Photoshop Elements users craving the same file output power that Photoshop users have with the Image Processor feature need look no further than the humble File > Export > As New Files option in the Organizer workspace. The Export feature is designed to provide a quick, easy, automated way to create and save different file format copies of multi-selected pictures from inside the workspace.
Photographers will be familiar with the technique of panning to introduce blur into the background behind a moving subject. Using this Photoshop equivalent you can make even a stationary subject look like it’s travelling at high speed. We’ll apply the Motion Blur filter to the whole image and then use the history brush to retrieve the subject.
The units of measure displayed on rulers, in the Info, Image Size and Canvas dialogues and used to establish text and print sizes are all controlled by the Units settings in Edit > Preferences > Units and Rulers dialogue of both Photoshop and Photoshop Elements.
Many photographers and stock libraries sort their thousands of images based on individual descriptive keywords that have been associated with photos. In Photoshop Elements keywords are added to your photos in the form of tags. The Tags pane stores the tags, provides an easy drag and drop approach to adding tags to selected photos, and sits to the right of the main thumbnail area in the Organizer workspace. The pane is grouped together with the Collections and Properties panes in the Organize Bin.
When Adobe Camera Raw was first introduced it sat squarely in the middle of the raw conversion process. Opening a raw file into Photoshop would display the ACR dialogue, here you would adjust the conversion settings before finally opening the resultant file into Photoshop. This workflow changed in Photoshop CS2 as this version introduced the ability to open raw files into Adobe Camera Raw straight from Bridge. What’s more, the settings for the conversion can now be applied to the photo without ever opening the picture in Photoshop.
One of my favourite after-printing effects back in my darkroom days was split toning. This process involved passing a completed black and white print through two differently coloured and separate toning baths. This resulted in the print containing a mixture of two different tints.