it a smooth and seamless experience. We have a Curator technology that analyzes the best variation and just pops that in. So this is truly an exciting and innovative addition to the Remove tool in Photoshop.
Now that we've talked about everything that's new in Photoshop desktop since MAX of last year, I want to take a moment to talk about the Photoshop Public Beta. So Creative Cloud subscribers can become part of the Creative Cloud beta program to test apps and give Adobe feedback. There's no sign-ups. There's no NDA required. You just come over here to your Creative Cloud apps and then go over to the Beta tab and install whatever it is that you want to play with. So we have multiple features inside Photoshop Beta right now, but there's two we'd like to highlight for you. The first is Generative Workspace, and this lets you quickly explore many concepts at the same time to create the image elements you need for your designs and composites. Try multiple prompt ideas without waiting. The next one we're highlighting is the Adobe Substance 3D Viewer. For that one, I got a quick video for you here.
[Woman] You can now view and composite 3D models in Photoshop Beta documents using the new integration with Adobe Substance 3D Viewer Beta. To start, you can download and install Substance 3D Viewer from Creative Cloud. Place or drag a supported 3D file directly into your Photoshop Beta document to create a 3D Smart Object layer.
Open your 3D Smart Object layers with viewer, where you can orient the models to find the perfect angle, edit material properties or adjust shadows, lighting and reflections, all in real-time. Complete your edits then save or use the To Photoshop button to send your changes back to Photoshop. You can continue to edit these layers with masks, adjustments and return to the Substance 3D Viewer for non-destructive edits.
Thank you everyone for joining us today. We really appreciate your time. We hope you have a fabulous, time at virtual MAX or in-person. Thanks again. [Music]