Tag Archives: Photoshop

The 5 Most Used Photo Enhancement Techniques – Part 2

You are back! Good. In the last article we talked about White Balance and Noise Reduction. As two of the five most useful tools in the arsenal of the night photographer.

In this article we will tackle two of the remaining items:

  • Exposure and Contrast enhancement
  • Sharpening (and de-sharpening)

Healing and cloning will be in Part 3.

While we have seem some fascinating composite and highly edited images our goal is usually to make a compelling photo. But we do like realism, too. So while we will show techniques that can be pushed to extremes to make gaudy Milky Ways, or super saturated star trails, we personally do not go there often.

Exposure and Contrast Enhancement

Below is the result we want to achieve.


Single Exposure with exposure and contrast adjustments, healing, cloning, selective blurring and sharpening.

But we will be starting with a single daylight exposure from the Outer Banks, North Carolina. When we shot the scene we shot a bracketed exposure at one-stop intervals. Before we look at the exposures, let’s look at the histograms from each of the three exposures


Which one is the best image to start with to make our adjustments? Hint, it’s the one at the right. The +1 exposure has no loss of detail because nothing has been over exposed.  Here is the exposure.

+1 Exposure

+1 Exposure

The scene seems flat and lifeless – almost nothing like it looked to the eye, and not close to what we hope it will be. Part of the reason it looks so flat is that we have not done any adjustments to the original RAW file. If you shoot JPGs the curves and saturation adjustments are automatically applied so you might conclude that RAW images are a waste of time. That would be wrong. The truth is there is much room for improvement in the RAW images and much of the “good stuff” is lost when the camera applies the conversion to JPEG.

All of the histograms show decently exposed images. But it looks like even in the +1 image we still have some room left. That is, we could have exposed a bit more to get the whites all the way to the right.  All of our histograms show that we have no black (nothing at the left edge), and no white (content at the right edge).  An underexposed image might have richer color but it will suffer when we boost the exposure and contrast. The lighter exposure will suffer much less degradation. In fact, the act of reducing exposure deepens the saturation – we do not have to play with the saturation sliders at all!  Pleasing saturation shifts from adjusting exposure are one of the many good reasons why exposing to the right (ETTR) is an effective strategy.

Adjusting Exposure and Contrast – Lightroom Auto

There are many ways to adjust contrast and surprisingly the “Contrast” slider is not usually the most effective way. Using contrast alone often makes the lights too light and the darks too dark. One thing you can try is to use the “Auto” button. It sometimes works. In fact, for these images, it works pretty well with the +1 exposure, but not as well with the normal exposure.

The "Auto" feature of Lightroom under Basic settings

The “Auto” feature of Lightroom under Basic settings

Here is what Auto did for this image:

Lightroom Auto Adjustment

Lightroom Auto Adjustment

The histogram has been stretched and the image looks pretty good. Note that we’ve turned on the clipping indicators by clicking where the white arrows point. After Auto we found a few small spots where black level clipping has occurred as indicated by blue blobs which are circled in red above. No big deal. You can also see what Basic adjustments Lightroom made – exposure has been reduced by one stop, contrast +20, whites +62, blacks -50.  We now have an idea what the Basic adjustments can do. Auto almost never creates a good result when working with dark or night images.

Adjusting Exposure and Contrast – Lightroom Tone Curve

There is another way, and in our opinion, a more powerful way to adjust the exposure and contrast and that is using the Tone Curve. One reason we prefer this method is that it has an almost exact analog in Photoshop (Curves), as well as an almost identical behavior if using Adobe Camera RAW.

Lightroom Tone Curve

Lightroom Tone Curve

What we want to do is to darken the shadows and midtones and slightly lighten the bright areas without losing information – that is to adjust the exposure and contrast. The process is called “stretching the histogram”.  It’s pretty straight forward. Click points on the curve and drag up or down and left or right to create a new curve while paying attention to both the image and the resulting histogram.

Before and After Tone Curve Adjustment

Before and After Tone Curve Adjustment

Can you make these adjustments using Adobe Camera RAW? Yes! The controls are nearly identical.

This is now a good starting point to apply some additional pop, But what if you wanted to do this in Photoshop?

Photoshop Exposure and Contrast using Curves Adjustment Layer

Histogram Stretch using Photoshop

Histogram Stretch using Photoshop

The image above has brought out a bit of pink in the sky, but the dune is a little flat and a little dark. The good news is there is a way to give specific colors special attention – using what we call the “twiddle finger”. You click the hand icon, then pick an area of the image you would like to brighten or darken. The luminosity selected is shown on the graph, then you drag the mouse up or down.

Twiddle Hand curve adjustment

Before Twiddle Hand curve adjustment


After twiddling.

After twiddling upward a bit

The twiddling can be repeated. Beware, though, twiddling is global, not local. In general the tone curve should always be flat or upward as you move left to right otherwise you will be lightening dark areas to the point where they become lighter than adjacent light areas.  One way to improve your curve is to smooth the graph. Click the pencil icon then the icon below it (graph adjust), then click the graph (above the pencil).

After a bit more fiddling and twiddling we get what you see below. What more fiddling? Well, we like to add another adjustment curve and select the “Increased Contrast” option.  If things were close to good to start with, the curve might go too far, so adjusting the layer opacity downward is the solution.  In fact, we use the “Adjust contrast curve” so often that we created an action for it and assigned it its own hot key (F9).


Original Exposure Contrast Enhanced, Histogram Stretched, fully twiddled 🙂

Now we have quite a bit more drama, and much more contrast.  Where are the distractions? What leads your eye away from the interesting parts of the scene?  What are the interesting parts of the scene? Now is a good time to make note of the distractions, because soon we will conquer those.

In truth, we have one more thing to address in the exposure category. The sky is a bit too bright. The solution is to apply a gradient using either Adobe Camera RAW or Lightroom (it can be done in Photoshop but it is harder than it should be, and less convenient).

Graduated Skies – Lightroom

The graduated filter (M) is our friend for not only darkening the sky, but also making other adjustments. That you can make multiple adjustments simultaneously is one thing that sets it apart from the Photoshop methods. Here we have zoomed to 100% to show both a portion of the sky and the location of the graduated filter tool. Note that the sky is a bit “gritty”. We will fix that!

Graduated Filter tool and gritty sky

Graduated Filter tool and gritty sky at 100%

Our sky fix will illustrate one of our other techniques: selective sharpening – only in this case we will de-sharpen to remove the “grit” as follows.

Applying a Gradient to the Sky

Applying a Gradient to the Sky

We use a sky gradient so often that we created a pre-set for it.  The preset reduces exposure by -0.76, contrast by -17, saturation by -24, sharpness by -40, and noise by +100.  Those last two, decreasing sharpness and increasing noise processing result intentionally in blurring. In this case the exposure correction is a bit too strong, but that is easy to fix by bumping the exposure up a little (-0.51).

Let’s look at what this gradient did to our sky. Notice how the grit is just about gone.



If you are thinking that applying a gradient to darken the sky is somehow dishonest, then please don’t use a graduated neutral density filter (GND) which does the same thing at image capture time – but a physical GND does so less elegantly!

Sharpening and Desharpening

We snuck in a trick to desharpen a mottled/gritty sky above, so please read that for one direction. In fact, we find that using noise reduction is often the most effective way to soften because the result – if not pushed to an extreme – is often more satisfying than using any other method. But some things need a little sharpening, like the eyes and hair of people, the boundaries between objects in a landscape.  When we want to do sharpening we never (ok, almost never) do global sharpening.  One reason we do not globally sharpen is it tends to make mottle things more mottled – like the gritty sky we showed earlier.  It seldom makes sense to sharpen clouds or things that are not sharp by their nature.

Indeed in our beach scene there is really nothing that demands sharpening, but all the same, we’ll apply a little bit at the sky/ground border – mostly to help the sea oats stand out a little more. It’s tempting to think that the Lightroom adjustment brush “sharpen” tool is the right one to use here, but often sharpen alone is not as effective. When sharpening is overused it creates odd artifacts. Often the more effective way to sharpen is to use a bit of “clarity” as well as sharpening. Clarity is a local contrast adjustment which has no analog in Photoshop. If you want to use clarity in Photoshop you must bounce over into Adobe Camera RAW. In Photoshop CC you can get a layer into ACR using the Filter -> Camera Raw Filter dialog. Lightroom and ACR are very similar, so lets show ACR here.

Adjustment Brush in Adobe Camera RAW

Adjustment Brush in Adobe Camera RAW

After setting all the adjustments to zero (easy in Lightroom, just double click on each item), we set the Clarity up (+15), and the Sharpness up (+6). Adjust the size, feathering, density and flow of the brush and paint along the horizon and through the grasses.  It’s always better to go a little at a time than to try to go all at once.  When done hit apply or Open.

In Photoshop we often take a completely different approach. Instead we duplicate the layer, label it “Sharpened” then sharpen (using the smart sharpen filter) or noise reduce the entire layer and then mask it all off. We then “paint back in” the areas we want a correction applied to using a white brush on the mask.

Wow. We’ve spent quite a lot of time talking about exposure enhancements and sharpening and desharpening, so spot removal (cloning, healing and cropping) will appear in part 3.

The 5 Most Used Photo Enhancement Techniques

We have been watching ourselves over our shoulders – yeah, kinda weird, right? Our goal is to figure out what it is we do the most to fix and beautify our photography – night photography in particular.  We cover nearly all of these topics in greater detail in each of our NP150 – Photo Manipulation Webinars but we will hit the highlights here. So what are the 5 most used “tricks”?

  1. White Balance / Color correction
  2. Noise Reduction
  3. Exposure and Contrast enhancement
  4. Sharpening (and de-sharpening)
  5. Healing and Cloning

The first two topics are tackled below. The next two in the following article.  Healing and cloning will get it’s own short article.

First to be clear our goal is usually to make a compelling photo, not merely to represent reality. We do prefer realistic over bizarre, but we are not opposed to removing telephone wires and other distractions.  We DO prefer natural looking scenes and eschew the over-the-top contrast and color saturation that seems to be the rage these days.

White Balance

We hate to be the first to break the news, but your camera is pretty clueless about what color white is. The camera will take its best guess. Our experience with night photography is that the camera choice is usually wrong – or at least unappealing. At its core white balance requires adjusting the red, green, and blue colors so that an area that should have a neutral gray or white color is actually gray – not tinged red, blue or green. When shooting at night, understand that every light in the scene – including stars – has a different color bias (tint). Sodium vapor lights for example are horrendous. Sodium vapor lights used in many streetlights are predominately yellow-brown and almost monochromatic. Under sodium vapor lights it will be impossible to achieve a natural color spectrum. You may want to adjust different parts of a night image separately.  You may have to compromise and have a scene that has a bias of a pleasing kind rather than the ugly variety.

Correcting White Balance

The easiest way to make the adjustment in Lightroom or Adobe Camera Raw is with the White Balance tool.  It looks like an eye dropper. You click the tool, then click a gray area of the photo – if there is something that should be gray in the photo, that is. Even a white area is fine (but not an overexposed white). Stars are generally not good choices for gray-scale selection both because they are often over exposed and because many of them are NOT white! In the example below you see a photo of the Ocracoke Lighthouse which is definitely white, not the orange that resulted from sodium vapor lights.


The White Balance tool in Adobe Lightroom


Adobe Camera Raw White Balance Tool

The dubious result of getting the lighthouse to its proper color via the white balance tool appears below. The sky and stars are unnaturally and artificially blue.  There are several solutions to this problem: color correct the lighthouse separately or compromise by warming (increasing the temperature) of the selected balance. Or try again by clicking elsewhere!


By selecting a different location for the gray sample tool a better compromise can be achieved as shown in the photo below. An examination of the scene reveals that the lighthouse is directly lit while the shed (near the bottom of the shot) is not. The shed and other areas in shadow are lit by ambient light reflected from many sources – including sky glow. After selecting the shadow area the remaining white imbalance of the lighthouse can be handled by desaturating using the local adjustment brush – or leave it like it is.



White Balance Correction in Photoshop

The same eyedropper style adjustment can be found in Photoshop, but you’ll have to hunt for it because the “Color Balance” Adjustment is not where you’ll find it!


White Balance (gray point) selector of Curves in Photoshop

White Balance (gray point) selector of Curves in Photoshop. The gray point selector is also in the Levels adjustment.

Note that in Photoshop you have two ways to go: use an adjustment layer, or use an Image -> Adjustments -> Curves (or Levels). We recommend using an Adjustment Layer because you can paint on the mask to control the effect and that makes it easy to adjust different parts of the image separately.  To adjust areas separately in Lightroom, use the Local Correction brush and adjust the white balance slider.

Selective Color Balance Correction

Consider the following photo. With the new flight rules, you can use your camera while the plane is taking off or landing.  Here the plane is landing at San Jose International Airport. There are two things about it that are good candidates for fixing. The first is the distracting glare of reflection from light inside the airplane (that’s due to Virgin America’s “Purple Ambiance”).  We’d like to get rid of the distraction and it’s clear we will not be able to simply crop it out without giving up some of the interesting details.


Glare from internal reflections leaves a blue cast. There is also noise in this one second, ISO 1600 exposure.

The second thing that is noticeable in the 100% (Zoomed view) is the colorful noise in the dark (and light) areas of the photo.  No sky has grit in it – at least not like that!


100% View of the noise near the wing.

We can tackle both problems separately or at once.  Selectively desaturating, and slightly darkening the blue glare is simple in Lightroom.  Select the adjustment brush (it looks like a face powder brush right below the “Histogram”), dial down the saturation, and slightly dial back the exposure. Then paint on the image where we want the change to occur.  It may be useful to adjust the brush size, density and feathering. Here some feathering is important. We will not try to also increase the noise processing here, because the whole image needs some despeckling.

Below the mask shows where we painted – and not particularly carefully, either!  The Saturation was turned down to -69, and the exposure by almost a full stop. In a brighter sky we might not have been able to darken the touched up area as aggressively.

Attacking the Glare with Local Adjustments in Lightroom

Attacking the Glare with Local Adjustments in Lightroom

The next thing we want to address is the noise. It’s everywhere in this photo. As we will learn in the next article, we often use noise reduction for smoothing things like blue (or dark) skies and in shadows where you would not expect to find details.  Using Adobe Camera Raw for saturation, exposure and noise reduction works the same way as in Lightroom it’s just that the adjustment brush is shaped differently and found in a different place.

The adjustment brush in Adobe Camera Raw

The adjustment brush in Adobe Camera Raw

Out Darn Noise

In Lightroom (and Adobe Camera Raw), there are two simple – and effective ways – to reduce noise in photos. One is to selectively reduce noise using the “Noise” slider of the adjustment brush as we saw with our selective saturation adjustment. Moving the Noise slider to the right increases the amount of noise reduction but does not give you control over what KIND of noise reduction is performed. ACR and Lightroom have specific controls to reduce Luminance noise (dark and light speckles) and Color or Chroma noise (colored speckles). The noise reduction slider with the Local Correction brush does not let you control which type of noise reduction is applied. Sometimes correcting only the luminance noise is the best approach.  Both methods of correcting noise result in some blurring of the photo. How much blurring depends on how severely the sliders are adjusted. There is no formula for getting noise reduction to work well except to be careful not to over do it!  Surprisingly, a little bit of noise makes a better photo. Indeed, there is an option to ADD noise in the “Effects” panel (called Grain). One thing to beware of: using the color noise reduction aggressively will result in loss of star colors in your night sky. In the examples below we’ve brightened the image to make the changes easier to see.

Before any Adjustment

Before any Adjustment, Turning off the default sharpness enhancement.

The noise reduction portion of Lightroom is found in the Details section. Any controls used in this section will apply to the entire image – which is one reason adjustments should be made carefully and deliberately.  The first step we usually take is to eliminate the default sharpening that Lightroom wants to apply.  We would rather selectively sharpen what needs sharpening than doing indiscriminate global sharpening. Next zoom in to 1:1 view of an area (Z key) where noise reduction is needed. For this pick a dark area where some details should be observable. It is also helpful to pick a dark area adjacent to a lighter area where sharpness is desired so the effect of noise reduction can be seen on two elements at once.

We slowly bump up the luminance until we see less “grit”.  Be sure to wait long enough to see the changes made in the image.  We do not generally notice much difference with the detail and contrast sliders, but if we find ourselves adjusting as far as halfway on luminance and not getting what we want, we play with those sub-sliders.

If we still have not achieved the correction we want, we bump the color slider as well… only much more carefully. If there is a LOT of color noise the color noise correction may be the slider to bump first.  Once things are “almost” where we think they look right we choose another area to take a look. It  is important to select an area of the photo that did not need much adjustment – usually a bright area. If the brighter area has become too blurred, we back off on the overall adjustment and then use a local adjustment to add still more noise reduction selectively.

All adjustments made - note that perfect smoothness is not a goal.

All adjustments made – note that perfect smoothness is not the goal!

In Photoshop there are many more ways to reduce noise than those provided in Lightroom and Adobe Camera Raw. Our experience is that the noise controls in ACR and Lightroom are very good – better than any specific filters you will find in Photoshop.  We do use Topaz Lab’s DeNoise photoshop plugin quite a lot however.  The best noise reduction method – when possible is to use the Simple Astrophotography Processing Technique. A photo like the one shown here is not a candidate, however, because that Astro technique requires multiple frames of the same image – that wasn’t possible here with the aircraft coming in for its bumpy landing.

Finished Image

Finished Image

In the next article we will take on the remaining subjects, but you may have already figured out one of the techniques we use for desharpening – aggressive noise reduction!

Blobulous Revisited – Part 2

Last installment we covered the basic idea behind creating a star trail where a foreground element is moving. In this case the moving element is a radio telescope peering into the sky to discover planets and black holes.  A normal “lighten mode” stack produces the image at the left, below, while with just a little bit of work we can get the image on the right.


To recap, we use a single frame from the sequence and some careful masking to remove the blurred part of the image. For effect, we also don’t use the stack in 100% mode. See the prior article for details.

In this article we’ll show you step-by-step how we achieved the total look.

Of course we start with the stack.


Then we layer in a copy of the stack and a single frame (the last or nearly last frame).


Here we have set the background (stack) to 36% Opacity, effectively darkening it. The single frame is 100% opacity and in Lighten blend mode. What we want to do is to remove the blurred part by replacing it with the unblurred single image. It’s easy to do. Select the STACK, create a “Reveal All” mask, and then go to town painting black on it (be sure to select the MASK, not the image). When done, the mask we create will look something like this:


Notice how we used a slightly soft brush to “blend” the background and the still frame. We could stop right there, but I notice that the ground and the telescopes are a bit too bright, and I’d like to make the stars pop out. So the next course of action is to apply a curve, select the “Increase Contrast” option. Here I’ve adjusted the result just slightly.


Next we want to tone down the bright stuff. We add another adjustment layer, and a “Hide All” mask and then paint white back on the mask to tone down what we want. You’ll notice that in the process, the colors intensify a bit.


The next step we’ll want to take is to reduce the saturation – our radio telescope is moving from white to yellow. So the next step is to add a Hue and Saturation layer. As before we mask off everything, and then paint in only the radio telescope. We could cheat and use the same mask from the Brighten stack layer – and just invert it, but it’s not a complicated thing like a tree, so it’s pretty easy to change the mask to only operate on the radio dish and pedestal.  At the left, you can see how strongly we moved the saturation – and we upped the brightness a bit, too.


If we didn’t mask off the telescope and instead applied the saturation adjustments globally, we’d see this – not what we want. (Shift-Click on the mask turns it on or off – in this case we see that the mask is off by the red X through it)


You won’t notice in the small size, but the large image has a number of Hot Pixels (red, and blue) that stand out. To solve this problem we use “Alt-Ctl-Shift-E” (Command-Option-Shift E for you Mac-o-philes) to make a copy of the layer. I named the layer “Heal” because I then used the spot healing tool to fix up those little problems.  I recommend making the healing tool diameter just slightly larger than the area to be healed.


To make the Radio dish pop just a little more, a little sharpening is in order. In fact, sharpening the ground will work, too.  Duplicate the Healed layer (Ctl-J or Command-J). Name it Sharpen then use Filter -> Sharpen -> Smart Sharpen.  However I don’t like sharpening my stars, they look harsh. As before we’ll create a Hide-All mask for our Sharpened layer and use a white brush to reveal the areas we want to have sharpened. This is called selective sharpening.  In the small image here, the effect is not as obvious as in the larger image.


To get just a bit more pop, a little more contrast is in order. I created a curve and pulled up the midtones a fair amount while making minor negative adjustments to the highlights and the darks.  But, that adjustment brightened some areas a bit too much so I created a reveal-all layer mask and painted black on the areas that were then too bright.


Et Voila, we’re done!


Foul Weather Warning: Creative Cloud and Photoshop CS6 are at enmity

Perhaps you paid attention to my ordering debacle v.v. Creative Cloud. Adobe was dangling a first year $20/month price in front of me then pulling out the football ala “Lucy” of Peanuts fame and telling me that I wasn’t eligible.  After a week, a dozen emails and more than a few phone calls that all seems to be straightened out.  Adobe people reset my password in the middle of the night (and forgot to tell me) but somehow magically made me eligible – after I created a new password, that is. Yippee.

Now comes the grisly, horrible news.

Photoshop CC doesn’t EXIST. It’s vaporware.

Shocking?  I thought so! Perhaps you didn’t notice the fine print:  “All-new tools and services will be available in June.”  I thought they meant that they were overhauling Creative Cloud – not hyping all the features that aren’t released yet. Hey, they don’t even say WHICH June this will happen so theoretically June 2021 is good for them.

But wait… it’s worse. Even more popular than our webinars here at StarCircleAcademy has been our Advanced Stacking Action for creating star trails and cool effects.  I’ve spent several hundred hours making sure the soon to be released Advanced Stacker+ works with all of the Photoshop versions I have installed: CS3, CS5, and CS6 so I figured… Hey… I should make sure it all works with the spiffy new Photoshop in the Cloud.  I joined the Cloud and discovered the next, horrible, gruesome problem:

You have to deactivate your perpetually licensed CS6 to get the new features!

[See here]

Apparently this is true. Because the not fancy new Adobe Application Manager that comes with Cloud insists that right now my Photoshop CS6 is Up to date. That old thing?


And because it’s up to date, I can’t install anything newer. New ACR 8? Nope.  You’ll have to install a trial version of Lightroom 5 to get that.  If, in fact that works… can’t verify that.  I do know that trying to install the Adobe Camera Raw 8.1 Beta says (and I’m quoting):

Adobe Application Manager 5162013 82117 PM.bmp

That’s the brand new Adobe Application Manager that came with the Cloud it’s talking about.

I am incredulous. I’m also feeling really smug. Many MONTHS ago I reported that there were problems for people who were trying to interwork between the Cloud version and the perpetually licensed versions. Adobe people repeatedly commented that those problems didn’t exist any longer after updates to the Adobe Application Manager – perhaps because their solution is to disable the perpetually licensed version!

I guess I shouldn’t complain too much. Adobe has given me so much material to write about. I’m working on a column for Photoshop alternatives which will be an interesting read if the new, mandatory perpetual payment system is not one you’re comfortable with.

Again, in the interest of fairness, the Creative Cloud *will* make financial sense in many cases, but perhaps not to those who like to own things and not merely hold them for a time.  And apparently not for those like me who would like to straddle both worlds.  The Cloud doesn’t make sense for:

  1. The once-in-a-while user.
  2. Users with restricted or unpredictable incomes (e.g. students, freelancers).
  3. Users with little or no internet bandwidth, or where that bandwidth is prohibitively expensive.
  4. Users who frequently go on assignments – especially extended assignments where there is little or no internet.
  5. Developers and designers who regularly use more than two computers.  You’ll have to pay for double licenses then.
  6. Anyone who is worried about untimely failures of the authorization process (hundreds of reports of this so far, including people unable to use their Cloud Licensed tools to make on-premise customer demonstrations, failures when visiting their cabin in the woods, daily re-authentication prompts, etc).
  7. People worried about long term financial stability.  Adobe has been very tight lipped about what pricing they will have in the future. If you want to do multi-year budget planning, you’ll have to assume that everything will at least double in cost.

Oh, and I found that Jeffrey Tranberry, Chief Customer Advocate at Adobe, is a saint – or should be. A lot of vitriol has been directed at him, but he’s been doing a great job answering questions. Unfortunately I didn’t find his column until after I discovered that Photoshop CC is vaporware.  It would have saved me from bothering to sign up for the Creative Vaporware, I mean cloud, and the week of “ineligibility” that ensued.

When I upgrade to Creative Cloud will I have to uninstall CS 6 and reinstall a new version?

Photoshop CS6 will work side by side when Photoshop CC is released. There is no reason to uninstall CS6.

While Jeffrey says that the two will work, side by side, the official Adobe site also says to deactivate CS6… I’m not sure whom to believe.  I’m still actively using my Photoshop CS6, so I can’t risk deactivating it to see if it will all work out – or the “call Adobe hassle” to reactivate (went through that pain once before already).

If someone who has a properly working Photoshop CC, or whatever is the current version from the Cloud would be so kind as to try out our Test Stacker and let us know how it goes, we’d appreciate it!  The Test Stacker does all the things our original stacking action did, plus more, but, of course it has fewer features than our Advanced Stacker.

Facing the Onslaught [C_073278-32li16%]