CreativePro - Using Adobe Portfolio

Using Adobe Portfolio: article

If “build my website” is still on your To Do list, Adobe Portfolio is a quick and easy way to get a focused body of work online. Especially if you’re an Adobe Creative Cloud member, since Adobe Portfolio is available only as a benefit of an Creative Cloud membership (including the $9.99/month Photography Plan).

How does Adobe Portfolio compare to the long list of other and often more established web-browser-based site builders? How easy is it to learn and use Portfolio? Does it have the features that photographers and designers need to show their best work?

I try it out and then tell you what I think in my article for, which you can read at the following link:

Using Adobe Portfolio




macOS 10.12 Sierra image, courtesy Apple Inc.

macOS 10.12 Sierra: Will Adobe software work?

Now that macOS 10.12 Sierra has been announced, you’re probably wondering whether your Adobe software will work in the new Mac operating system. Apple says Sierra is “coming this Fall” (of 2016). At this time, early prerelease versions of Sierra are not far enough along to make definitive statements about compatibility. I’ll update this article as I learn more.

Early quick tests

I’ve been running a beta of Sierra on a test system, and at this early stage, several Adobe applications I tried (the oldest being Photoshop CS3) are at least able to launch in the Sierra beta. As in El Capitan and earlier, older Adobe applications are able to launch after you run the Apple installer for Java for OS X 2015-001.

My early impression so far is that Adobe application compatibility with Sierra might be comparable to their current compatibility with OS X 10.11 El Capitan, but Sierra is still far enough from final release that it’s too early to confirm which specific features do and don’t work. There are reports by others of some issues (see below), but those might be fixed by Apple or Adobe before Sierra ships.

Other compatibility discussions

There is a discussion thread at (macOS Sierra 10.12: Compatible Apps) where people testing Sierra are reporting which applications are working, and some Adobe software is included in their discussion. Several Adobe applications seem to be working so far, with some reported glitches.

But remember that your own upgrade decision shouldn’t be based only on user anecdotes, because they may not have tested specific application features that you use. It’s better to wait until verified reports and Adobe tech notes start to appear about issues with the official shipping release of Sierra. That’s what I did to get the information for my Adobe compatibility articles about OS X 10.11 El Capitan, OS X 10.10 Yosemite, and earlier versions going back to OS X 10.7 Lion. Bookmark this article and check back later, because I will update this article in the same way as details emerge.

Adobe Creative Suite 2 (CS2) compatibility

This question comes up during every recent OS X upgrade: Some users moving up from older Macs running 10.6.8 or earlier to new Macs with the latest OS version may still be using the Creative Suite 2 (CS2) version of Adobe software, such as Adobe Photoshop CS2. As with the last several major Mac OS X upgrades, macOS 10.12 Sierra requires that software be written for the Intel processors that have been running Macs for over 10 years. CS2 applications were written for the PowerPC processors that ran older Macs. The last version of Mac OS X to run PowerPC software was OS X 10.6.8 Snow Leopard.

There is no way to run Adobe CS2 software on macOS 10.12 Sierra. The only option is to use a newer version of the software.

How to test macOS 10.12 Sierra yourself

On July 7, 2016, Apple made macOS 10.12 Sierra available as a public beta. After you download and install the beta, you can test Sierra with your workflows and report bugs back to Apple. Macworld has the details on how to obtain the beta yourself: How to sign up for the iOS 10 and macOS Sierra betas

As with any new operating system, it’s best to install Sierra on a separate test volume (such as a spare external drive), and test your mission-critical applications and workflows on that before you upgrade the system you use for daily work. Don’t rush to upgrade to a new operating system until you are confident that there are no remaining issues with every application, utility, and device you depend on, such as displays, printers, cameras, mass storage, network storage, and color calibration devices. OS X 10.11 El Capitan was released in September 2015, but I chose to migrate my production Macs to El Capitan only after its fifth update (OS X 10.11.5) was released in May 2016.

The availability of Sierra as a public beta doesn’t mean we will have definitive answers on Adobe software compatibility soon. The beta is still an early version that may change and improve before its final release, as Apple receives bug reports from people like us. And Adobe may release updates that improve compatibility with Sierra by the time it becomes a final release. I’ll update this article only with official tech notes and verified reports, not rumors and isolated anecdotes.

How to manage Adobe license limits when you test a new OS version

When you test your Adobe Creative Cloud/Creative Suite workflow compatibility with a new OS version installed on a separate test volume or drive, you have to keep Adobe licensing in mind. For a single-user license you get two activations. If you’ve currently activated the software on one computer, no problem…you still hav one unused activation to use on your test system. If you’re already using both of your activations because, for example, you use Adobe software on both a desktop and a laptop computer, you can still test on a third volume but you may need to do a few more steps.

For Adobe Creative Cloud (CC) software, it’s not a big deal. After you install macOS 10.12 Sierra on your test volume, you can install the Adobe Creative Cloud desktop application on it and then use that to install and run Photoshop CC and other Adobe CC desktop software. While this would be a third activation, Adobe will eventually sign you out of one of your first two activations automatically so that you don’t exceed two. You can also manually sign out of one of your first two activations yourself if you want.

When you’re done testing and want to go back to using your two production Macs, it’s a good idea to sign out of the Creative Cloud desktop application on the test volume to leave two activations available for your two production Macs. If you forget to sign out, don’t worry, Adobe will probably just ask you to sign into the Creative Cloud application on one of your production Macs and eventually deactivate Creative Cloud on your test volume until you sign in there again. Remember, you don’t have to uninstall any Adobe software to switch activation away from the test volume; you can leave the software installed and only sign out. That makes it easy to come back later for more testing, because all you have to do is reactivate.

For the older Adobe Creative Suite (CS) software, the process is manual. If you need to free one of your two activations For each Adobe Creative Suite application you want to test, such as Photoshop CS6, choose Help > Deactivate on one of your production Macs. With that activation now made available, you can now reboot into your macOS 10.12 Sierra test volume, install the CS software you want to use and activate it there. Activation should happen at the end of installation, but you can always do it by choosing Help > Activate.

When you’re done testing and need to return to your production Macs, you should now choose Help > Deactivate in those same applications before you shut down macOS 10.12 Sierra on your test volume so that Adobe activation instance is made available to the production Mac where you need to work.

Other aspects of Sierra that may affect Adobe software


One upcoming change affecting Adobe software is that Safari 10 will disable the Adobe Flash plug-in by default. You can still enable it if you want.


Sierra will be able to use the newly announced Apple File System (APFS), which is being designed around security, reliability, and the ability to work across macOS, iOS, tvOS and watchOS. APFS will replace HFS+. From an Adobe user point of view, an interesting thing about APFS is that it is case-sensitive only. Currently, Adobe Creative Cloud applications cannot be installed on case-sensitive file systems on the Mac. It’s not yet clear how much of an issue this will be, because APFS cannot be used on the startup disk in the currently available build of Sierra. Apple says APFS will not become the default for Apple products until some time in 2017. Presumably, by the time APFS becomes the standard, Adobe will have ensured compatibility…at least for the latest versions of its installers. Whether older versions of Adobe software can be installed on an APFS volume will be a question until it can be tested.

InDesign Mag 86 Self Published Photo Books

Exploring self-published photo books: InDesign Magazine article

My friends at InDesign Magazine asked me to explore self-published photography books for the June 2016 issue. In my article Manual Exposure: Eye-Opening Self-Published Photography Books I write about photography books from four countries, focusing on the book designers and their creative approaches.

Each book had its own interesting design features such as multiple page sizes and paper stocks, loose inserts, innovative binding, or no binding at all. As I write in the article, the book designers “found ways to enhance their narratives through thoughtful and sometimes unorthodox design choices, and by close collaboration with book designers and writers.”

To read the article, click the link or image below to download the article as a PDF excerpt from the issue. (InDesign Magazine is published only in Portable Document Format.)

Manual Exposure: Eye-Opening Self-Published Photography Books (PDF)

First page of article Manual Exposure: Eye-Opening Self-Published Photography Books

Want to read the rest of the issue? You can buy it as a single issue or as a benefit of a paid InDesign Secrets premium membership, which may interest you if you want to advance your InDesign skills with the help of some of the most knowledgeable InDesign users in the industry.

InDesign Magazine is a bimonthly periodical devoted entirely to Adobe InDesign and to the thriving community of InDesign professionals. With editorial direction by page-layout guru and author David Blatner and editor in chief Mike Rankin, InDesign Magazine brings you the in-depth features, reviews, and tutorials you need to master Adobe InDesign. You can download a free trial issue.

Conrad Chavez - City Panorama 2016 selections

Two photographs selected for City Panorama 2016

I’m honored and pleased that two of my panoramic photographs have been selected for the City Panorama 2016 public arts program. One of the images is a panorama of a sunset at Haystack Rock in Cannon Beach, Oregon; and the other is of Dusty Lake in eastern Washington state.

City Panorama is an annual project that displays inspirational panoramic format art on Metro bus shelters throughout Seattle and King County. The art will appear on 8-foot-wide wood panels, and may be displayed for up to ten years. The process of printing, mounting, and siting all selected works takes several months so I don’t yet know where the images will be installed, but I’ll post the locations when I find out.

I shot the Dusty Lake photo from a high point on a ridge above the lake. Dusty Lake sits in a depression gouged out by Ice Age floods, about 200 feet below the top of the ridge. To get a sense of the field of view for this image, the lake is over half a mile long, and the far end of the ridge in the distance on the right is about a mile and a half away.

Both of my images are multiple-frame panoramas photographed in camera raw format, then merged and processed in Adobe Lightroom, with some additional edits in Adobe Photoshop as needed.

Thank you to Photographic Center Northwest, King County Metro, and Youth in Focus as well as the panel of jurors from those organizations who selected the images. Thanks also to 4Culture who fund the program through a grant.

For more information and to see the complete list of photographers and artists whose work was selected, visit City Panorama 2016 (Photo Center Northwest).

9.7-inch iPad Pro

iPad Pro 9.7 inch and iOS 9.3: Color management progress

The 9.7-inch iPad Pro and iOS 9.3 demonstrate that Apple is gradually implementing color management in iOS. While the presence of color management isn’t obvious on the surface, Apple has added multiple new features that would typically depend on color management. And Apple has now made iOS color management available to developers.

Night Shift

Based on the findings of sleep studies, the new Night Shift feature in iOS 9.3 tries to make it easier for you to sleep after using an iOS device late at night by reducing the amount of blue light emitted from the display. Night Shift does this by changing the white point of the screen away from blue and toward yellow.

This was an early clue for me that iOS was implementing color management. In OS X, the software f.lux can already perform the same kind of display white point adjustment that’s based on the time of day. f.lux does it by applying a custom display profile — you can see this in the Displays system preference in OS X. If Apple implemented Night Shift on iOS the same way f.lux does it on OS X, that suggests iOS 9.3 has some level of support for a display profile that can be manipulated.

f.lux software works by manipulating the display profile.

In OS X, f.lux software works by manipulating the display profile. Night Shift may work in a similar way.

True Tone display

The 9.7-inch iPad Pro includes a new feature that Apple calls the True Tone display. Apple says it uses “advanced four-channel ambient light sensors to automatically adapt the color and intensity of the display to match the light in your environment.” The point is to reproduce what happens when you carry a piece of white paper around all day long: Whether you notice or not, the apparent color of the paper constantly shifts to reflect the color and brightness of the ambient light, from normal daylight to relatively yellowish or greenish artificial light.

True Tone display images from Apple Inc.

This Apple graphic illustrates how the True Tone display adapts to match ambient lighting conditions.

Because an iPad screen works by emitting its own light, it can’t reflect ambient light like a piece of paper can. What the True Tone display does instead is use the iPad light sensors to make the color and brightness of the iPad display’s emitted light match the ambient light. It’s a curiously elaborate way to reproduce what happens in the natural world with no batteries.

The white point change of the True Tone display appears to be conceptually similar to how the Night Shift feature works, and that’s why I’ve assumed the True Tone display came into existence in part because there is now a foundation for color management in iOS 9.3.

DCI-P3 display

Another new feature of the 9.7-inch iPad Pro is that its display is claimed to cover the DCI-P3 color gamut. In terms of color gamut size, that display puts the 9.7-inch iPad Pro in a class above most other mobile devices and all other iOS devices. As I noted in my article A Look At The P3 Color Gamut Of The iMac Display (Retina, Late 2015), DCI-P3 is so much larger than the conventional sRGB color space that color management is essentially required to maintain color consistency for objects that have always assumed a display would be close to sRGB, as well as for objects tagged with other color spaces. Using a DCI-P3 display was another clue that iOS now contains a standard color management infrastructure.

Developer notes emerge

Up to this point I was only guessing that there was a color management system in place in iOS. Then Jeff Carlson reported on Twitter:

The tweet links to a post on Jeff’s blog, which refers to a Twitter conversation that confirmed color management is in place in iOS 9.3.

It’s official, and I don’t have to wonder any more: Apple has in fact added support for color management in iOS 9.

[Update: Craig Hockenberry has now written a very interesting and more technically grounded article about iOS color management: Looking at the Future]

Almost there…

If you consciously use color management on your OS X or Windows computer, the current implementation in iOS 9 may not yet meet all of your expectations or needs. While there are now iOS 9.3 features that use color management and Craig Hockenberry’s tweet says that color management is “completely open to other apps,” as far as I know you can’t yet do things like install your own ICC profiles, connect and run a display profiler, soft-proof, or use the equivalent of the Assign Profile or Convert to Profile commands in the desktop version of Photoshop. Right now it isn’t clear how quickly Apple plans to have iOS support the same level of color management as OS X and Windows, or even if Apple intends to support color management that far on iOS.

But the appearance of color management in iOS is still a welcome development. At the very least, it provides a way for color reproduction on iOS devices to be potentially more reliable than on devices running other mobile operating systems.

Many may not accept this until it’s possible to create a custom display profile in iOS, but displays have matured. LED-backlit displays don’t drift as quickly as CRT or CCFL-backlit displays used to, and iOS devices may be using display circuitry that compensates for age (some desktop displays have this feature). Apple may feel that they can keep the iPad Pro display stable enough so that the factory-installed display profile, together with a color management system, provides color rendering that’s reliable enough for most purposes and acceptable for photo editing.

It will be interesting to see how quickly iOS apps take advantage of the color management foundation that Apple has added to iOS.