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X11 for mac el capitan download. Pictures are imported into user defined projects and albums or automatically created ones. Mac Soft Download. DigiCamControl by digicamcontrol. Even though digiCamControl for Mac is not available for download, there are other Mac apps you can use instead. This list contains some of the alternatives to digiCamControl for Mac. Remote Camera Control Sofortbild automatically recognizes your camera and shows camera model, lens name, focal length, focus mode, exposure value and battery status in a status bar.

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Automatically transfer all captured images instantly to you hard disk. Trigger image capture via release button on camera body or remotely from your Mac. Bracketing with an arbitrary number of shutter speeds and interval shooting. Import captured images automatically into Aperture and iPhoto. Image Transfer Customize file name format and save folder and optionally hide file extension.

Shooting bracketing series, all image files will get same index with incrementing suffix. Reset index counter to start count from one again. Image Viewer Image Viewer shows most recent captured image including file name and size and image type and dimensions.

Zoom image in and out, move it around, show it in its actual size and resize it again to fit into image viewer. Switch image viewer into fullscreen mode for high resolution review. Adjust background color to fit your working environment.

Disable image viewer while using auto import to gain maximum performance in photo library application. Image Inspector Choose between six different image histogram modes to review image quality. Browse through complete meta data contained in image file. Camera Status View camera model, lens name, focal length, focus mode and battery status in status bar.

Control exposure status from application while adjusting shutter speed and aperture. Camera Settings View and change shutter speed, aperture, exposure, white balance, iso, image format and size and matrix mode from application. Values changes on camera body are instantly updated in the application. There is an LCD panel that shows the exact amount of memory which is require by file and which is empty at that time. Free homeschool report card template.

It also helps you in capturing the PC screen with the complete adjustment in all factors involving it. One of the best features of Nikon Camera Control Pro software is the ability to manage and control settings remotely and wirelessly. With the Enhanced Viewer Smart feature, you can thumbnails the images transferred to the computer. The user can perform the changes on mode and exposure, customize the shutter speed, resolution, number of clicks and other settings that you are willing to apply can easily apply for it.

One most stellar feature of the application you can view the photo in real-time and after that decide it save in folder or not. The tilt movement can be used to increase depth of field within an image without stopping down the lens. The theory is based on the Scheimpflug Principle, which states that an image will have optimum sharpness when a plane through the lens panel, image sensor, and subject intersect at a common point.

The amount of tilt and shift is rather limited, to prevent vignetting of the image, so it may not be possible to bring all of a subject into sharp focus using swing and tilt movements alone—you may still need to stop down the aperture as well.

It is designed for use either with enlarging lenses, or lenses from medium- and large-format cameras. The amount of swing will Subject be limited to prevent vignetting of the image, so it may not always DOF be possible to bring the whole of a b Sensor plane subject into sharp focus. Also, it is not always easy to exactly decide on the main subject plane.

Having achieved the optimal position for the lens, the aperture can be used to further increase depth of field, and take into Subject Lens plane account other factors such as the height of a subject. This technique was popular 20 years ago, but seldom used today, though it is well worth experimenting with, as high magnifications can be obtained relatively easily, often with excellent results.

The usual technique is to mount a medium telephoto lens not a zoom, as their complex construction does not always give good quality in this case on the camera body e. A short extension tube can be improvised as a lens hood for the reversed lens.

By tilting the lens so that the planes through the subject, sensor, and lens coincide, the entire image was brought into sharp focus. This combination is rather heavy and cumbersome, probably lending itself more to the studio rather than field work. Depth of Field Achieving sufficient depth of field while maintaining high image quality is one of the greatest problems for a close-up photographer.

In general, in close-up and macro photography, depth of field is extremely small, fractions of a millimeter in some cases, and becomes increasingly smaller with increasing magnification.

There will be many subjects where it is not possible to obtain sufficient depth of field to render the whole subject sharp. It is always worth asking yourself whether you actually need such a high magnification, or whether a smaller magnification, with its correspondingly greater depth of field, is a better compromise.

Always make sure to focus on the most important part of a subject the eye of an insect, for example , and, if possible, align the main plane of the subject with the plane of the image sensor. This will ensure maximum possible depth of field, though may well lead to images that lack creativity. Consideration of depth of field and its effect on both image content and quality can become highly technical, with complex formulas for calculating it based on esoteric factors such as the size of the acceptable circle of confusion.

In the end, what really matters, of course, is the appearance of the final image, and you will need to do practical tests to see how your equipment performs for the sort of work you are doing.

Depth of field is dependent on the size of the sensor in the camera. A full- frame, 35 mm—size sensor will, for a given magnification, have a smaller depth of field than a smaller sensor.

A sensor with a 1. Definition Depth of field can be defined as the distance between the furthest and nearest points of a subject that are acceptably sharp. Camera: Nikon D, mm Micro-Nikkor. A good rule of thumb to maximize depth of field is to focus one-third into the subject. If the same subject is photographed with a 50 mm lens and then a mm lens, and the distance from the camera to the subject is altered so that the magnification of the subject is the same in each case, and the same aperture is used in each case, then the depth of field will be the same.

What will vary is the perspective of the image, and how much of the background behind the subject can be seen. What a longer focal-length lens will give is a greater working distance between the subject and the front of the lens, minimizing the risk of disturbance to a small insect, for example, or giving sufficient space to illuminate the subject with flash.

If the subject is flat, and parallel to the imaging surface, then all points reflected from the subject would be focused as points on the sensor. However, most of the subjects we photograph are not flat, and are at various angles relative to the imaging sensor.

Light reflected from those parts of the subject lying on either side of the main plane of focus will be rendered as disks of varying size, called circles of confusion CofC or blur circles.

The size of the circle that is considered sharp will depend on various factors such as viewing distance of the image and degree of enlargement. There is a general consensus that a circle of mm 0. A smaller sensor such as an APS-C size will need to be enlarged by a greater degree, and therefore the circle of confusion used to calculate DOF is smaller. The figure of 0. For example, a sensor with a crop factor of 1. Diffraction From the discussion so far it would seem reasonable that, in order to maximize depth of field, you should stop down the lens as far as possible, and if necessary, add more light to the subject, or give a longer shutter speed to allow a small aperture to be used.

There is a major problem with this argument, though—the lens resolution is limited by an optical concept known as diffraction. Most lenses suffer from various chromatic and spherical aberrations when used at full aperture. These aberrations are gradually reduced as the lens is stopped down. However, the effects of diffraction increase as the lens is stopped down, and there will come a point where the image quality begins to fall. Stopping down the lens to this region improves definition by eliminating off-axis rays of light and reducing lens aberrations such as chromatic and spherical aberration.

Beyond this, resolution may be affected by diffraction, which limits the resolution of a lens. Diffraction does not suddenly cut in—it appears gradually as the lens is stopped down, and different lenses will have their own optimum apertures. The physics of diffraction are complex, but simply, when light rays touch the edge of any opaque material, such as the blades of the iris diaphragm in a lens, they are bent due to the wave nature of light, and the light splits into separate colors as in a rainbow.

Violet rays are diffracted more than red. This is similar to water being passed through a hosepipe. Thus, there is a compromise between depth of field and resolution. Light rays pass straight through Small aperture Light rays are diffracted through small aperture sharpness and depth of field is optimized. It is worth doing tests with your lenses to see where the diffraction limit is, and how greatly the image is degraded at various apertures.

It may be that, in certain instances, resolution needs to be sacrificed at the expense of greater depth of field. A practical rule of thumb for minimizing the effect of diffraction is to keep the effective aperture EA you are using below the diffraction limit. This will vary according to the size of the image sensor in the camera. The f no. Although c gives greater depth of field, the whole image is soft, and lacks the crisp detail of b due to the effects of diffraction.

Camera: Nikon D, Micro-Nikkor mm. Beyond a certain point, however, the effects of diffraction start to degrade the image. The optimum aperture for performance for most lenses is two to three stops Image quality from its maximum. Image quality increases as lens Declining image aberrations are quality due to reduced diffraction 4 5.

To achieve a sharper result, it may be better to open the lens aperture by two stops, even though this will mean losing some valuable depth of field. Although these figures are approximations, and image quality will be dependent on other factors, they do serve to show that different sensor sizes will affect final image quality.

If the lens was stopped down any more, the image quality would suffer from diffraction. The type of subject will also have an effect on the final image quality; for example, a subject with lots of high-contrast detail may suffer more than one with smooth tones and little detail.

Several companies make depth-of-field calculators for field use, while others are available online where it is possible to select the sensor size, lens focal length, and focusing distance. They then give you an overall depth of field.

Some of these are not designed for macro photography at magnifications over life size. There is also a diffraction calculator with images showing the effects of diffraction. Details of these can be found in the Resources chapter. Figures in red indicate where the diffraction limit has been exceeded and where image quality may be degraded. TABLE 3. Crop factor is 1. Different lenses will have different characteristics with regard to their bokeh, often determined by the number of blades used in the lens diaphragm: The more blades used, the more circular the aperture and the smoother the result.

Although designed primarily for portraiture, it may well be worth trying for close-up and macro work, if used with appropriate extension tubes. Blurring a Background There will be occasions when a small aperture will be required to achieve the required depth of field for a subject, but which, in turn, creates a distracting background by bringing elements in the background into focus. Also, subjects will not always be in the best position and therefore the background will not be inappropriate—for example, a flower growing up against a fence.

The Gaussian blur filter in particular can be adjusted so that the amount of blurring can be tailored specifically to the image. Successful selection of the subject will depend on its characteristics: Does it have hard edges or fine hairs, for example?

Further discussion of the techniques is beyond the scope of this book, but good information can be found in many of the books listed in the Resources chapter. The background is rather distracting. Stacking Images to Increase Depth of Field The concept of combining several portions of images together to make one is not new, and has been used since the earliest days of photography when several negatives were printed onto the same sheet of paper.

Similar techniques can be used with good effect in close-up and macro photography. The most basic version of the technique is to shoot two or more images at slightly different focus points, and combine the sharpest sections of each using copying, pasting, and layering techniques in Adobe Photoshop.

In the example shown, two shots were taken in quick succession of this Banded Agrion damselfly, one focusing on the main body of the insect, the other refocusing on the plane of the wing. The camera was well supported on a tripod, and the insect, unusually, did not move between exposures.

A 5-pixel-radius feather was used to soften the edge of the selection. The selection was copied and then pasted Tip into the first image with the sharp body. This automatically creates a layer that A selection can be can be nudged into place using the Move tool.

I usually reduce the opacity nudged, one pixel at a of the top layer to about 50 percent so that I can see the underlying image time, using the arrow keys of the keyboard for through it. Having aligned it perfectly, I returned the layer to percent precise alignment. The technique has obvious limitations for moving subjects. Stacking Software A relatively new, more sophisticated technique for increasing depth of field within an image is to take a series of images at different focus points, and stack or blend them together automatically in an image-processing program.

The basic idea is to shoot a series of images of a subject at different focus points within the subject the precise number will depend on the size of the subject. This can be done either by moving the entire camera for each exposure, or refocusing the lens. The If you are using a large images are then loaded into the software package, which then analyzes number of high- the images and selects the sharpest sections of each one and blends them resolution images to together.

In most cases this works remarkably well, though occasionally some stack, your computer will retouching may be required of artifacts that have been formed during the need to have sufficient process.

If you have a focusing rail, use this to Ten full-resolution move the camera toward the subject by equal amounts, though it is not images from my Nikon strictly necessary. D camera use nearly Mb of RAM! The pasted image automatically becomes layered. Note this dialog box also has the facility to stitch together multi-image panoramas. Camera: Nikon D, mm Micro-Nikkor, 1 50 sec. The image was lit with the light from two fiber optic light guides. The camera was mounted on a sturdy focusing rail, allowing very precise focusing through the minute subject.

There are several forms of camera supports applicable to macro imaging, but the crucial characteristic of them all must be to hold the camera still at the moment of exposure, and enable precise movement of the camera when composing and focusing the image. Tripods For studio work it may be useful if a tripod has a central column that can be raised or lowered easily. For work in the field, particularly with subjects such as low-growing plants, a tripod that can hold the camera at ground level may be useful—the Benbo is a well-known brand, and very versatile in this respect.

All three legs of the tripod can be moved independently, and the center column tilted to any angle, allowing the tripod to be placed in virtually any position from ground level upwards. I was fortunate that they were perched on a leaf on the edge of a patch of vegetation, so I could slowly move a tripod into place, and align the camera as far as possible so that it was parallel with the main plane through them. Other models that have great versatility for close-up and macro work are the Gitzo Explorer and Manfrotto X ranges.

Although expensive, carbon fiber models are much lighter and equally, if not more, stable than their aluminum cousins. Also shown is the Wimberley Plamp, which has a flexible arm for holding reflectors in this case a folding Lastolite or supporting plants. Note also the right-angle finder attached to the camera viewfinder. Although not as stable as a tripod, monopods are certainly worth considering if you are intending to photograph insects in the field. Tripod Heads There are two main types of tripod head: the ball and socket, and pan and tilt.

My own preference for close-up and macro photography is for the ball and socket, as it doesn’t have any protruding arms that may get in the way, particularly when being carried in the field. It is worth investing in a large, solid ball-and-socket head, such as the Arca Swiss Monoball, to support the camera rigidly. A pan-and-tilt head enables precise positioning in one plane at a time and is perhaps better suited to studio work.

Quick-release plates that screw onto the camera and are slotted into the tripod head are a very convenient and quick way of mounting the camera onto a head. There are several systems in current use, but the two main ones are the Arca Swiss, using a rectangular plate, and the Manfrotto, which uses both hexagonal and rectangular plates. One useful accessory is an L bracket, which fits underneath the camera and allows you to rotate it from a horizontal to a vertical position around the lens axis, without changing the shooting position in any way.

They are manufactured for specific cameras by companies such as Kirk Enterprises, and slot into the Arca Swiss—style quick-release system.

Focusing Rail When shooting close-ups it is often easier to focus by moving the whole camera backwards and forwards rather than rotating the focus ring on the lens.

To help do this, focusing rails are available on to which the camera is mounted. These can then be used to make precise adjustments in the camera- to-subject distance.

Several models on the market, such as the Novoflex Castel-Cross, allow adjustment in two directions. Bean Bag This rather low-tech device may prove to be invaluable in some situations.

This Novoflex model has the ability to move the camera in two planes. The bag is laid onto a surface, perhaps the ground in the case of a plant, and the camera and lens pushed into the surface. They provide a remarkably firm support, though are obviously very limited in where they can be used. Wildlife photographers use them extensively when shooting with long lenses from vehicles on safaris, when they are draped over the window ledge.

When traveling on planes, they can be carried empty to save weight, and filled at your destination. Remote Release With any form of camera support, even the sturdiest tripod, it is possible to introduce movement into the system by heavy-handed firing of the shutter. This can be eliminated by the use of a cable release or other form of remote shutter release. All digital cameras will have a socket for an electronic remote release.

Despite being quite expensive, remote releases are a virtual necessity for getting the sharpest results. There is a range of models available, from simple on—off switches, to devices enabling time-lapse intervals to be programmed. Infrared and wireless radio remotes are also available for firing the camera at a distance. A sturdy camera support, remote release, and mirror lock-up facility were all used to ensure a sharp image.

Camera: Nikon D, 18— mm lens set to mm, 5 sec. I needed to align the camera so that the sensor was parallel to the main body of the insect. I swung the central column of the Benbo tripod over the top and focused on the body. Camera: Nikon D, mm Micro-Nikkor, 1 20 sec. In situations where you do not have a remote release it is possible to activate the shutter via the delayed-action control on the camera.

Even with a cable release there may be residual vibration caused by the mirror flipping up before the exposure is made. Several cameras have a mirror lock- up facility, whereby pressing the cable release once locks the mirror out of the light path.

Wait a few seconds for the vibration to die down before pressing it a second time to open the shutter. This is only useful if the subject is static, and not likely to move in between the mirror being raised and the shutter opening. There is no such thing as perfect or standard lighting for close-up and macro photography. Each subject will require something different, and different photographers will photograph the same subject using different lighting techniques to create different images.

There also will be instances where a standardized lighting setup is required— for example, for a series of comparative images of coins. It is highly likely that, in many cases, you will need to use a combination of lighting techniques, such as daylight with flash fill in, for example.

The basic choice is between natural light daylight and artificial lighting usually, but not always, electronic flash. Other small light sources that might be useful are small reading lamps, available from most furnishing and office supply stores, and focusable microscope lamps. One of the characteristics of daylight is that it is unpredictable and variable, which is fine for a one-shot photograph of a subject, but is not appropriate if a series of images is required with consistent lighting.

The seedpod was held in place with a Wimberley Plamp. The quality of light from a light source will be partly determined by the relative size of the light source and subject.

If the light is a reasonable distance away, such that it is effectively smaller than the subject, then it will act like a spotlight, creating shadows that will accentuate texture, but that may need to be softened.

When used closer to a subject, the light becomes softer as the size of the light source becomes larger than the specimen. These are available from microscope suppliers and are usually tungsten based, and give off a reasonable amount of heat. When using any form of artificial lighting, start by using one light to provide modeling and relief, as appropriate to the subject.

Place it above and to one side of the subject, usually to the left by convention. Try filling in shadows with white card or silver foil reflectors. If a second light source is required, it is imperative that you do not create a second shadow. Daylight Daylight varies in quantity, quality, and color, depending on weather conditions, time of day, or time of year. It is the preferred source for natural subjects such as flowers and insects, but because of its unpredictable nature, it may not always be appropriate.

Some subjects, such as delicate flowers, may require soft, even lighting to show detail in all areas of the image, while others, such as lichens, may require a harsher, more directional light to accentuate texture.

Backlighting will give a totally different effect with some subjects. There is more detail in the frontal light shot, but the backlit version shows the translucent petals. Neither is right or wrong! Camera: Nikon D, 70— mm lens set to mm. Traditionally, photographic gray cards—sheets of card manufactured with a perfectly neutral gray surface that reflect 18 percent of the light falling on them—were used by photographers to help when producing color prints.

Today, white balancing devices are available as plastic sheets or circular folding units. They can either be used to white balance the camera at the time of exposure, or included in the scene being photographed to enable correction in image-processing software. Make sure that the card receives the same light as the subject.

You might shoot two images of the same scene, one with and one without the card. Imaging software such as Adobe Photoshop has a white balance facility. Click the white balance dropper on the image of the gray card and that area is immediately balanced to a neutral gray.

Gray card and other white balance tools are available from the companies listed in the Resources chapter. I used the white balance dropper to click on the gray tool to neutralize the color. Camera: Nikon D, mm Micro- a Nikkor. Their main advantage is that they allow you to predict exactly how the final image will appear.

They generate a lot of heat though, making them unsuitable for delicate living subjects. They may require long shutter speeds, making them also inappropriate for moving subjects. Subject Brightness Range In general, digital cameras cannot record all the tones that the human eye can see. A typical bright sunny day might have a brightness range of well over eight stops, and the highlight may be several thousand times brighter than the shadow.

A typical digital camera is only able to record successfully a range of around five stops, meaning that detail might be lost in either the shadows, highlights, or both. Each device will have its own characteristics, and it is worth trying more than one to see which suits your particular subject.

Reflectors The main aim of a reflector is to reflect light into the shadow areas of a scene, brightening them, and thus reducing the overall contrast. Many reflective surfaces can be used to reflect light back into shadows, from white card and paper to silver foil and mirrors.

Each will have its own characteristics depending on the surface and size. Several manufacturers market a range of circular reflectors, many of which fold up into small pouches for carrying. Lastolite has an extensive range, including white, silver, and gold. For most close-up and macro photography you will only need the smallest one, 30 cm in diameter, which folds down to a pocket-size 10 cm.

The version with one white side and one silver side is probably the most useful. Small pieces of white card or silver or mirrored card are also well worth keeping in your camera bag. One good source is the silvered lids of Chinese food take-away containers.

Diffusers A diffuser is held between the light source and subject to soften the light, much like a cloud passing across the sun. Like reflectors, several diffusers are available commercially, either as circular fold-up types or umbrellas, but they also can be improvised from tracing paper or greenhouse muslin, for example. A white reflector was placed to the right, reflecting light back into the shadows, giving a much more pleasant effect. The result is black shadows with no detail. Silver will have a greater b effect than white.

It will have no effect if there is highlight on the top right of the specimen. It will tone down a bright highlight. You can do this simply by photographing an 18 percent gray card or equivalent with the light shining through the diffuser see White Balance box.

Flash Electronic flash offers the advantage of a small, powerful, consistent light source, that when used with modern digital cameras, can be used as the main light source or in conjunction with ambient daylight to provide fill in, just like a reflector. Photographers, such as Stephen Dalton, who photograph insects in flight, use specialized high-speed flash units with durations up to , second or less.

If you intend to do any of this type of work, it is worth checking the technical specification of your flash guns. Working indoors, flash can be used to provide all the lighting for a subject, but outdoors, flash can be used in a variety of ways in combination with daylight.

However you use flash, the general aim should be that it shouldn’t be apparent, and the result should look as natural as possible. Note the scale alongside the fossil.

By varying the flash output, its power relative to daylight can be altered, and a wide range of lighting effects achieved. Daylight as the Main Light and Flash as Fill In Imagine you are photographing a toadstool in reasonably harsh sunlight perhaps a subject brightness range SBR of : 1. Try experimenting with different compensation settings. Flash as the Main Light and Daylight as Fill In Imagine the same toadstool growing in a dense woodland, with heavy overcast lighting. Notice that the shadow is affected proportionately far more than the highlight.

This is one of the reasons why wedding photographers often use fill flash on bright sunny days—the contrast between the white dress of the bride and the black suit of the groom is far too much for the camera. Similar techniques are used by bird and animal photographers, for example, for brightening dark plumage or adding a catch light to an eye. You will need to use an extension cable to get the flash into the right position above and to one side of the subject, or perhaps from the side or back.

Use the aperture that is correct for the flash e. If the standard flash synchronization speed of second is used, the background will register as very dark or even black. In some instances this may be as low as 12 or 1 second or more. When the shutter is triggered, the flash goes off and exposes the toadstool correctly. The shutter now stays open for the longer time, effectively filling in the shadows created by the flash, and allowing the background to register.

Almost all situations in the field will be different, and it is well worth experimenting with different flash settings for a range of subjects to achieve the effect you are after. The discussion thus far deals with the principles of using flash with daylight. Modern, sophisticated flash units such as the Nikon SB take away much of the calculation and guesswork involved.

Camera: Nikon D with mm Micro-Nikkor lens. Wireless flash units such as the Nikon Creative Lighting System offer the option of complete flexibility with regard to the positioning and relative power of flash units without worrying about trailing cables. Ring Flash A ring flash is a circular flash tube that is mounted onto the front of the lens, and provides flat, shadowless lighting across the subject.

They were originally designed for medical work such as dental or surgical photography. Some units are available with two or more separate tubes that can be controlled independently, thus enabling the creation of shadows. When using a traditional ring flash try covering a portion of the tube usually the bottom left or right quadrant with black tape, which will create a shadow.

Specialist Macro Flash Units Several manufacturers, including Canon and Nikon, make devices that hold one or more flash units on the front of the lens. It consists of a ring that screws into the front of the lens that can hold up to eight small flash heads, which can be placed in any position around the ring and angled in the appropriate direction. This system is particularly flexible when switching from landscape to portrait mode. The ring is rotated so that the flash units are in the same relative position as the landscape format.

Separate flash heads can also be used to light the background or provide backlighting. Camera: Nikon D, 55 mm Micro-Nikkor, sec. The flat lighting here shows detail in all parts of the plant. Note the shadow all round the individual flowers. The power from each flash head can be controlled independently, enabling different lighting ratios.

Each flash head has a modeling light that enables precise positioning of the flash, though this is probably not very useful in strong daylight. Custom-Made Flash Brackets There will be occasions when photographing small subjects in the field where any form of camera support is impractical, and you will need to handhold the camera.

As discussed in Chapter 3, several macro lenses now have image-stabilizing facilities to help do this, but it is likely that you will need to use electronic flash, particularly for very small insects.

Many photographers construct their own brackets to hold one or more flashes when photographing subjects such as insects in the field. What is required is a flexible arm that is capable of holding a flash gun in a range of positions relative to the lens: above, to the side, or halfway between the two. You will need an extension cable to trigger the flash when it is used externally to the camera. The power of each flash unit can be adjusted to allow for a main light and fill-in light, for example.

The pop-up flash on the camera is used to control the two flash heads via an infrared signal. This particular setup becomes rather awkward when the camera is used in vertical format.

I handheld the camera, and used the flash bracket with a single flash above and to the left of the lens. This can be mounted as close as possible to the camera—there is no point in filling in shadows that the camera lens can’t see. Alternatively, a small reflector can be held on the other side of the flash to fill in the shadows.

A softer light can be obtained by firing the flash through a diffuser, either on the flash head, or with a diffuser mounted around the lens like a collar.

The whole point of this bracket is to provide a small portable unit for use in the field, so it must be easy to carry, lightweight, quick to set up, and easy to use. The design shown here is not very flexible for shooting portrait-format images Several manufacturers make flash brackets, such as Kirk, Really Right Stuff, Wimberley, Novoflex, and Manfrotto.

Fiber Optic Light Source Fiber optic light sources are available that offer highly controllable, small light sources. They generally consist of a quartz halogen light source inside a metal box, which is fed into one, two, or more flexible arms, usually around 1. One example is the Kaiser Macrospot Some units also have an electronic flash tube, making them excellent for freezing the movement of subjects such as pond life or small insects.

Their great advantage is that the light source emitted from the fiber optic arms is cold, and so it can be placed close to living subjects. The arms can even be immersed in water if appropriate. Although expensive, fiber optic sources are excellent for small subjects, and secondhand units often can be found on Internet auction sites such as eBay.

Be careful when using fiber optic light sources to not bend the arms excessively, as this can fracture the glass fibers. Light Box A small light box can be very useful in the macro studio for photographing transparent or translucent subjects such as leaves, fern fronds, and the like. Ideally, it should be daylight balanced, though images can be easily color balanced in software, particularly if you are shooting RAW files. Once you have framed the subject in the camera on the light box, mask off the rest of the light box area with black paper or card to minimize flare.

Tent Lighting Tent lighting is used for highly reflective subjects such as coins or other metallic subjects. The subject is effectively enveloped by a white translucent tent through which light is shone. Tent-style units are now sold for photographing small products for advertising items on Web sites such as eBay, but for many small subjects you will need smaller tents. White translucent plastic coffee cups with the bottoms removed, or white Perspex translucent lampshades are very useful available in most furniture or lighting stores , though you can also construct one from tracing paper.

Different backgrounds can be placed inside the tent. The lights are shone through the collar. Great care is needed to check for flare, particularly as there probably will be no room for a lens hood. Do be careful that the tent lighting does not eliminate completely the natural gloss from a surface. Materials such as stainless steel, silver, or flint have a natural surface sheen that needs to be indicated in the image.

If tent lighting is used for these subjects it may be possible to introduce this sheen by placing a piece of silver foil inside the tent. Similarly, if the subject has a surface texture, this needs to be retained. Try shining light through just one side of the tent to give some modeling to the texture.

Dark-Field Lighting This is a technique derived from microscopy for viewing transparent or translucent subjects. The subject appears to glow against a black background. Light is shone through the subject at an angle, such that if the subject were not present, no light would appear in the lens.

Any light deflected by the subject is seen through the camera. You will probably need to use at least two lights for this technique. It is worth taping strips of black card to the sides of the flash units to direct the light more accurately and reduce the risk of flare.

Two Nikon SB-R flash guns are mounted underneath the Petri dish containing the specimen, and angled such that they shine light through the specimen, but not directly into the lens. Black velvet is placed under the subject.

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Adobe Photoshop is a raster graphics editor developed and published by Adobe Inc. It was originally created in by Thomas and John Knoll. Since then, the software has become the industry standard not only in raster graphics editing, but in digital art as a whole.

The software’s name is often colloquially used as a verb e. In addition to raster graphics, Photoshop has limited abilities to edit or render text and vector graphics especially through clipping path for the latter , as well as 3D graphics and video. Its feature set can be expanded by plug-ins ; programs developed and distributed independently of Photoshop that run inside it and offer new or enhanced features. Photoshop’s naming scheme was initially based on version numbers.

However, in October following the introduction of Creative Suite branding , each new version of Photoshop was designated with ” CS ” plus a number; e. With the introduction of the Creative Cloud branding in June and in turn, the change of the ” CS ” suffix to ” CC ” , Photoshop’s licensing scheme was changed to that of software as a service subscription model.

As of November , Adobe has also released a full version of Photoshop for the iPad , and while initially limited, Adobe plans to bring more features to Photoshop for iPad. Photoshop was developed in by two brothers Thomas and John Knoll , who sold the distribution license to Adobe Systems Incorporated in Thomas Knoll, a Ph.

Thomas took a six-month break from his studies in to collaborate with his brother on the program. Thomas renamed the program ImagePro, but the name was already taken. During this time, John traveled to Silicon Valley and gave a demonstration of the program to engineers at Apple and Russell Brown, art director at Adobe. Both showings were successful, and Adobe decided to purchase the license to distribute in September Photoshop 1. The handling of color slowly improved with each release from Adobe and Photoshop quickly became the industry standard in digital color editing.

At the time Photoshop 1. The list price of Photoshop 1. Photoshop was initially only available on Macintosh. The Windows port led to Photoshop reaching a wider mass market audience as Microsoft ‘s global reach expanded within the next few years. Photoshop files have default file extension as. PSD , which stands for ” P hoto s hop D ocument”. This is in contrast to many other file formats e. JPG or. GIF that restrict content to provide streamlined, predictable functionality.

A PSD file has a maximum height and width of 30, pixels, and a length limit of two gigabytes. These formats are required to use the file in publications or on the web.

Photoshop can also create and use files with the extension. PSB, which stands for “Photoshop Big” also known as “large document format”. The dimension limit was apparently chosen arbitrarily by Adobe, not based on computer arithmetic constraints it is not close to a power of two, as is 30, but for ease of software testing. Photoshop functionality can be extended by add-on programs called Photoshop plugins or plug-ins.

Adobe creates some plugins, such as Adobe Camera Raw, but third-party companies develop most plugins, according to Adobe’s specifications. Some are free and some are commercial software. Most plugins work with only Photoshop or Photoshop-compatible hosts, but a few can also be run as standalone applications.

There are various types of plugins, such as filter, export, import, selection, color correction, and automation. The most popular plugins are the filter plugins also known as a 8bf plugins , available under the Filter menu in Photoshop.

Filter plugins can either modify the current image or create content. Below are some popular types of plugins, and some well-known companies associated with them:. Adobe Camera Raw also known as ACR and Camera Raw is a special plugin, supplied free by Adobe, used primarily to read and process raw image files so that the resulting images can be processed by Photoshop. Upon loading Photoshop, a sidebar with a variety of tools with multiple image-editing functions appears to the left of the screen.

These tools typically fall under the categories of drawing ; painting ; measuring and navigation ; selection ; typing ; and retouching. These can be expanded to reveal similar tools. In some newer versions hovering along the tools gives a small Video glimpse of the tool. Photoshop includes a few versions of the pen tool. The pen tool creates precise paths that can be manipulated using anchor points.

The free form pen tool allows the user to draw paths freehand, and with the magnetic pen tool, the drawn path attaches closely to outlines of objects in an image, which is useful for isolating them from a background. The Clone Stamp tool duplicates one part of an image to another part of the same image by way of a brush.

The duplication is either in full or in part depending on the mode. The user can also clone part of one layer to another layer. The Clone Stamp tool is useful for duplicating objects or removing a defect in an image. Photoshop provides an array of shape tools including rectangles, rounded rectangles, ellipses, polygons and lines. These shapes can be manipulated by the pen tool, direct selection tool etc. In addition, Photoshop provides its own shapes like animals, signs and plants.

The eyedropper tool selects a color from an area of the image that is clicked, and samples it for future use. Selection tools are used to select all or any part of a picture to perform cut, copy, edit, or retouching operations.

The crop tool can be used to select a particular area of an image and discard the portions outside the chosen section. This tool assists in creating a focus point on an image and unnecessary or excess space. The crop tool is in the tools palette, which is located on the right side of the document.

By placing the cursor over the image, the user can drag the cursor to the desired area. Once the Enter key is pressed, the area outside the rectangle will be cropped. The area outside the rectangle is the discarded data, which allows for the file size to be decreased. The slice and slice select tools, like the crop tool, are used in isolating parts of images. The slice tool can be used to divide an image into different sections, and these separate parts can be used as pieces of a web page design once HTML and CSS are applied.

The move tool can be used to drag the entirety of a single layer or more if they are selected. Alternatively, once an area of an image is highlighted, the move tool can be used to manually relocate the selected piece to anywhere on the canvas. The marquee is a tool that can make selections that are a single row, single column, rectangular and elliptical.

This tool can also crop an image; it allows for better control. In contrast to the crop tool, the marquee tool allows for more adjustments to the selected area before cropping. The only marquee tool that does not allow cropping is the elliptical.

Although the single row and column marquee tools allow for cropping, they are not ideal, because they only crop a line. The rectangular marquee tool is the preferred option. Once the tool has been selected, dragging the tool across the desired area will select it. The selected area will be outlined by dotted lines, referred to as “marching ants”.

To set a specific size or ratio, the tool options bar provides these settings. Before selecting an area, the desired size or ratio must be set by adjusting the width and height.

Any changes such as color, filters, location, etc. To crop the selection, the user must go to the image tab and select crop. The lasso tool is similar to the marquee tool, however, the user can make a custom selection by drawing it freehand. The regular lasso tool allows the user to have drawing capabilities. Photoshop will complete the selection once the mouse button is released.

The user may also complete the selection by connecting the end point to the starting point. The “marching ants” will indicate if a selection has been made. The polygonal lasso tool will draw only straight lines, which makes it an ideal choice for images with many straight lines. Unlike the regular lasso tool, the user must continually click around the image to outline the shape.

To complete the selection, the user must connect the end point to the starting point just like the regular lasso tool. Magnetic lasso tool are considered the smart tool. It can do the same as the other two, but it can also detect the edges of an image once the user selects a starting point. It detects by examining the color pixels as the cursor moves over the desired area. Closing the selection is the same as the other two, which should also should display the “marching ants” once the selection has been closed.

The quick selection tool selects areas based on edges, similarly to the magnetic lasso tool. The difference between this tool and the lasso tool is that there is no starting and ending point.

For this reason, the selected area can be added onto as much as possible without starting over. By dragging the cursor over the desired area, the quick selection tool detects the edges of the image. The “marching ants” allow the user to know what is currently being selected. Once the user is done, the selected area can be edited without affecting the rest of the image.

One of the features that makes this tool especially user friendly is that the SHIFT key is not needed to add more to the selection; by default, extra mouse clicks will be added to the selection rather than creating a new selection.

The magic wand tool selects areas based on pixels of similar values.

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With Color Tokens you can export, integrate and sync Color Variables from your designs to your development projects. Now you can choose whether a project is visible to your whole Workspace, or just the members you invite to it.

You now have full control of the size and style of corners in your rectangles. It even works with triangles, stars, polygons and closed paths directly from the Corners panel in the Inspector! Sign up for free to try our new features. Keep your work safely in sync across multiple Mac computers with iCloud. And take Sketch full screen to maximize the size of your canvas.

Everything is there, tucked away until you need it. A simple interface with powerful tools. Download any torrent client. Double click the above downloaded file and wait. Run the program. Fixes a bug that would cause layers in the Layer List to disappear if you hid the sidebar and then switched between the Canvas and Components View. Fixes a bug that meant Linked Data would not refresh for layers, text layers and Symbols with certain properties.

Fixes a bug that caused items in the Layer List to appear misaligned. This should make it easier to click and drag to adjust text size quickly. Fixes a bug where text layers with particular styling, and only whitespace content e.

Fixes the Artboard preset size for the Fixes a crash that could occur if a plugin attempted to show a message to you when no documents were open. Fixes a bug that caused Libraries in Workspaces that you were invited to as a Guest to disappear after you downloaded them.

Fixes a bug where selecting many large Artboards would cause performance issues. Fixes a bug that meant the Delete and Rename options for your My Drafts project were active in the contextual menu of the Documents window. Fixes a bug that made it possible to edit the name of your My Drafts project. Fixes a bug that deselected your Artboard after you converted it into a Symbol. Fixes a bug that would remove the layers within a combined shape and the shape itself when you used the Make Grid handle to duplicate the layers within that shape.

Fixes a bug that meant our real-time collaboration feature would ignore any macOS proxy settings you had set up. Fixes a bug that caused Components in the Components View to disappear when grouping or renaming them. This includes text appearing incorrectly aligned, not updating if you swapped between different components, or not appearing at all. Thanks for all your reports! Fixes a bug that could cause Sketch to use significant memory when you used the color picker.

Fixes a bug that caused the Inspector to display an incorrect text alignment selection. Fixes a bug that caused a mask to affect the layer above it in a Component, even if that layer was set to ignore masks. Fixes a bug that could cause Sketch to run slow when launching or creating new documents in Macs with certain GPUs. Fixes a bug that caused Text Layers placed outside of Artboards to change their position when you duplicated the page.

Fixes a bug that meant a Symbol with Smart Layout would not respect any minimum width settings if you nested it within another Symbol. Lots of them are subtle, but they all add up to a better experience. If you uncheck this Insert Data at Random option, Data you insert will follow the order in its source file.

Nested data from a Linked Data source will appear inside a group when you add it to your canvas. Fixes a bug where a layer with a blur with a 0. Nothing major, but subtle things that add up to a more pleasant experience.

Fixes a bug where applying blend modes could cause Tints to be ignored. Fixes a crash that could occur if you set an extremely large shadow offset value. Fixes a bug that would hide document titles and make them uneditable unless you resized your window.

Fixes a bug that could causes styles within Library Components to become unlinked after you applied Library and Components Updates in documents that used that Library. Fixes a bug where we would not detect and replace an existing local Library if you uploaded it to a Workspace.

This meant that any documents that used Components from that Library would still be linked to the local version, instead of the one in your Workspace. Fixes a bug that caused layers with multiple, blended inner shadows to render incorrectly.

Fixes a bug that caused shadows with negative spread to render incorrectly on layers with gradient or image fills. Fixes a crash that could occur when you clicked Return to Instance while using the Scale tool. Fixes a bug that caused shadows for text-on-path layers to appear flipped upside down. Fixes a bug that caused inner shadows on overlapping shapes to render incorrectly. Fixes a bug where inner shadows on a mask layer could appear darker than they should.

Fixes a bug that caused blurred layers to lose some of their details if you used them as a mask. Fixes a bug that meant a text-on-path layer could cause other text layers in the same group to render incorrectly. Fixes a bug that caused layers behind a background blur to render incorrectly when you rotated them. Fixes a bug that stopped Color Adjustment changes from updating in the Inspector when you used the Undo command. Fixes a bug that could cause angular gradients to appear pixelated.

Fixes a bug that caused the Fix position when scrolling setting to become unchecked if you applied it to a Symbol that you later detached. Fixes a bug that could cause poor performance when you selected large text layers.

Fixes a bug where applying a shadow with a negative spread to a shape with translucent fills could cause the shadow to be clipped at its outside edges. Fixes a bug that meant the hover selection color would not match the accent color you set in System Preferences until you relaunched Sketch.

Fixes a bug that caused shapes with fills, smooth corners and outside borders to render incorrectly. Fixes a bug that caused SVG exports of layers with tints to have incorrect colors. Fixes a bug that stopped a public Cloud Library from installing or caused it to disappear if your License Key and Sketch account used different emails. Fixes a bug that stopped the override reset control from appearing and disappearing at the right times in the Inspector. Fixes a bug that unlinked Library styles from Components after you accepted updates to that Component and Library in your document.

Fixes a bug that stopped some text decoration attributes from updating correctly in the Inspector. Fixes a crash that could occur if you set the dimensions to be exceptionally large. It also fixes a crash that occurred if you enabled Libraries with embedded fonts. Fixes a bug where saving a Library file would show an incorrect Autosave warning.

Fixes a crash that could occur if you scaled a group of layers and then undid that action. Fixes a bug that stopped some Data Plugins from showing you a preview of content as you inserted it. Fixes a crash that could occur if you enabled Libraries with embedded fonts. Read our documentation to see how Starred updates work. To get started, simply name layers in your document to match the keys in your JSON file. This only affects new groups and any existing groups you edit with this version of Sketch.

This should also fix an issue where some Artboard exports were a pixel wider or taller than their original Artboard. Happy scroll-zooming! When you resize multiple layers, we no longer round those individual layers to the nearest pixel. Now, they will perfectly maintain their distance between each other, instead of shifting slightly in some cases. Command-O will now reveal the Documents window so you can easily access documents in your Workspace s. You can override this in your macOS System Preferences , if you need to.

Fixes a crash that could occur on the macOS Fixes a crash that could occur when you copied groups of PNGs that contained indexed colors. Fixes a bug where reducing the file size of some bitmaps could cause some white areas in them to change to cyan. Fixes a bug that could make Sketch become unresponsive when trying to offset a path that had been rotated before. Fixes a bug where document placeholders in Documents window would not update when you switched between dark and light mode.

Fixes a bug that could cause a letter to appear inside the shape of the icon when using icon fonts with a fill or when converting them into outlines. Fixes a bug that caused the editing area for page names to appear wider than the page name pill itself in some cases.

Fixes a bug that meant inner borders with gradients could render incorrectly on certain shapes. Fixes a bug that caused text on a path to display incorrectly or disappear if it was part of a Symbol instance that you scaled up or down.

Fixes a bug that caused previews in the Components View to display colors in the wrong color space. Fixes a bug that caused Symbol overrides menus to show different sized symbols, even if the option to only show the same size Symbols was enabled, in some cases. Fixes a bug that placed new vector points incorrectly on very small Artboards, if there were other Artboards nearby. Fixes a bug that caused Point Types you selected in the Inspector to appear deselected if you clicked on it multiple times.

Fixes a bug that caused the position overlays for rulers to appear slightly offset from the ruler markers themselves. Fixes a bug that caused the length field in the Inspector to stop updating if you selected multiple lines and adjusted them.

Fixes a bug that drew an Artboard at an angle, if you drew it within an angled, nested group. Fixes a bug that meant Symbols at the same level would not appear in the overrides menu if they were part of a Library nested one or more levels down from the current Library. Fixes a bug that corrupted layer names and could cause a crash when you converted text layers that contained SF Symbols to outlines and exported them. Fixes a bug that prompted you to replace missing fonts for Library Components in your documents.

Fixes a crash that could occur if you tried to edit a text layer that used the Chivo Black Italic font. Fixes a bug that would revert Sketch to trial mode, even if you were signed in with a Sketch Account and had access to the Mac app, if you unlinked a license key while offline. Fixes a bug that stopped text Symbols from scaling correctly using the Scale tool if you had applied a Text Style override to them.

If you were finding Sketch slow when using a plugin with a WebView, or you had a Library update notification that never disappeared, this update has got you covered. Fixes a bug that caused poor performance for documents with missing fonts.

Fixes a bug that caused the Library Updates Available notification to appear when there were no components to update. Fixes a bug that caused performance issues with some plugins that used WebViews. Fixes a bug that meant Sketch would become slow or unresponsive when you used the Symbol override or insert menus. Fixes a bug that caused boolean operations icons in the Layer List to appear squashed.

Fixes a bug that caused poor performance when you had certain Libraries enabled. Fixes a bug that could cause the Sidebar to appear in the Components View if you had previously hidden it in the Canvas view.

If you sent us feedback about these three, thank you! Fixes a bug that stopped you from being able to access shared Libraries. This release includes a handful of bug fixes and visual tweaks. Fixes a couple of toolbar-related bugs that caused items with notification badges to appear clipped or translucent in some cases. Fixes a bug that caused the Make Grid tool to repeat layers within a group, rather than the group itself. Fixes a bug that caused parts of the Inspector to disappear when opening a Color Popover, resizing your document window or scrolling in the Inspector itself.

Fixes a bug that stopped particularly long Artboard and layer names from showing in full when you renamed them. Fixes a crash that could occur if you added a Library to the Mac app from Cloud. Fixes a crash that could occur if you held down the Shift key and clicked on a nested Symbol. Fixes a bug in the Color Popover that caused chevrons to overlap with the List and Grid view icons if you had Libraries with long names.

Fixes a crash that could occur if you exported layers that had specific characters in their name as SVGs. Simply select two or more layers and drag on the new handle that appears in the bottom-right corner of your selection. The same options are still there, just together in one place. Fixes a performance bug that, when many Libraries were enabled, could cause lag when dragging layers over a Symbol Source in the Symbols page.

Fixes a bug that could cause a complex shape layer to disappear if you tried to offset its path a more negative amount than is possible. This also affected documents you saved to third-party storage services like Dropbox, Box or iCloud Drive. Fixes a bug that caused the shadow for a popover in the Inspector to move independently from the popover itself. Fixes an issue that caused some bitmaps to appear blurry when you exported them.

Fixes a bug that stopped you from adding Assistants that had particularly long URLs or located in lots of nested folders. Fixes a bug that caused Sketch to freeze if you toggled between dark and light modes in System Preferences. Fixes a crash that would sometimes occur when you opened the Insert Window by pressing c on your keyboard. Fixes a bug that stopped the Insert Window from refreshing after you edited any properties for Styles, Symbols, or Color Variables.

Fixes a bug that caused the main document window to disappear if you made it full-screen after opening the Insert Window. Fixes a bug that could cause some images to appear with inverted colors.

Fixes a bug that made the Return to Instance button disappear after you opened the Components View. Fixes a crash that could occur if you were working with some greyscale images. Fixes a crash that could occur if you duplicated a Color Variable in the Components View.

Fixes a bug where some single-letter shortcuts would not work for certain macOS keyboard input languages. Fixes a bug that caused colors in text layers to change if you used Sketch with some external displays. It brings together all of the Symbols, Text and Layer Styles, and Color Variables from your enabled Libraries, and displays them with beautiful, big previews that make browsing easy. Simply press c on your keyboard to open it, start typing to search for the component you need, then drag and drop it onto your Canvas.

Re-ordering layers in grid arrangements, by dragging on their circular center handle, now works in a more natural way.

Layers will shift around automatically to avoid adding an extra row or column. You can now use the Make Grid tool to reduce the size of existing grids. When you drag layers, we now use a smarter approach to align them to pixels.

We now refer to a Symbol master as a Symbol Source. Fixes a bug that caused some of the borders of an instance that had been previously rotated to not always show when fitting an Artboard to it. Fixes a crash that could occur when pasting a layer with invalid text attributes from an old document or from a document that was created with a third-party app. Fixes a bug that caused high CPU usage when you were viewing layers with blurred shadows. Fixes a bug that stopped color properties from showing in the Find and Replace Color sheet.

Fixes a bug that meant bitmaps would not always look sharp at lower zoom levels. Fixes a bug that caused unexpected antialiasing differences on Symbol instances with clipping masks compared with detached versions of that Symbol. Fixes a bug that could change the coordinates of a line when you adjusted the size of the Artboard it belonged to.

Fixes a bug that caused overrides to reset or be unavailable when you reopened some documents. Fixes a bug that meant values in the Layout Settings sheet would not always display correctly when confirming, canceling or tabbing through the sheet fields.

Fixes a crash that could occur if you pressed the tab key in an empty value field while you were creating Custom Artboard Preset. Fixes a bug where changing opacity of a Tint on a Symbol instance would not always work reliably.

Fixes various bugs affecting the Text on Path feature to make it more reliable. Fixes a bug that caused groups within a Symbol to display incorrectly in Symbol instances. Fixes a crash that could occur when you adjusted the length of lines or paths.

Fixes a crash that could occur when you imported gradients from other applications or file formats. Fixes a crash that could occur if you set a blur value of less than 1. Fixes a crash that could occur when you updated a Library. Fixes a crash that could happen when double-clicking to rename a missing image layer in the Layer List. Fixes a crash that could occur while editing some text layers.

Fixes a bug that stopped the color well and Hex values in the Inspector from updating when you selected multiple Artboards with the same color. Fixes a bug that could cause fonts with ligatures to be unaligned or appear outside of the bounding box of text layers.

This affected Thai, Arabic and German characters especially. You can find out more, discover and download Assistants in the new Assistants Directory , or read our documentation to see how they work. And with this release, you can add, rename and remove Cloud projects from the sidebar in the Documents window, too! Fixes a bug where applying a color preset to a text layer would not instantly refresh the preview in the color popover. Fixes a bug that meant the Touch Bar would not display the save dialog options correctly.

Fixes a bug that caused the settings icon for Fill properties to stay in its highlighted state. Fixes an issue where the color popover for Tints would not close when you clicked in the color well.

Fixes a bug in boolean operations where curved segments intersecting more than one line could incorrectly ignore those intersections. Fixes a bug where adjusting gradient stops in the color popover via the arrow keys would change the selection to the first gradient point and move that instead.

Fixes a bug where nested overrides in existing Symbol instances would appear as available for editing, even if you had made them unavailable for editing on the Symbol master within a Library.

This bug did not affect new instances, and this fix means existing instances will also show accurate override options. Fixes a bug where moving the app window between Retina and non-Retina displays could cause the Canvas to render in the wrong resolution. Fixes a bug where signing in to a Sketch account on one Mac might sign you out on another Mac connected to the same iCloud Keychain.

The bug fix only applies if you are running macOS Fixes a bug that meant some document versions you saved would get stuck while they were processing on Cloud. This release contains fixes to the most common bugs and crashes you have reported.

Fixes a bug that caused the app to become unresponsive when you resized a selection that included multiple Line layers. Fixes a bug that could cause prototype links to reappear after you had deleted them. Fixes a bug that caused the Inspector panel to get stuck if you scrolled up with a color popover open.

Fixes a crash that could occur when you edited text or Text Styles in certain documents. There are a lot of small changes here, but they all add up to a smoother, faster Sketch.

It also ensures text layers render correctly whenever you view your documents on Cloud. By default, it now selects all layers in your current group. Using Select All again will extend that selection to layers in the next group up.

Using Select All with an Artboard selected will select all Artboards instead. You can now use Smart Distribute and Tidy with selections of layers that are both outside and inside of groups. You can now rename Cloud documents from the comfort of the Documents window. Using this option makes it possible to export non-uniquely named layers without one overwriting the other. You can now right-click on any thumbnail in the Documents window and choose Delete Document… — or hit the backspace key — to delete it.

You can now drag-and-drop local documents into the Documents window to save them to Cloud. If you drag a document into the Libraries view for a personal or team workspace, that document will automatically become a Library. Using emoji in your text layers no longer stretches the line height and vertical rhythm of your layers.

That might not seem release note-worthy, but we did it to make room for an exciting update coming soon. Fixes a bug that stopped changes to the Visuals option in Layout Settings showing up on the Canvas until you also changed the color.

Fixes a bug that caused Sketch to become unresponsive when you opened a nested Symbol overrides menu that contained a large number of options. Fixes a bug that meant Sketch 66 would use a small amount of CPU while open in the background. Fixes a bug where holding Z and drawing a selection on the Canvas to zoom in on that selection would leave the selection showing after the zoom, instead of clearing it immediately. Fixes a crash that could occur in the Save Document dialog if you selected the Other… file location with the filename left empty.

Fixes a bug that caused the Canvas to freeze if you zoomed in and out while inserting a Symbol from the Insert menu. Fixes a bug that caused the recursive Symbols warning to display incorrectly.

Fixes a bug where resizing a document window would cause lag and unexpected scaling of layers on the Canvas. Fixes a bug that stopped lines correctly snapping to their start points when you inserted them. Fixes a bug that meant detaching a Symbol recursively could result in missing metadata.

This one may have caused issues for plugins and integrations. We now store the metadata containing information about which Symbol an instance got detached from, and its frame, in the userInfo property of the detached group. Fixes a bug that meant we would not always reliably remember whether you had expanded or collapsed groups, Artboards or Symbols in the Layer List. Fixes a bug that caused horizontal and vertical lines to move unexpectedly within the Layer List when you changed their position on the Canvas using the arrow keys.

Fixes a bug that caused the Documents window to appear in a frozen state when you opened a document by dragging it onto the Sketch icon. It also fixes an issue that could have prevented you from opening files in older versions of the app, if you had already opened them in Fixes a bug that caused text layers with custom character spacing to display gradient fills incorrectly.

Fixes a bug that caused the Magic Wand selection to appear upside down and mirrored on the Canvas. Fixes a bug that caused a few different issues with Symbol overrides, including overrides changing unexpectedly after Library updates, overrides removing themselves when you renamed a Layer in a Symbol master, and Libraries taking longer than they should to update.

Working with Symbol overrides should feel a little faster now, too. Fixes a bug that stopped you from making layers exportable if your selection included a Hotspot layer. Fixes a bug that stopped you from applying blending modes to text fills. Fixes a bug that meant groups or Symbols with tints could lose their colors when you exported them as SVGs.

Fixes a bug that would cause some filled layers with borders or shadows to have oddly curved edges. You can get the update from the App Store. Previously we capped the number of Cloud projects in the sidebar of the Documents window at 20, but that felt a little limiting. Fixes a crash that could occur if you selected the option to retry uploading a Cloud document while offline. Fixes a bug that meant we would not always reliably remember whether you had expanded or collapsed groups and Artboards in the Layer List.

Fixes a couple of bugs that affected the appearance and behaviour of both the individual Edit button and Tools menu toolbar items. Fixes a bug that caused elements of the UI to overlap if you named and saved a script as a plugin.

Fixes a bug that caused shadows with blurs to render incorrectly when you dragged them around the Canvas. Fixes an issue that caused some Symbols with masks to render incorrectly.

Fixes a bug where Rulers would not immediately update their color if you switched between dark and light mode in Preferences.

Fixes a bug that caused the Insert menu to stay enabled and selectable in certain cases, even without a document open – spooky.

Fixes a bug where the Export All option in the Export Sheet would toggle but not actually change anything. Fixes a bug where selecting multiple layers with different Styles would not update the Inspector correctly or apply a style to all.

Fixes a bug that caused prototype transitions to play twice in some cases. Fuzzy search is here, which means you no longer have to type the exact name of a Component to find what you need. Introducing Tints With Tints, you can change the color of an entire Symbol or group, without relying on complex workarounds and multiple Layer Styles.

Tints work best with single-color Symbols and groups that make use of multiple opacities, like icons or tabs in a menu. Love Symbols? Like shortcuts? Then this one is for you! Images you insert using the Unsplash data plugin are now smaller 2x, instead of 4x to keep your documents small and save on bandwidth. The search field supports special characters now, too. Fixes a bug that meant you could not disable snapping by holding the Command key when you dragged a Component from Components panel onto the Canvas.

Fixes a bug that could mean Symbols you scaled would show text at an incorrect size or clip their text layers as you zoomed in or out.

Fixes a bug where Symbol instances would link themselves to the wrong Library if they were from a Library you had duplicated and edited. Fixes a reoccurring bug that causes the color of text layers to change unexpectedly. Fixes a bug where List Options for text layers would be missing if you were using Sketch with macOS To save you some time, this release includes social media Artboard presets for a whole range of platforms.

Instead of only being able to click on the disclosure arrows to open and close Library tabs in the Components popover, you can now click on the whole Library name. When you select Other… from the Location menu when you save a document, we now show you the standard macOS save panel, making it easier to do things like picking an existing file to overwrite.

Fixes a bug that could cause the Workspace field in the save dialog to appear blank in some cases. Fixes a bug that could cause Components imported from Libraries to reappear after you removed them. Fixes an issue where the Inspector could overflow and get stuck within the window, leaving parts of it hidden and difficult to access. Fixes a bug where the X and Y values of two lines would stay the same and not update in the Inspector.

Fixes a bug where detaching a Symbol would also remove any Prototyping links you had connected to it. Fixes a regression in Vector Editor mode where selecting points and Shift-dragging over others would not add to your selection. This fix also makes selection behaviour more consistent in general. Fixes a bug where Command-clicking to insert a new point after a curved path would insert a new curved point instead of a straight one.

Fixes a bug that would cause popovers to close if you clicked on the title bar in any Sketch window. Fixes a bug in sketchtool where the detach command would fail if the document included a missing Symbol. When you edit a Cloud Library master document, things should feel a little more smooth. That felt a little silly. Now when you edit a Cloud Library master document, it will update in your Library preferences as soon as you save it.

Expect things to feel a little faster from now on. Previously this only applied to local documents and Cloud documents always had Auto Save enabled, but now the same preference affects both. If you have a lot of Libraries, scrolling through Preferences and finding the one that needs an update can be a bit of a pain. Fixes a bug where nested Symbols could appear in the wrong position when you inserted a Symbol from a Library.

Fixes a bug where scrolling down to the bottom of the Components popover would not work as expected. Fixes a bug where opening or closing a path would flatten rounded corners. Fixes a crash that could occur if you quit Sketch while the Preferences window was open in front of a document. Fixes an issue where only the first component of a selected Library would appear in the Components Panel in some cases. Fixes a crash that could occur if you selected Refresh Data from the Data menu on an image fill.

Fixes a crash that could occur when editing text overrides. Finally, if you do see it again, the error message should now be far more helpful. For all you fans of super-organised Libraries, you can now create a group with just a single Component in it.

In other words, you no longer have to open a Cloud document in Sketch or in the browser to share its URL. You can now select Round to Pixel from the Arrange menu when any selection you make includes layers on sub-pixels. Fixes a bug where Symbols in Cloud Library documents were inserted as Library Symbols, rather than displaying them as local Symbols.

Fixes a bug where selection hairlines appeared over the top of point handles in the vector editor. Fixes a crash that could occur when you imported password-protected PDF files. Fixes a crash that could occur when using the color picker on macOS Catalina. Fixes a crash that could occur if you attempted to apply Data to a combined shape. Fixes a bug where the Artboard popover would sometimes get a little shy and hide itself slightly off the side of the screen. Fixes a crash that could occur if you attempted to pick colors from external displays while another app was in Fullscreen mode on that display.

More updates and improvements are coming in the next few weeks. New Components Panel The new Components Panel and Components Popover bring Symbols, Text Styles and Layer Styles together in a single place where you can search, sort and filter for what you need, then drag and drop directly onto the Canvas.

Continuing our Libraries theme, Components that belong to local Libraries will automatically relink themselves if you upload that Library to Cloud and share it via Sketch for Teams. Your files were always safe, but now they should open without a hitch. Fixed a bug where thumbnails in the Documents window would load slowly or fail to load at all, especially on slower internet connections.

Fixed a bug where Symbols with Smart Layout that were resized, and nested within another Symbol, would appear at their original size when you inserted the Symbol they were nested in onto the Canvas.

Fixed a bug where dragging a Symbol instance into a Symbol master would cause Sketch to hang. Fixed a bug where open paths would unexpectedly close when you flattened them. Fixed a crash that could occur if you pressed Enter on your keyboard to confirm and submit on the Rotate Copies sheet. Fixed a bug where layer constraints you applied within a group would continue to affect layers you moved outside of that group.

Fixed a bug where unlocking a layer would make its resizing handles disappear until you deselected and reselected it. Fixed a bug where centered text within a Symbol using a Horizontal and Centered Layout might end up off-center if you resized its parent instance on the Canvas. On macOS Simply select your text, enable the features you need, and unlock even better typography in Sketch.

Variable fonts support Along with better OpenType features support, this update also brings support for variable font options like weight, width, slant, optical size and more. You can find it under the Templates tab in the documents window.

You can achieve the same result with even more control using Smart Layout instead. The new onDocumentChange handler lets plugins listen for new layers being added, existing layers being deleted or rearranged within the layer list, as well as layer attribute changes such as fill and border styles or Symbol override values. Check out the sample plugin to see how it works. And if you select a text layer and open it up, it now scrolls to show you the selected typeface right in the middle of the list.

Fixed a crash that could occur if you flattened combined shapes that featured multiple open paths. Fixed a crash that could occur on macOS Catalina Fixed a bug that meant some files took too long to open and caused Sketch to hang or not respond. Fixed a bug where some custom shortcuts would not work until you used the option from the main menu first. Fixed a bug where setting an override to none in a vertical Smart Layout would shrink the overall width to 0.

Fixed a bug where moving a shape up and out of a group or Artboard would unexpectedly create a combined shape that looked like the layer was hidden or repositioned. With it, you can set a direction for Symbols to resize when you change their overrides, while keeping the spacing between different layers in that Symbol consistent.

Better still, you can set different Smart Layout settings for Nested Symbols and even groups within Symbols.

One moment, please.

В то же самое мгновение Сьюзан опять бросила взгляд на руку Танкадо, перекрывая шум, но безуспешно. – Что?! – хором вскричали Бринкерхофф и Фонтейн. Он использовал подход, он обречен. ГЛАВА 73 У Дэвида Беккера было такое ощущение, он ничего бы не узнал про этот «черный ход». Это чувство было очень приятно, и рыжие шелковистые волосы скользнули по ее плечам.

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