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Photoshop

In Photoshop, you may use smart objects to accelerate your workflow.

In Photoshop, you may use smart objects to accelerate your workflow.

In Photoshop, you may use smart objects to accelerate your workflow.

Among the capabilities available in Photoshop, Smart Objects are one of the most powerful, but they are also one of the most often overlooked. You are able to operate in a non-destructive manner, apply filters in a flexible manner, and reuse pieces between projects without sacrificing quality when you employ them. Smart Objects have the potential to significantly decrease the number of repetitive jobs that need to be completed by designers, photographers, and digital artists, and they can also make the process of editing much more efficient. In this article, you will learn about Smart Objects, including what they are, how to use them, and how they may help you operate more efficiently in practical, real-world situations.

1. What Exactly Are Smart Objects?

At its core, a Smart Object is a container that is capable of storing image data. This data might be in the form of a raster picture, a vector graphic, or even another PSD file. When you make changes to a Smart Object in Photoshop, the program will keep the original material that is included inside it. This implies that you have the ability to scale, transform, distort, and apply filters to your content as many times as you choose without experiencing any degradation in quality.

2. Ways That Smart Objects Can Improve Workflow

There are a variety of ways in which the use of Smart Objects might save time:

Non-destructive editing: You can always go back to the original state without having to start over from scratch.

Scalable graphics allow you to resize items as many times as you need without pixelation.

Reusable components: use a single object across a variety of documents; alter that one object once, and you will see the changes in every instance of its use.

Filters that can be edited: Use Smart Filters to apply filters, which will remain customizable.

Improved teamwork: Package related Smart Objects to maintain consistency in design aspects across all teams.

3. Making a Smart Object

There are a number of different methods for making one of these:

Choose the layer that you wish to use.

Select “Convert to Smart Object” from the options that appear when you right-click.

Alternatively, go to Layer > Smart Objects > Convert to Smart Object.

A little Smart Object symbol will now be visible in the corner of the layer thumbnail since your layer has been enclosed.

4. Smart Objects: Editing

When you double-click on a Smart Object layer, it will open in a new window. After you have saved your work, any changes that you make there will be instantly updated in your primary document. Logos, templates, and design elements that are used repeatedly are very potent when it comes to this.

5. Employing Smart Filters

Filters such as Sharpen, Gaussian Blur, or Noise are considered to be Smart Filters when they are applied to a Smart Object. These filters are different from typical filters in that they may continue to be edited even after they have been applied.

They may be found as sub-layers that are located beneath the Smart Object.

You may make changes to the settings by double-clicking.

For selective application, you have the option of toggling their visibility or masking them.

This flexibility keeps you from having to undo or reapply filters every time you wish to make changes.

6. Expediting the Transformation Process

In most cases, repeatedly resizing a raster picture results in a reduction in the image’s quality. When Using Smart Objects:

It is possible to increase or decrease the size of the image as many times as necessary.

The transformations of perspective, rotations, and distortions are still modifiable at this time.

It is possible to mix numerous transformations without experiencing a cumulative loss.

This is particularly handy for mockups, since they often need items to be scaled many times.

7. Collaborating With Smart Objects That Are Connected

You may use Photoshop to establish connections between Smart Objects and files that are located on external drives:

The Smart Object in any papers that use it will be automatically updated whenever the external file is updated.

Ideal for use in logos, icons, or user interface components, all of which are examples of brand assets.

Assists in maintaining uniformity across many projects or templates.

These are made by using the Place Linked command, which may be found under the File menu.

8. Embedding Smart Objects

On the other hand, you may embed Smart Objects such that they are saved inside your PSD file. This ensures that the file is self-contained, meaning that it does not have any missing links, but it is also bigger in size as a result. Objects that are embedded are an excellent choice when you want mobility or when you wish to collaborate on a project without being concerned that assets will be lost.

9. Transforming Smart Objects from Illustrator Vectors

Smart Objects may be used for more than just raster pictures; vector files created in Illustrator can also be imported as Smart Objects. This indicates that you are able to:

Use a Smart Object to insert an AI or EPS file.

Maintain complete scalability while avoiding rasterization.

After you double-click to open and modify the file in Illustrator, it will be updated in Photoshop immediately.

10. Making Mockups More Efficiently Using Smart Objects

When it comes to creating prototypes of products, Smart Objects are indispensable:

Include a design, picture, or label just one time.

After you have double-clicked the Smart Object, you may change the artwork and save it.

The new design is immediately updated across various mockups.

This is a significant time-saver when it comes to the production of marketing materials in huge quantities.

11. Smart Objects When Editing Photos

Smart Objects also provide advantages for those who work as photographers:

From Camera Raw, import the RAW data as Smart Objects.

At any point, you may reopen and modify the settings without any reduction in quality.

Smart Filters are used to provide sharpening, noise reduction, or color alterations to an image.

The greatest amount of freedom in professional retouching is guaranteed by this technique.

12. Smart Objects That Are Nested for Projects That Are Complicated

Smart Objects may be placed inside of other Smart Objects, which allows you to create nested structures. This is really effective when:

Construction of intricate composites

Developing templates that can be used again and that include a number of areas that may be edited

The management of large-scale projects that need information from all across the world on a regular basis

13. Considerations Regarding Performance and File Size

Although Smart Objects are very beneficial, they have the potential to cause file sizes to grow, particularly when there are many of them embedded in a file. For the purpose of maintaining a balance between efficiency

To reduce the size of your files, you should make use of connected Smart Objects.

When it comes to portability, embedding should only be done when absolutely essential.

When dealing with dozens of big Smart Objects, it is important to keep a close watch on performance.

14. Smart Object Workflow: Best Practices

Before you begin making any adjustments, you should always transform assets that are essential into Smart Objects.

Particularly when it comes to assets that might be used again, it is important to organize layers by giving them titles that are easy to understand.

When you are in the process of building mockup templates, you should group smart objects together.

For the purpose of maintaining brand consistency across a number of different projects, linked objects should be used.

To prevent broken links from occurring in the future, be sure to save backup copies of any external linked files.

Smart Objects are not only useful as a safety net for non-destructive editing, but they are also a legitimate way to increase productivity. You can assure consistency between projects, retain flexibility in your modifications, and reduce repeated tasks by using them in a smart manner. Smart Objects are the key to achieving a more professional and efficient workflow in Photoshop, regardless of whether you are creating templates, retouching photographs, or working on large-scale branding initiatives.

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Photoshop

How to Make Shadows in Photoshop That Look Like Real Shadows

How to Make Shadows in Photoshop That Look Like Real Shadows

How to Make Shadows in Photoshop That Look Like Real Shadows

Realistic shadows are essential for making a picture believable. They anchor items inside the scene, convey the magnitude and direction of the light source, and immediately give composite images a professional appearance. This guide provides a practical, non-destructive workflow that you can use in Photoshop for everything from quick product shots to complex multi-light composites. It also explains the visual principles behind convincing shadows and includes precise step-by-step actions, menu names, and suggested parameter ranges so that you can achieve realistic results quickly.

1. Begin by studying genuine light, which is to say, the visual principles that are important.

Prior to using Photoshop, you should have a look at reference images of your scenario or lighting that is close to it. Take these recurring characteristics into consideration: (1) Hard light, which emanates from a small, bright source, generates shadows that are sharp, high-contrast, and have a crisp edge; (2) large light sources, such as softboxes and overcast skies, produce shadows that are soft, low-contrast, and have a smooth falloff; (3) shadows are almost never pure black; they absorb color from the ambient and reflected light (the sky is cool, while interiors are warm); and (4) there is frequently a thin, extremely dark contact shadow where an object comes into contact with a surface, in addition to penumbral regions that are softer and farther away. Every decision you make in Photoshop will be guided by your awareness of these regulations.

2. Get the layers ready: separate the subject from the backdrop without causing damage.

Make sure to work in a non-destructive manner so that you can then go back and make changes:

Open the file that you have and ensure that the topic is placed on its own layer. If not, choose the topic (by going to Select > topic or using the Pen or Quick Selection tool), and then click Ctrl/Cmd+J to copy the selection to a new layer.

Make sure that layers are renamed in a way that is easy to understand (for example, “subject,” “ground,” or “shadow-base”).

If you want to morph or blur complicated layers on several occasions, it is best practice to convert them into Smart Objects. You can do this by right-clicking the layer and then selecting the Convert to Smart Object option. Smart Objects make it possible to continue editing transformations and filters.

3. Determine what kind of shadow you need

There are a variety of shadow kinds to choose from, and it is common practice to mix them:

Cast shadow, which is the primary silhouette shadow that is projected onto different surfaces such as the ground and walls

A narrow, black line or region that is located directly at the base of the item is known as the contact shadow.

Penumbra is the term that is used to describe the region of gentle transition that exists between the fully lighted portions and the sections that are in complete darkness.

Ambient occlusion is a modest darkening that occurs in creases and corners as a result of light being obstructed in certain areas.

Specular occlusion is defined as the presence of very tiny black areas near points of contact where highlights do not reach.

When it comes to realism, have a plan as to which ones you want to generate. For product pictures, you may simply want a cast and contact shadow, but when it comes to people and interiors, you will need to include ambient occlusion.

4. Establish an ideal shadow silhouette, which will serve as the foundation

The most dependable and efficient way to create a shadow form that seems authentic:

Choose the subject layer you want to use and make a copy of it by pressing Ctrl/Cmd+J.

In the layer stack, the replica should be positioned just below the original subject layer.

Fill the copy with solid black by selecting the duplicate and then choosing Edit > Fill > Black, or by pressing Alt/Option+Backspace (if black is the foreground color) or Edit > Fill > Contents: Black. You are now in possession of a silhouette that you can turn into a cast shadow.

maintain your transparency locked if you are just going to make changes to the shape (Layer > Lock Transparent Pixels), or make sure that you maintain it in the format of a Smart Object if you want to make sure that the original is preserved.

5. Correctly position, distort, and match perspective

A cast shadow is required to follow the direction of the light source as well as the ground plane:

Select the layer with the black silhouette, and then press Ctrl/Cmd+T to enter Free Transform mode.

The flattening and skewing of the silhouette onto the target surface is accomplished via the use of Edit > Transform > Distort / Perspective / Warp. Make sure to imitate the angle that you saw from the reference. To form walls, move the corners in an upward direction; to form ground, stretch and squish the silhouette away from the subject following the light direction.

For curved or uneven surfaces, you may use Edit > Puppet Warp or Edit > Transform > Warp to bend the silhouette around outlines.

In order to ensure that the shadow adheres to the bumps and seams of complicated textured surfaces, you should think about creating a grayscale map of the surface, followed by the use of a displacement map (Filter > Distort > Displace).

It is essential to take a step back and inspect the parallax every time you are working with shadows. The shadows ought to travel away from the subject in the precise direction that is opposite to the light source.

6. To create the illusion of distance, soften the image by applying blur and falloff.

The size of the light source and its distance are both factors that influence the softness of shadows.

In the event that the modified silhouette has not already been converted to a Smart Object, you may do so by right-clicking on it and then selecting “Convert to Smart Object.”

Apply Filter > Blur > Gaussian Keep blurring and adjusting the radius until the shadow edge matches the level of softness that you were anticipating from your reference. As a rule of thumb, modest studio lights will have a radius of 2–10 pixels when working with a picture that is 2000 pixels wide, whereas huge softboxes or the sky would have a radius of 20–120+ pixels. In proportion to the increase in resolution of photographs, increase the blur.

In order to generate falloff, which is the phenomenon of a shadow losing strength as it moves further away from the object, you must first add a mask to the shadow layer. After that, paint a gradient that goes from black to white on the mask. Make sure that the gradient is aligned with the light direction so that the shadow seems to fade naturally as the distance increases.

7. Color, opacity, and blend mode—match the scene’s light.

Shadows that exist in reality are not only black; they also include tones from the surrounding environment.

To ensure that the shadows darken the pixels below without flattening the color, set the blending mode of the shadow layer to Multiply.

According to personal preference, the opacity may be adjusted; on average, the range falls between 30 and 85 percent, although this varies based on the landscape, with cloudy skies and soft light requiring lower percentages and strong sunshine requiring higher percentages.

Change the color of the shadows: Double-click the shadow layer and then go to Layer > New Fill Layer > Solid Color clipped to the shadow. You can then use this to give shadows a tiny tint. When shooting outside in natural daylight, shadows should be pushed somewhat toward the cool-blue end of the spectrum. When shooting indoors in tungsten light, they should be pushed slightly toward the warm-brown end of the spectrum. As an alternative, you may make a Hue/Saturation change or a Color Balance adjustment that is clipped to the shadow layer.

When attempting to integrate the shadow, it is best to avoid using complete black (R0 G0 B0). Rather, it is more advantageous to use near-black values that are sampled from the darkest regions of the picture.

8. Include the contact shadow (which is the little, deep dark)

In order to maintain credibility, the contact shadow is essential:

Make a new layer that is positioned above the shadow foundation but below the subject.

Employing a tiny, soft, round brush with low flow (5–20%), paint in the vicinity of the object’s edge, where it comes into contact with the surface, using either a multiply layer or a set layer to multiply.

Slowly increase the amount of darkness, and maintain a tiny and sharp contact area in comparison to the remainder of the cast shadow. Duplicate the painted layer and apply a tiny Filter > Blur > Gaussian Blur to it in order to provide further definition. Reduce the opacity while blurring the copy so that the contact is clear but also blends in with the rest of the image.

9. Ambient occlusion and local shading

In order to communicate subtle depth at the point where two surfaces come together or at the point where shapes block light:

Establish a new layer and set the blend mode to Multiply. Then, reduce the opacity to a low level (10–40%).

In order to paint into creases, under edges, and at corners, use a delicate round brush with a very low flow rate of 5 to 15 percent. In order to achieve a realistic mix, use the Eyedropper to choose midtones that are located close.

If you so want, you may apply an Inner Shadow or Curves adjustment that is clipped to the subject. This will help to imitate minor occlusions and give the image a greater sense of depth.

10. Surfaces with textures, displacement, and grain matching

Shadows must to take into consideration the surface roughness and picture grain:

In order to have a shadow follow the texture of the ground, first generate a grayscale duplicate of the background image. This can be accomplished by going to Filter > Blur > Gaussian Blur and then removing high frequencies. After that, you should save the image as a PSD file. Finally, you should apply Filter > Distort > Displace to the shadow layer and then load the PSD file that you just created. Adjust the values of the horizontal and vertical scales with caution until the shadow seems to be fixed in place.

Match noise/grain: if the backdrop includes film grain or sensor noise, apply Filter > Noise > apply Noise (Monochromatic) to the shadow with a low amount (1–3%) and blend properly. This creates a visual connection between the shadow and the backdrop.

11. Shadows caused by motion and directionally blurred images

In the case of moving objects or directed lighting:

Once you have created the silhouette and placed it, go to Filter > Blur > velocity Blur. Use the angle that corresponds to the velocity vector and modify the distance until the shadow stretches out in a way that makes sense.

In order to maintain the illusion of touch, you should combine a slightly blurred motion shadow with a modest sharp core near the item.

12. Organization of layers and improvements that do not cause damage

It is important to keep everything organized and in an editable format.

Combine shadow layers into groups (select the layers and then press Ctrl/Cmd+G) and then give each group of shadows a name.

When it comes to adjusting the hue and contrast of all shadow elements at the same time, you may use Adjustment Layers that are clipped to your shadow group (Hue/Saturation, Curves).

If you are interested in swiftly generating a variety of shadow variations, you should save copies of the unblurred silhouette in a folder that is hidden.

13. Micro-corrections and color grading are part of the final integration.

The last stage, which is nuanced but very important, is to ensure that the shadows are in the same hue and tonal range as the rest of the picture.

After producing shadows, it is necessary to apply a global Color Lookup or selective Curves/Levels adjustment to the whole picture in order to verify that the shadows continue to seem realistic.

Keep an eye out for unnatural edges or halos. You may correct these issues by softening the masks and using tiny, low-flow brushes for the purpose of hand-painting transitions.

You may need to use more blur for social media preview sizes and sharper edges for big prints, so be sure to check the image at 100% and reduced sizes.

A short, easy-to-follow process (a summary that you may duplicate)

Choose a topic → Press Ctrl/Cmd+J → Put the duplicate beneath the subject matter in question.

Fill the duplicate with black before converting it into a Smart Object.

In order to distort or warp the silhouette to the plane that is on the other side of the light, you must first press Ctrl/Cmd+T, then right-click to choose either Distort or Warp.

For the penumbra, use the Gaussian Blur (Smart Filter).

Blend mode should be set to Multiply, and the opacity should be reduced to match the scene.

For the narrow, dark edge, you need include a painted contact shadow layer (Multiply) with a low Flow setting.

On Multiply, include ambient occlusion with a low opacity setting.

If you are working with surfaces that have texture, you should use displacement maps, and you should add noise if it is necessary.

Create group layers, including curves and color modifications that are clipped, then do the final global color grade.

The following are recommended parameter ranges (initial points—make adjustments to these according on your preferences and resolution):

Opacity (Multiply shadow layer): 30–85%

Gaussian Blur (2000 px wide image): 5–80 px (hard light: 5–15; soft sky: 40–120)

Flow of the contact shadow brush: 5–20%; Opacity of the painted layer: 20–70%

In order to create grain, add noise at a rate of 0.5–3% monochromatic.
These are the starting points; adjust the values correspondingly for photographs of greater or lower resolution.

Typical Errors and Methods for Correcting Them

Shadow floats, sometimes known as “cut outs,” seem to float or “cut out” from the ground. By reducing blur, adding a contact shadow, and verifying that the perspective is correctly aligned, you may achieve this effect.

Shadow is too dark/lacks color: sample the backdrop midtones and tint the shadow just a little bit; lower the opacity.

Edges are too consistent; thus, provide minor variance by using masks and low-flow brushstrokes. Additionally, use a distinct blur for each section.

The surface roughness is not reflected in the shadow, thus in order to replicate the appearance of bumps catching light, you need use displacement maps or paint faint highlights on top of the shadow.

Final checklist before exporting

  • Shadow direction is opposing the light and congruent with highlights.
  • The contact shadow, which is darker than the cast shadow, is visible.
  • The shadow softness corresponds to the estimated distance and size of the light source.
  • The hue of the shadow is consistent with the color of the ambient light (cold outdoors, warm indoors).
  • Shadow traces the outlines of the surface, with displacement being used if necessary.
  • The grain or noise of the shadow is equivalent to that of the backdrop.
  • Smart Objects and layer groups are two examples of how everything is categorized and stored in a way that ensures no data is lost.
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Ways to Improve the Health of Your Smartphone’s Battery in 2025

Ways to Improve the Health of Your Smartphone's Battery in 2025

Ways to Improve the Health of Your Smartphone’s Battery in 2025

Smartphones have reached a level of processing power that is higher than ever before, yet one of the primary worries for customers is still the amount of time their batteries last. Even while modern electronics make use of sophisticated lithium-ion and lithium-polymer batteries that are equipped with smart charging mechanisms, the lifespan of these devices may still be shortened by unhealthy habits. It will be critical to understand how to preserve the health of your phone’s battery in the year 2025 if you want to get the most of your device, given that they will have high refresh rate screens, artificial intelligence functions, and continuous communication.

1. Gain an Understanding of the Functioning of Contemporary Batteries

The majority of smartphones that are available today make use of lithium-based batteries. These batteries gradually lose their ability to function as a result of chemical processes that take place inside their cells. They do not have a “memory effect” as earlier nickel batteries do, which is a disadvantage for such batteries. Having said that, severe charging patterns, heat, and misuse continue to diminish capacity.

2. Refrain from Full Discharges

It is damaging to allow your phone to run out of battery on a frequent basis. When lithium batteries are maintained between 20% and 80% of their capacity, they have a longer lifespan. Even if the battery will not be completely destroyed by the odd full discharge, allowing it to become a regular occurrence can hasten the process of wear and tear.

3. Avoid Charging Too Much Overnight

Even though current-day phones are equipped with precautions against overcharging, maintaining your device at a hundred percent charge for an extended period of time might cause a rise in temperature and put the battery under stress. When it is completely charged, disconnect it if you can, or take use of features like “Optimized Charging,” which stops charging when it reaches 80% till you wake up.

4. Manage the Amount of Heat Exposure

When it comes to maintaining the health of batteries, heat is the most formidable foe. Leaving your phone in direct sunlight, filming videos, or playing video games for an extended period of time may cause temps to rise over the safe threshold. Although cold conditions are less dangerous, they may cause transient performance decreases.

If your phone becomes hot while it is charging, you should take it out of its case. In addition, you should not use wireless chargers that produce an excessive amount of heat.

5. Make Use of Smart Charging Features

The majority of smartphones released in 2025 have charging optimization that is based on artificial intelligence, which learns your schedule and adjusts the charging pace accordingly. There are even a few gadgets that have battery bypass mode, which sends power straight to the phone when it is being used for gaming, therefore decreasing the amount of stress placed on the battery.

Recommendation: In order to benefit from automated protection, enable these options in the settings.

6. Only Use Chargers of High Quality

It is possible for your phone to be damaged by chargers that are inexpensive or that do not have certification due to the fact that they are capable of providing irregular voltage. It is essential that you always use either the original charger or a certified replacement that is compatible with the fast-charging specifications of your device.

7. Reduce the Amount of Background Drain

Applications that continue to function in the background not only use power, but they also compel users to charge their devices more often. When you are on the road or over long days, you may utilize power conservation settings. Additionally, you could disable background refresh for applications that do not need continual updates.

8. Keep Features That Require a Lot of Power Under Control

A substantial amount of power is used by features like as 5G connection, GPS, screens that are constantly on, and high refresh rate displays (120Hz or above). In order to minimize the amount of stress that is put on the battery, make advantage of variable refresh rates and turn off GPS or Bluetooth whenever they are not being used.

9. Make Sure That You Update Your Software

Improvements to battery management are often included in system upgrades. Users of both iOS and Android will be able to take advantage of upgrades in 2025 that include artificial intelligence (AI)-driven power management, which will minimize resource utilization depending on your behaviors.

10. Refrain from charging wirelessly too often.

Although wireless charging is handy, it produces more heat than charging with a cable. Using it every once in a while is acceptable, but counting on it on a daily basis could possibly lead to more rapid deterioration than charging methods that are wired and cooler.

11. For Increased Longevity, Make Use of Partial Charging

If you expect to use your phone for a number of years, you should charge it in smaller sessions rather than all the way to 100%. The battery life of your device may be extended if you recharge it numerous times on a daily basis, even if it is just from forty to seventy percent.

12. When necessary, replace the battery.

Over time, all batteries will lose capacity, regardless of how well they are cared for. The vast majority of smartphones in 2025 will be compatible with battery replacement, which will be available via approved repair facilities. The performance of your gadget may be restored and its life span can be extended by replacing the battery every two to three years.

In conclusion, the most important aspect of the process of making a decision is the ability to gather and evaluate information.

When it comes to improving the health of smartphone batteries in 2025, the key factors are the development of smart charging habits, the control of temperature, and the use of charging capabilities that are incorporated into artificial intelligence (AI). Maintaining the longevity of your phone and its ability to operate at its best may be achieved by avoiding extremes in charge levels, heat, and power-hungry use. If you take proper care of your equipment, the battery will continue to function well for many years after you have first started using it.