The Blur Gallery, Lens Correction, and the rest of the Filter menu

[IAmJSD]

Fourteen filters — 115 → 129 — and with them Photoshop's Filter menu has nothing left out.

where	what	note
Blur Gallery (new)	Field Blur, Iris Blur, Tilt-Shift, Path Blur, Spin Blur	the five that were the biggest remaining hole
Blur	Shape Blur, Smart Blur	completes the group
Video (new)	De-Interlace, NTSC Colors	unchanged since Photoshop 2.5, four lines each
Render	Flame, Picture Frame, Tree	Adobe ships these three as scripts
top level	Lens Correction, Adaptive Wide Angle	where Photoshop keeps them, next to Liquify

The interesting bits

One blur, five masks. The Blur Gallery filters are all the same operation — an ordinary blur applied through a mask each one computes for itself — so they share a graded blur of three fixed levels rather than a per-pixel radius. A true variable radius costs the largest radius everywhere and these are lens effects, not measurements; what matters is that the falloff is smooth and the sharp part is genuinely untouched. Three levels rather than one because blending a sharp copy against a single heavily blurred one leaves the middle of a falloff looking like a double exposure.

In Photoshop the pins live on the canvas. A filter here is handed pixels and numbers, so a pin is a pair of position sliders — which is how these filters worked everywhere before the canvas UI arrived.

Smart Blur's three modes are one computation. It averages only the neighbours inside its threshold, so an edge never averages across itself. How much of the neighbourhood it rejected is exactly how much of an edge the pixel is on — which is what Edge Only and Overlay Edge draw.

Chromatic aberration cannot use the ordinary warp. It is a difference in magnification between wavelengths, so undoing it means resampling red and blue about the centre at slightly different scales; remap_channels does that, and alpha follows green.

Adaptive Wide Angle is a change of projection, not a polynomial: map each output pixel back to the angle it is asking about, find where an equidistant, rectilinear or equisolid lens actually put that angle, and sample there. Photoshop gets the field of view from a profile database; here it comes from focal length and crop factor, which is the same arithmetic every FOV calculator does.

Tree is the rule under all of Adobe's species presets — a trunk that splits, shorter and thinner each generation, with leaves clustered on whatever is left at the tips. Flame is a temperature field rising, narrowing, wandering and cooling from white through yellow to red; Photoshop's follows a path you drew, and since a filter never sees the document's paths, this one rises from the bottom of the selection.

Lens Correction opens as a no-op and is on the test's expected-no-op list for it: with no lens profile to prefill from, guessing would be worse than leaving it alone, which is what Photoshop does without a profile too. It also skips the resample entirely when every slider is at zero — running an image through the identity map is not free, it costs a premultiply round trip that flattens the colour under transparent pixels.

Checked

• Property tests over all 129: registered, finite and in range, no panic at degenerate sizes, deterministic, and doing something at defaults unless listed.
• A menu cross-check confirms every registered filter is reachable and every menu entry is registered.
• Whole workspace suite green, clippy and rustfmt clean.
• Each new filter eyeballed on a photograph.
• Driven headlessly in the app: the Filter menu now reads Filter Gallery… / Adaptive Wide Angle… / Camera Raw Filter… / Lens Correction… / Liquify / Vanishing Point over sixteen groups, and Tilt-Shift previews live on the canvas.

🤖 Generated with Claude Code