THE ADOBE’ PHOTOSHOP’ “HOW-TO” MAGAZINE OCTOBER 201 uel Orereredeasicr Truro distortion correction Orie Peel UT Tey hae ttn bare aS Pera Seat) Pernt) Ot wha ttt SIV a TT es rr oTer av * PEL, Sore) Bae Co eee 5A, DBssite) you need ° OWET, are aide AAR e=SSe 8 of choice. It gives mea faster, smoother and richer experience while helping me bring my creative vision to life, The amazing (mCe uy n@=d (cAI Le) ) 0 (=) post-process and share my work Bros} (CIM UNIONS Keel 0)(01=1\) breeze through archiving loads of ine eT=sMlne|@=c¥= NORM <)/I=06) PSDs, and best of all, my work has: IN cm ee NIKON UNVEILS ow 1s well. For starters, Nikon announced the new SB-300 Speedlight flash nds at Nikon have been busy with a few interesting tech updates, that’s priced lower than ary articulated flash they've had in thet lineup Now, for around $150, you can add a Nikon-brand fash to your hot shoe: equipped camera and twist the flash head to bounce the ight, ‘The compact 8-300 Speedight is powered by two AAA batteries, and 's compatible with Nikon DSLRs and COOLPIX Advanced performance cameras. The flash head tits up to 120°, and covers a wide-angle 18mm in DX format. The 58-300 Speedlight is available now for $149.95. (On the lens front, Nikon announced the AF-S DX NIKKOR 18-140mm £13.5-5.6G ED VRlens. The lens offers a practical focal range for photogre- jphets shooting with DX-foerat cameras. t's capable of capturing beautiful stils and crisp HD video. Features include Vibration Reduction (VR) image stabilization, and a Silent Wave Motor with two focus modes. The AF-S DX NIKKOR 18-140mm f/3.5-5.6G ED VR i aso available now for $599.95, For more information, visit www.rkonusa.com, NAPPAND, i Got a minute? Step into the Way Back Machine with me and take a peck {at how NAPP membership has evolved. When it comes to Photoshop and Lightroom traning, NAPP has always been the world leader. And back in four youth, when VHS was the thing, we had tons of fullength classes fn video to supplement the written tutorials that came out in the maga zine and on our member website. Producing those was expensive, so they weren't free, but NAPP members always got great discounts. Then when DVDs were the thing, cur quality video classes migrated to the latest tech- nology. A few years back when streaming video clips on the Web was first possible, we started posting taining clips every week, and we haven't stopped, But technology has continued to improve and these days almost all of our members have high-speed Internet and the ability to watch full length streaming videos. In case you didn’t notice, we have dozens of full length, first-rate, top-quality dasses that are each an hour or two long and cover ll the important stuff about Photoshop and Lightroom. And they/e free to our members asa part of membership. Ws incredible to be able to keep adding more traning for our NAPP ‘members and never raise the prices. Every couple of weeks or so, we add more classes. Keep in ming, that’s over and above all the regular shorter video ips and written Photoshop and Lightroom tutorials we post all the time, So make sure you swing by the NAPP members’ site (hitpzimembers jphotoshopuser.cor, click the Online Classes link, and watch a class or two {and see how much better you can be at Photoshop and Lightroom in just ‘few hours.THE FASTEST, EASIEST RETOUCHING SOFTWARE Take the ‘ouch’ out of retouching with Portrait Professional Studio 11. This intuitive and affordable standalone/plugin portrait editor automatically detects and enhances faces and features, saving photographers hours of time. With an interactive preview of results and over 200 beautifying sliders, you have full control over ORES improvements. ste ce YU Wot YO eH DRE a Wtf PU readers get the day.” PcWorld.com an EXTRA 10% DISCOUNT “The easy, fun way to create flattering portraits that your subjects will ove.” OFF any SALE or LIST PRICE - MacFormat, June 2013 “‘Must-have program for anyone capturing images of people.” uta tiie code EBS 949 Rangefinder, May 2013 at PortraitProfessional.com. = am Hor PAOTREVIEW Qyerall 1 Sak ati } <= Photo Profesional DOWNLOAD YOUR FR 'E TRIAL NOW FROM WWW.PORTRAITPROFESSIONAL.COM!NAPP COMMUNITY > > FROM THE HELPDESK PETER BAUER > » Answers to Photoshop, Lightroom, and gear-related questions SOMETIMES | CAN'T GET TUTORIALS ON WEBSITES (OR OCCASIONALLY IN PHOTOSHOP USER) TO WORK FOR ME THE WAY THE AUTHOR GETS THEM TO WORK. WHAT AM | DOING WRONG?—URSULA To: URSULA FROM: NAPP HELP DESK Let's start with the premise thatthe problem may not actually be your fault at all. Tutorials you find in Photashop User and on the INAPP website (ww photoshopuser.com) have been rigorously reviewed and tested before being published. That’s not always the case with other websites and some other publications. I's, ‘not uncomman for a tutorial on an independent website to have. ‘been devised, written, reviewed, tested, edited, and posted by a single person. Not having an outside pair of eyes permits prob- Jems to sneak into even the best intentioned tutorials, The author ‘may, for example, have changed a setting in the Photoshop pref- ferences or a setting for a tool that changes the behavior from the defaults you're using to a custom setting he or she is using For example, if the tutorial was writtenfecorded with the unit, of measure for type set to Millmeters rather than the default of, Pints, a value of 6 in the Options Bar or Character panel pro- duces hugely different results. ‘You may also be working with a tutorial or video created using {version of Photoshop other than what you have avallable. Per- haps the tutorial calls for using Camera Raw through the Filter ‘menu, That’ a feature introduced in Photoshop CC and it’s not, avaiable in Photoshop C56 or earlier. Or, conversely, the tutorial ‘may instruct you to goto the Window menu and open the Masks, panel. if you have Photoshop C36 or CC, you don't have a Masks panel in the Window menu and need to open the Properties panel to.complete the tutorial ‘Many tutorials and videos have sample files available for down load. Often, t's a good idea to first work through the project, Using the provided files before trying the technique on your own images. The dowmload may contain @ path or a layer mask that’s, critical for completion of a specific step. Your own image won't hhave that path or mask, so youll need to create that element ‘when applying the technique to your shots Keep in mind that certain Photoshop features are only avai able for some images. If you open your images through Camera Raw and have that plugrin’s Workflow Options set to open the file in 16-bit color, the iter menus in Photoshop fs going to show ‘you some grayed-out commands, The Filter Gallery, as well as the Distort and Pielate fiters, aren't avalable for Té-bit images in Photoshop CS6 and Photoshop CC. Convert your working image. (or a copy of the image) to @-bit color by choosing Image>Mode> B-8ityChannel, ‘Also, starting with Photoshop CS6, the Artistic, Brush Strokes, Sketch, and Texture fiters aren't Isted separately in the Fier ‘menu. fa tutorial instructs you to open Fiter>Sketch-Charcoal, it _was wniten using Photoshop C55 or earl. In C56 and later, you access the Charcoal ite through the Filter Gallery. You have the. ‘option tos all categories of filters inthe Fter menu through the Photoshop CS6 or Photoshop CC (PC: Ecit}>Preferencess Plugins. Select the option to Show All iter Gallery Groups and Names, and the Fiter menu is repopulated with te full tof fies. One last note! The first time you work through a tutorial or ‘ollow a video, please be very careful to follow each step exactlySmall flash. Big results. Lastoite produces fantastic sft ight for poral, and Backs up tight or easy transport. Trips aro Professional s inmy pack. Having a grip handle makes 2e shown 1 left taken with Ezybox Hots! Image jesigned to work with most flash guns, above, Don't let your flashgun control your photography. Our comprehensive range of speedlight accessories let you control the light so you can explore the full potential of your small flash. Whether you want to bounce, diffuse, reshape the light or you simply want to be more creative, Lastolite has the solution. For more information: info@lastolite.us www.lastolite.us.aaa MAMA AM AMM MMMM MAMMAL.till FIAT rucson ‘Deven By Yo. Green ne COMMERCIAL PHOTO MONTAGE ILLUSTRATION LAMM MAMAaAAAAAaAeAaAaAaaAatataata ea.o == J PHOTOGRAPHY RETOUCHING SAA AA M AAA MAMMA MM MMMM LL.ng on the beauty of light Sp 24- 70mm F/2.8 Di VC USD are8 ¥ SEMINARS THE SHOOT LIKE A PRO SEMINAR TOUR nae by St Kay Imagine now much you can lear, and how much farther along you'l be after spencing a full-day immersed in just the ‘most important, the mast impactul, and the most fun photography techniques. The entire workshop i designed to have you leaving from that day witha new set of skills, a clear set of goals, and just \what you need to start taking the type of Photos you've lays creamed you could ADOBE PHOTOSHOP CREATIVITY TOUR inetd y Ber Witmore Ben Willmore, renowmed photographer, and legendary Photoshop expert is back in 2013 witha brand new tour packed with only the hottest tins and tricks, and ‘mast sought-after Photoshop techniques for photographers. Ben's oreated one of his best tours eve, developed from his 25 years of pushing Photoshop tothe ative limit You'l be amazed at what you can learn in jst one day. ADOBE PHOTOSHOP. FOR PHOTOGRAPHERS ntact by Ral" Conacion This new tour was developed by the world's #1 best-seling Photoshop and Photography autho, Scott Kelby, and is taught by Photoshop guru, RC Con- cepcion. Although we cover everything from getting your color right tothe pros’ secrets for sharpening images, this one-day seminar covers so much more inctuing everyting trom today’s hotest Photoshop special effects fr photog- Tapers to how to work faster, smarter, and more efficiently in Photoshop. ADOBE PHOTOSHOP LIGHTOOM 5 LIVE Inst y Mat Kost Get ready for the best Photoshop Lightroom training onthe planet! You'l be taught by Matt Kiskowsk, one of the word's tp Lightroom experts. Sit tight as he shons you an insida's view of Ligtroom, From Start to Finish, rom image capture to final print — youl sea it Unfold right in front of you, as you lear step-by-step how to take control of your digital photograpty worklow. ‘SACRAMENTO, CA- NOVEMBER'S UACKSONVILLE, FL DECEMBERIS THE WORLD’S MOST POPULAR PHOTOGRAPHY & DESIGN SEMINARS THE JOE MCNALLY ONE FLASH TWO FLASH SEMINAR Aste by Je Mealy ‘This tours all about creating great lighting with just one, or two, ashes. ll dy, lighting problems, solution, tactics and strategies willbe demonstrated, lve, using simple gear and small ashes. I's about producing stunning results that wll tl cents without tuaging an eighteen wheeler full of gear around with you. For over five hours, Joe wil be shoot- ing onstage with every trame shown immediatly on screen, and he’ icin short video cps of lighting lessons inthe fil, ll designed to show you how to get (reat results every te, with a minimum of ger. LOS ANGELES ,cA- NOVEMBER'S DENVER, CO-OCTOBERS NN ae) Sea ems Blackmagic es s Shoot the next Hollywood blockbuster with the world’s most amazing digital cinema camera! Film Industry Quality Blackmagic Cinema Camera $1,995 Includes DaVinc Resobe Sofware aype Learn more today www.blackmagicdesign.com/cinemacamera8g Y DESIGNMAKEOVER Pret | BEFORE | EB \ecseael? oliee=t aes > *© WHILE THE LATER PAGES ARE FINE, SHE WISHES. SHE HAD SOMETHING A LITTLE MORE ELEGANT FOR THE HOMEPAGE.” MAKEOVER SUBMISSIONS corm oNgs Reena Pe ear artistic elegance > Catherine Burns ia ine rt dealer in Oakland, California, wth a cent ist including private collectors, museums, and other dealers. She's 2 founding member ofthe Intemational Fine Print Dealers Association, and exhibits at art firs in the U.S About five years ago, she hire a designe frend 1 set up 2 website for her busines, Today she says, “ike it, but. Wile the later pages ae fine, she wishes she had something a little more elegant forthe homepage, She appreciates that's uncluttered "alot of art sites are cttered,” she says—but feols that all the diferent fonts are distracting. And on Pa the phone number, wich a nk, comes cut in blue and under. ined, adding to the distraction, ‘What Burns likes best about the page is that it shows some of the kinds of artwork she sels though the specific pieces cur- rently shown have already been sold styles of at, so the four images give an idea ofthe breadth of her inventory. It's not really an e-commerce site click on the Purchase button," Butns says. People don't usually sells alot of different People seldom spend hundreds or thousands of dollars on a piece of art without first seeing it in person. (Besides, she doesn’t take credit cards She aso doesn't really need to worry about tallorng the site to search engines “I don't have any problem with people finding my website,” she says. She's well known in the business and mostly salls to sophisticated collectors who know what they'te looking for. Basically, she ust wants to make a better, more professional impression when they get there, We asked three designers to help her do just thet,DESIGNER eam ene eo > The first thing tacked inthis redesign was the navigation. n an effort to simplify, combined the European, Ametican, and Ariss Categories into 2 new “Inventory” section. | added a “Sold” ink as ‘well because some of er pieces are no lange avalable, This needs tobe dear to prospective collectors so they don’t abandon the ste in disappointment Nest, looked at her overall page layout. Catherine expressed how much she liked the “white space” (bie) of her current ste, so | changed the background to sold black to keep the art as the focal point. | created an image grid forthe body ofthe page to highlight ry, draw vistors into her site, and make some of her amazing iver it easier to translate ito responsive design for viewing on tablets ‘and mobile devices. nthe smallest view port—a mobile phone—the tied images will tack. An icon atthe top will contain the navigation menuasa text Ist Her new logo s prominent inthe upper lef, and a search box ‘on the upper right has text hinting that it's built fr searching for ats by name, created her lago with two free fonts I found one Her name i etn Latinotype's Sofia an the subhead is set in Tup Wanders’ Aaargh TED AN IMAGE GRID _ Someof the photos of her print inventory are alte dim and THE BODY OF THE PAGE ifocused, so theyte probably not doing the ral pieces justice. TO HIGHLIGHT SOME OF HER AMAZING INVENTORY, DR. ITORS INTO HER SITE, AND MAKE IT EASIER TO TRANS INTO R' ONSIVE DESIGN FOR VIEWING ON TABLETS AND MOBILE DEVICES.” | recommend that she hie a photographer high-resolution shots of her inventory with crisp colors and great ighting. Then she can resize and optimize them for Web viewing, Catherine i aeady a wusted professional curator. A simple site /eesh would bring in more clients and strengthen her reputation, | wish he the best take profesional ATE ABOUT THE DESIGNER mR SARAH GUILLIOT Sara cater a an ast began 3a chid when she dabbed in sketches and pols porta. T ‘highschool computer dass, bosomed into oaphic design where she pushed a simple pant progam is mis, resting complex stators of lowes. Shed than tht these das, and as had the pviege of norking fr sme ig ites inthe Seat eth and olin indus Sarah sa user-experince designe, cesar, ast and mom. She pais, rvs, toes, Bul, caes, gues, pe, aps, SHS, and aeseribles She's addicted to interest and loves to upcl tht shop tresures She laughs, hugs, and cheers smetimes com ters make ba oy ‘She curry ne in Seat with he fay anda dog, She eos hiking caring, westemer t Rear, Sarah secretly oes the rin, ss wees, a bright green fs. rstc endeavors of any Lind. Ate Nor PLICATION USED: Adobe Photoshop 56 0298 8 THE CAN ALSO BE THE BASIS OF A SIMPLE BUSINESS CARD, DESIGNER ir ree) oe ee ee ee eee > I wonted to create a page on which the art was dominant, but not ‘overwhelming or tedious, and it needed to convey important infor- mation about the business owner. So | conceived the homepage as 2 portal with rotating watermark images in the background, One ofthe great things about viewing arts the physical space in which ‘we do that, but in a virtual world designers must ceate that space, {and for me ths was the eal challenge. | began by consolidating any redundant information and relocating it tothe appropriate pages. | simplified the homepage categories, reing moce onthe subpages to sort and distribute mare detailed information. |then copied a couple of pieces from Catherine’ callection (Paul Landacre's Headland ~ Bi Sur Coast and James Allen’ The Builders) and created a transparent watermark effect with them by overlay ing each one on a blue background, selecting the Multiply filter, and reducing the Opacty to 25%. | applied the effect asa sort of walla per tothe background of the page. Treating several images this way ‘would lt the visitor see sample images from Catherine's collection ‘without sling through alist or posting numerous images on the homepage, thus avoiding cuter. Hf Catherine prefers to display the original work asit actually ‘appears, an altemative would be to use the blue background without a watermark, as a frame or matting for a rotating series Cf original images. Without any images, the plain blue home- page can also be the basis ofa simple business car, letterhead, (or other marketing material | sed two fonts: Kunstler and The Font Bureau's Caifoenian FB * WITHOUT ANY IMAGES, PLAIN BLUE HOMEPAGE Both are readily avaiable and provide the right balance of function LETTERHEAD, OR OTHER and style. ideally, | would have used Catherine's signature but was MARKETING MATERIAL. *? happy touse the Kunstler script font as an elegant substtute, 4 ABOUT THE DESIGNER LINDA ROBERSON Unda Rein sus lndicape arte anda stu at UC Dass, afer which she aed UC Belo ena master's dere nbn sgn. While woring in archer and urban desgn fms, ste developed an eet in Web desig, “The vse of anton ar reacthe map sincreaingy mparaat or conve ur des and coeeps to cy lanes, develope’, and community organizations, "she epans ‘She ao ctes Google arth a3 revlon aluence on how un desgnescrkankate tar des by making ou pskal erwenment serial accent inadten, ass have ben waxing wth publi spaces and techrelogy to show us cur wenn a compete rent and beaut way. ‘one vamp coe to Lind’ heart and ae eo Vee The Bagh ext on the San Facxo-Okiand Bay de. inesparee oa the Lind rceveda erate n Wed desgnin 2073 ad caren epg the nesechon cf pic pace andere ecology. She sin San Fane and vars ar desn conta. APPLICATION USED: Adobe Photoshop CCDESIGNER Tey ent ene [ AFTER |” Ate verina te cients wette and create bit termined thatthe importance of the website is inthe art pieces. The rede- signed site is devised to suppor the art without interfering its beauty, he current website incorporated sever efaces, copy, and images confined tothe center of the page. This cluttered the center, made the site difficuit to navigate, and detracted from the art pieces. The curent website lacks interactivity, so incorporated that into the new design | wanted a gallery there, so started with a simple white back ‘ground with @ diagonal stripe pattern ata low-opactty setting, just to give the page some depth without distraction. | chose the Franklin Gathic fort, designed during the same period asthe art by the American designer Mortis Fuller Benton, with a complementary ‘typeface in Adobe Caslon Pro. | focused on a color scheme that complements the gray-bue, whichis favorite ofthe client. The webste is based on a balanced layout. I educed the navigation copy and added two buttons for ‘American and European art. The number of images fs the same, but they're larger and more visible. For interactivity, the images are grayscale until a visitor hovers ‘over an image, and then it changes to colo. This also brings up important information about the piece, such asthe artis, national ity, and date Slider buttons ae available to advance tothe nex piece; otherwise, a new picture wil automatically appear after a specified time. The American and European buttons add color on FOR INTERACTIVITY, THE. IMAGES ARE GRAYSCALE. UNTIL A VISITOR HOVERS hover and send individuals o artists based on the category OVER AN IMAGE, THEN IT | added social media icons so patrons can be updated on new CHANGES TO COLOR.” artworks wi the at piece page for detailed information. My goal was galery style elegance, easy navigation, and focus on the at pieces. 1en avaliable. An image click sends an indvidual to ABOUTTHE DESIGNER MICHAEL PENNY Iuchael Penny halds bachelor's in general studies and Heal arts from Wichita State University. After working inthe informa tin technology fed for several years, he returned to his love of design and began studying graphic desgn at Colin Colege Teas. Asa designer, he's worked uth several companies, ining Prodigy Ol and Gas, La Made Das magazine, and Wilton Worle. Current, Mike seres asthe ecommerce manager for Carengton Intemational Corporation. He also maintains profesional memberships in AIGA and NAPP, nd he operates wth the desgn philosophy that less more Mike resides in Rckinney, Texas, with is wife. He enioys gaming, reading, drawing, paying with his two dogs, watching Formula tracing, and spending time with close rend. 5a cannoseur of spicy food, Mike's next culinary adventure wil be to ty the Tenidad Moruge Scorpion current deemed the hotest pepper on Earth. CD ION USED: Adobe Photoshop CoMetalPrints™ are made by infusing dyes directly into specially coated aluminum sheets. This creates an image with a magical luminescence, vibrant colors, incredible detail, and exceptional archival qualities. The surface is easy to clean, waterproof and scratch resistant. Choose from High Gloss, Satin, Sheer-Matte, or Sheer-Glossy surfaces. Available in any/every size up to 43x96 with contemporary mounting and framing options. Learn more at to.com/metalprintReena cae The Lost City With Renee ner ae oo — —— What’s Your Vision? eae eka aa Quality. Service. Innovation. WE'RE HERE FOR YOU!8 YDOWN & DIRTY TRICKS Classic Monster Makeover COREY BARKER With Halloween right around the comer, | thought we would play around with a classic horror film. This wolfman costume was part of a themed workshop hosted by Russell Brown at Adobe MAX earlier this year. While the makeup is brilliant, let's see what a few down and dirty tricks can turn this into. DP sTEP One: Let's start by opening the wolfman costume mage, which was shot in a studio setting on a white back- ‘ground, Ths will make it easier to extract the subject. Since i's fon a white background, select the background using the Magic Wand tool (nested under the Quick Selection too! (Win the Toolbox). Then, goto SelectInverse to flip the selection around to the subject. If there are areas of white that are stil selected ‘around his right hand, hold the Option (PC: Alt) key, and click ‘those areas to remove ther from the selection INAPP members may download the files used in this tutorial ‘at htf:limembers photoshopuser.comimagazinefssueloctober- 2013, All files are for personal use only] 'STEPTWO: With the selection active around the subject, cick the Refine Edge button in the Options Bar. This is where we'll clean up the selection. Fist, click on the View thumbnail and change it to On Black. Select the Refine Radius tool (€) ont left side of the Refine Edge dialog, and then paint around the subjects hair to soften the transition, Do ths all the way around nti the ight finge is mostly gone. It may be hard to tel, but sometimes this feature does too ‘goad of a job cleaning up the edge. Go into the View mode ‘again, choose On Layers, and you'limmeciately see some areas that are more transparent than you want STEP THREE: Click-and-hold on the Refine Radius too! and choose the Erase Refinements tol. This will allow you to bring back some of that lost data, Press the Left Bracket key () ‘to make the brush a bt smaller and then just paint very small strokes in the areas you want to bring back. Be careful lit dab can bring back quite abit, even outside the area you paint STEP FOUR: In the Adjust Edge section ofthe Refine Edge dialog, boost the Contrast up to around 25%. This wil tighten up any loose edges. Then, set the Output To drop-down menu 10 New Layer, and click OK. This will place the cleanly extracted subject onto a new layer aa en OE continued on p.47Go to FiltersLiquify. When the Liquify dialog ‘opens, make sure the Forward Warp tool (W) is selected at the top ofthe toolbar on the lft side. In the Tool Options, set the Brush Size to roughly the sizeof the cheek. Then, set the Brush Density and Brush Pressure to around 25 each. Proceed to push the elements of the face around using the folds and creases as a guide to distort the face to where it looks less lke @ human in a costume and something more sinister This step can be a lot of fun b lick OK. don’t overdo it. When done, Now let’s prepare the background image, We have a stock image of the moon that will work ust fine. We've ‘also created a start document to build the design in, Using the Move tool (V), simply drag-and-drop the moon image into the start fle, Then, use Free Transform (Command [PC: Ctr-TD 10 scale (hold the Shift key) and positon the image where the moon i ust on the toprright edge of the carwas. Press Enter to ‘commit the transfoxration, XI Now drag the extracted wotfman image into the start file, as well. Since the wolfman image has a higher resolution than the start file, the image arives much bigger in the composition, which is perfect because we want the subject to be almost uncomfortably close, Use Free Transform to size him as needed, and clck-and-drag outside of to tit him slightly for a bit of adds h the subject in place, you can see some ight fringe around the edges, which is more visible on this darker background, To take care of ths, goto Layer>Matting>Remove White Matte. This will help elirinate some of that light fringe Next, press Command-J (PC: Ctrl) to make a duplicate of the wolfman layer and press Shift-Command-U (PC: Shift-Ctr-U) to remove the color. Then, change the layer nd made to Multiply and drop the ayer Opacity to 7596, Ths will darken the subject considerably, helping him to blend to the darker background better. Defringe. Remove Black Matteg DOWN & DIRTY TRICKS STEP TEN: To make it look lke the moonlight is hitting ae the subject, we're going to use layer styles. Select the original wotfman layer (Background copy) in the Layers pane, click SS the Add a Layer Syl con (fx atthe bottom ofthe panel, {and choose Inner Shadow. Click on the color swatch at the top, and in the ColorPicker, choose alight-blue colo similar ‘to moonlight, and click OK. Change the Blend Mode to Vivid a Light, and raise the Opacity to 90%. Uncheck Use Global Light = att art poston the Angle dal at around 45° to roughy match 7 the light nthe scene. Click onthe image and drag the inner Shadow to where you wantit © appear it wl ook ike ght ae hitting the edge of the subject. (Note: Your settings will be lower than ours since you're working on a low-res version of the file) Don’t click OK yet. STEPELEVEN: Nex, activate Gradient Overlay in the lst of ‘Styles on the left side of the Layer Style dialog. Use the default black to white gradient but change the Blend Mode to Linear Bum and drop the Opacity to 50%. Change the Style to Racial {and check on Reverse. Finally, set the sale to 150%, click on the mage, and drag the gradient around so the ighteraeais plo around the fae ofthe subject. Onc in pace cick OK aoe _ STEP TWELVE: Make the duplicate —_—— woltan yer ate inthe Layers panel ane . {90 into the Add a Layer Style menu, and choose inner Shadow again. This time set the color to a hot-orange color, lick OK to close the Color Picker, set the Blend Mode to Vivid Light, and drop the Opacity to around 50%. Make sure Use Gioba Light is unchecked and set the Angle so it's coming from the left side. This will give the effect of a ‘warm light in the foreground against the cold ofthe background. Again, you can dick-and-drag in the image to pos tion the Inner Shadow forthe best effect. Click OK. STEP THIRTEEN: To add emphasis to the eyes, here's an ‘ld layers trick. Click the Create a New Layer con atthe bottom ofthe Layers panel toad a new layer above the duplicate wolt- ‘man layer. Choose the Gradient tool (G) and select the Racial Gradient style in the Options Bar. Set the Foreground color to white by pressing D then X. Right-click in the document and select the Foreground to Transparent gradient in the Gradient Picker, and then draw small gradients out from the center of each eye, Change the layer blend mode to Overlay and vol, the fees become that much creepier! Step TitThis is one of my favorite finishing touches. Make a duplicate of the working file by going to Image>Duplicate. in the duplicate file, click on the Eye con fo ‘any layer style applied to turn them all ff. Go to LayersFlatten Image (make sure it's the duplicate fle you're fa ing). Go to Image>Adjustments>HDR Toning This is my secret weapon—! love the results| get but | use ita it aiferenty, First, go to the bottom of the dialog and bring the Saturation down to -100% to increase the Detail sider alittle. t might be necessary to drop the Exposure altle to compensate for the added detail. also yoosted the Gamma abit, ove all color. Then, Next, start playing with the Edge Glow sliders. Check on ‘Smooth Edges then move the sliders around to see what hap- 5. Typically, I set the Radius ata higher setting than the ‘Strength, but feel free to.go nuts and see what it can do. When done, click OK, This wi I gve usa very arty version ofthe image. Seven on Now use the Move : = 100l V) to drag-and = drop this new image into the orginal document. Hold the Shift key as you drag a ese soit lands in the cen: ome ter and lines up with the original. Press Command-U (PC: Cirl-U) to open Hue/Saturation. Check fon Colorize, set the Hue to 20 and the Saturation to 30, and click OK. Ths will put a warm cast over the layer. Then, change the blend mode to Soft Light and t ere you have it. With alittle text and some added flare of the moonlight, the ‘overall composition looks prety gruesome! Happy Halloween! Muahahahahal moYDOWN & DIRTY TRICKS FELXNELSON Turbo Logo How could you go wrong with a movie about a turbocharged snail winning the Indy 500? The story line probably goes something like this: Snail gets really fast, learns important life lessons along the way, wins the big race, and fulfils a lifelong dream. Pretty standard. So is the logo created for the movie—sort of. While it doesn’t use super-complicated Photoshop effects, the logo itself is extremely clever. Kudos to the designer that created a great logo without using a ton of over-the-top effects. Here's our version, D ster ONE: Open the Boost. Paths.psd. Create anew layer (Layer 1) by cling onthe Create New Layer icon a the bottom of the Layers panel. Press D to reset the Foreground color to black and the Backaround color to whit Command-lick (PC: Cirtick) on the thumbnail for Path 1 in the Paths pane! (WindovesPaths) to make ia selection, Press Command-Delet (PC: Ctr-Backspace ofl the selection with wit, Press Command-D (PC: C+D) to deselect INAPP members may download the file used inthis tuto- ‘al at htplimembers photoshopuser.com/magazinelssue! october-2013. All files are for personal use only. STEP TWO: Click an the ‘Add a Layer Style icon (fs) at the bottom ofthe Layers pane! ‘and choose Bevel & Emboss Enter 600% for Depth and 10 px for Size. Enter 90° for ‘Angle and 27° for Altitude. Check the Anti-aliased box. Click on the down-facing ar row next to the Gloss Contour thumbnail, and choose Ring — Double. Raise the Highlight ‘Mode Opacity to 100%. Click (on the black Shadow Mode color swatch, choose a dark- dgreen color (R:21, G:61, 8:74), {and cick OK to close the Color Picker, Don't click OK in the Layer Style dialog yet. g>> DOWN 4 DIRTYTRICKS STEPTHREE: Choose Color Overlay from the Styles list con the left side of the Layer Style dialog. Click on the color swatch, choosealight-tal color (R189, 6:24, B:248), and click OK. STEP FOUR: Now, choose Drop Shadow from the Styles list. Uncheck the Use Global Light box, enter 126° for An- le, 5 px for Distance, 1 px for Size, and click OK to apply the layer styles. STEP FIVE: Add a new layer (Layer 2). Command-click (PC: CCtr-cick) on Layer 1's thumbnail to make it a selection Press X 10 set the Foreground color to white. Choose the Brush tool (8) {rom the Toolbox. Using a soft-edged brush, paint some high- lights on the edges of some of the characters (see example). Change the layer blend mode near the top let ofthe Layers ppanel to Overlay, and lower the layer Opacity to 65%. 0519 8 DOWN & DIRTY TRICKS » STEP SIX: Add a new layer (Layer 3). Press D to switch the Background color to white. Click on the Foreground color swatch to open the Color Picker. Choose a light-teal color (R:164, G:230, B:255), and click OK. Choose the Gradient 100! (G) from the Toolbox. Go to the Options Bar and click on the Gradient thumbnail. Choose Foreground to Background In the Presets and click OK. a STEP SEVEN: Choose ‘cin, Select>Modify>Contract. as Enter 10 pines and click OK. Sener [l@_J mde Now, using the Gradient tool, cick-and-drag a gradient from the bottom toward the top ofthe selection, Deselect. STEP EIGHT: Click on the ‘Add a Layer Style icon at the bottom ofthe Layers panel and choose Inner Glow. Choose Multiply for the Blend Mode, click on the color swatch, choose 2 dark-teal color R97, 6123, 8:136), and click OK. Enter 5 px for Sie and cick OK to apoly the layer style. Add some adc- tional text and a logo to come plete the effect. mo»Y It’s that fast. - Ea a i Pc) ery | ae I . Ss 42) a ea ae heer cals | For more info, visit ReallyRightStuff.com or call us at 1-805-528-6321 or toll-free in the US and Canada 1-884-777-5557.8 g YDOWN & DIRTY TRICKS Inflated Text Using 3D COREY BARKER Let's have a little fun with 3D. C’mon, just try it! In this exercise, welll create some inflated text using the 3D features in Photoshop. With the enhanced surface properties, you can create a reflective metallic look in a matter of minutes. (Note: For this technique, youll need either Photoshop CS6 Extended or CC.) > step one: Start by opening the provided file or you can ‘imply create a new document and follow along with your own txt. Either way, you need to use a font that has rounded edges ‘and corners, This will help add to the rounded shapes of the finished 3D text. We used a font called Bell Bottom and typed the word "PLAY.” Since this s a specialized font, its not likely that many of you have it, so the download file contains the text asa shape layer. LiWAPP members may download the file used inthis tutorial at http.iimembers.photoshopuser.com/magazinefissuel ‘ctober-2013. Al files are for personal use only} STEP TWO: Let's convert the tet into a 3D object. With the text layer or the shape layer active in the Layers panel, go to 3D>New 3D Extrusion from Selected Layer. This will imme: diately extrude the text and make the wire mesh ground plane visible (f you don’t see the ground plane, switch to the Move tool [V, then choose ViewsShows>3D Ground Plane.) STEP THREE: In the 3D panel Window>30), locate the 3D text iter in the list and cick on it(PLAY in this example). Then, ‘open the Properties panel (Window>Properties) and adjust the Extrusion Depth to 0. We don’t need the sides, ust the front and back face Step One Step TreeSTEP FOUR: At the top of the Properties panel, click on the Cap icon, which isthe third icon from the lft. This is where you can modify the bevel and inflation settings. Fist, click on the drop-down menu at the top and set the Sides to Front and ‘Back. Then, go down to the Inflate section and set the Angle to {90° and increase the Strength to about 20%. This wil give that inflated look we're after STEP FIVE: Before we spit up the letters, let's setup the sur face properties forthe text elements. Inthe 3D panel highlight the Front inflation Material forthe text. In the Properties panel you'll se the various surface features. Click on the ball icon near the top right to open the Material Picker, and select the No Texture material Click on the color swatch next to Diffuse, select white in the Colo Picker, and click OK. Set the Shine to 100%, the Reflection to 75%, and the Roughness to around 25%. Apply these same settings to the Back inflation Materia aswell STEP SIX: Go to 3D>Splt Extrusion, This wil allow you to ‘manipulate each letter individually while keeping al the letters in the same 3D layer. Switch to the Move tool (V), and click on the fist letter to put a 30 box around just that letter. You can ‘now use the 3D tools and widgets to change the position and scale tis letter in relation tothe other letters STEPSEVEN: Let's gue each etter a cferent color. Starting with that fist selected letter, dick on its Front inflation ‘Matera in the 3D panel. At the top of the Properties panel, lick on the color swatch next to Diffuse and choose a red calor in the Color Picker. Click OK when done. Do the same thing for each of the remaining letters, giving each one a different color. You'll notice that the reflection properties all tay the same leven when the color changes. STEPEIGHT:If you're using Photo shop CC, you'll see some specular dots on the text. These are being created by the default Image Based Light that has been applied to the Text (the IBL Is solid black in Photo- shop C56). It simulates reflecting the environment the 30 objects sitting in. In this case, it looks ike celing lights reflected on the surface, but | want to use something diffeent. DOWN & DIRTY TRICKS, 8 aose DOWN & DIRTY TRICKS ‘STEP NINE: In the 30 panel, click on Environment at the very top of the lst At the top of the Properties panel, just under Global Ambient, you'l see the IBL age Based Light). Click on the icom to the right of the preview thumbnail and choose New Texture. In the New dialog, ook for the name of your 3D file in the Preset drop-down menu to use the same dimensions as the main file for this new file, make sure Background Contents is set to White, and dick OK. STEP TEN: Once the new files create ‘menu and choose Edit Texture. Once the file opens, press Commands (PC: Ctrl) to invert the 190 back tothe IBL ite background to black. Then, click the Create a New Layer icon at the bottom of the Layers panel, and se the Eliptical Marquee tool nested under the Rectangular Marquee tool [Min the Toolbow to create a large ‘oval selection inside the canvas, Press Shift-Delete (PC: Shift-Backspace) choose 50% gray from the Use drop down menu in the Fill dialog, and lick OK, Close and save the Image Based Light fl STEP ELEVEN: This will change the appearance of the light and reflected elements on the text. With the Erviran- ‘ment property stil elected in the 3D panel, you can use the 3D toals to move and rotate the IBL to change the way it appears (on the text, You're essentially moving the reflection around the surface ofthe object. To access the 3D tools, activate the Move tool, and youtl see all the 3D tools at the end of the set- tings in the Options Ba. STEP TWELVE: Once that’s done, you can repos tion and scale each letter Using the 3D took or widgets. The letters wil interact with each other by reflecting not [ust the Image Based Light ‘outa each other once the d 3D object is rendered (3D> Render). Remember, even though you can manipulate each letter indvialy, they al still eran ona single 3D layer Co Step Nine ‘Step Twelveand receive a $50 TC ee serene She Find Alta Pro at these fine retailers and more. englewoodcamera.com (Littleton, CO) _philyphotosupply.com (PA VANGUARD villoughbys.com (NYC) amazon.comWELCOME TO OUR “4TH ANNUAL 100 PHOTOSHOP HOT TIPS,” WHERE THE BEST IN THE BUSINESS SHARE THEIR MOST GUARDED PHOTOSHOP SECRETS. NOT ONLY WILL YOU BE BETTER, STRONGER, AND FASTER IN PHOTOSHOP, BUT YOU'LL ALSO. BE ABLE TO OUTRUN SPEEDING BULLETS, OUTPULL LOCOMOTIVES, AND LEAP TALL BUILDINGS IN A SINGLE BOUND (BUT ONLY WITH THE POWER OF PHOTOSHOP AT YOUR SIDE, OF COURSE). NOTE: THE MAJORITY OF THESE TIPS WILL WORK IN PHOTO- SHOP CS6, BUT WE DO HAVE A SPECIAL SECTION DEDICATED TO PHOTOSHOP CC WRITTEN BY BRYAN O’NEIL HUGHES, THE SENIOR PRODUCT MANAGER FOR PHOTO- SHOP AT ADOBE. ENJOY!1 Splitting 3D Eatwisions Yuan pit D tet in al Deter by oi ude the 3D nen ad scetng Spt Ero hen, jt kon ech eter wh the Moyet (V)tomanulate nally 2 Get Mare 3D Content Youcan et anal 3 content ygingtoth very btiom ofthe 3D ten and choosing Get Mare Content Tis wil open webpage where You can dovnload mater stages ands, anime based ght 5 vlads fee 3D model ing the Biss When you create a 3D object, youll se a shadow being cast onthe ground plane. Thisis grea ifyou want a shadow, bt in some asesyou may nt want one. Just open the 3D panel (Window>3D) and select Environment atthe top of the ist. Then, open the Properties panel (Window>Properties), and inthe Ground Plane section, drop the Shadows Opacity 10.09% Merge 3D Layers inte Cne You can merge 3D layers the sme way you can regu ayers: Whether you have two or more 3D layers you can simply sect the top 3 layer apres Command-F (PC: CaF) to merge dove tothe 3D lye below; or you ca slet ll the SD lyers at once inthe Layers panel and wse the same command to merge them into singe 3D layer 8 Let There Be Light Tn addition tothe standard lights avalable—Tfinite, Point, Spot, and Image Based Lights—you can also make an object emit ight Selet dhe material layer inthe 3D panel, then inthe Properties panel, click on the kumination swatch, In the resting ColorPicker, choose acolor forthe ight and adjust the Intensity. Click OK to close the Color Picker, The effect will need tobe rendered (3D>Render), and ofcourse, it needs to have ther 3D objects in proximity to reflect the ight 9 Best 3D with Photoshop In my experience as fr as importing 3D objects crested in other 3D applications is concerned, the «wo formats that sem to hae the fewest sues ae 3s Max (3a) and Wavefront (bj). These for ‘matsarent without thei own problems but they're better than mast 10 Animate Your 3D Layers You can even animate 3D abecs in Photoshop. Just sect the 3D layer, open the Timdine panel (Windows Timeline), and cick the Create Video Timlin button. lick the disclosure triangle net tothe ‘are of your SD Iyer to see the properties tha you can animate. In adtion to animating the Position, (Opacity, and Scale, you can animate several 3D properties using the same eyrame-based animation, Be care though this can ge very taxing on your proceso. and Hiding the 3D Hr Plane ‘To view the ground plan, make sre you have the Move toa (V) active, and then go to ViewoShowe-3D Ground Plane. ‘To turn i of, sinply reslet that menu item, Sake Out the Guesswork InPhotoshop CC, when you double-licka 3D mesh in the Layers panel to editthe mesh in a separate file, you can view a wire fame overlay ofthe abject shape by going into the Properties panel and checking on UV Overlays near the bottom. This makes teaser to eit testures with more accuracy and les guessvork 6 Click-and-Drag to Edit 3D Clijects Dent orgtaboat theo bjt edn atures sachs hax widget ‘hich low yout manip the postin, sal and ton of 30 objet wth your carr. st mor yur usr rte dient pars thew and oka te varios oli When youseeseting joa wanted click and drag ale at prt §060 peasant EY 11 File Size Saver with Adjustment Layers ‘When you duplatean nape aero apply ae mde dali that image ayer realy ness tes fhe weiner ing sahsmen yen ised Aad an ajusment ger mach at Canes (layeoNow Adjustment aye> Care but do’ mak ay chang i the ropes panel Sin change the Bend mote nr th tp of he Layer pane an atthe adopted age aero he Blend Mode Double Seam ‘When you're tying to Blend an image wit a textured background, use this eck: Duplicate the image layer (or use the aus ment layer trick aboe) so you have two image layers above the textured buckground. In the Layers pane, change the blend mode of one image layer to Seren and the ther to Multiply, Now you can adjust the Opacity ofeach mage layer to dain theright amount of blending forthe bestlook ctr fle sze, 13 Fuce ransfoun Hip Fick This iret fr making raters Dupe the ae you vant ofp by presing Command] (PC Ct. Pess Command (FC: C7) to bring up the Fe Tras andes bt befor you ight lick and hows Fp Horan or Flip Vera dg the center as targe rom the mile ofthe bounding ox th sidehat yore ping te Now when you tip the image, wl fiom tha ee and ine up erty withthe rg image. Cnthe-Fly Bush Fool Adjustment ‘When aig te Bras ol (hold dom Gon trol Option (FC: Cub AILRigh clk and dag ‘ah ole o chang the Diameter of he sh and pad dv to hang the Hares 15 Took Presets Saving a brush preset is good, but saving a tool preset is beter. A tool preset saves extra itor ‘mation sich as color and Mixer Brush tool setings, which means ‘hat you ot only have the brush shape that you want, but that it will abo be exactly how you want {tt look and act without having to tweak anything, To save a tool preset, click on the tool icon at the far left ofthe Options Barto ‘open the Too Preset Picker, Click fom the gear icon at the top right, and select New Tool Preset. Name your preset and be sue tturn on ‘the Include Color checkbo. 16 Magic Wand Tolerance ‘One ofthe reasons that folks eal the Magle Wand tool (nested under the Quick Selection tool [WW in the Toolbox) the “Tragic Wand” is because they don't ‘understand how much of a dif ference adjusting the Tolerance setting an male. Ifyou ge funky results tryalower or higher Toler ance in the Options Bar. Creative ‘ip: Try using the Magic Wand. ‘on textured ares to select nique shapes and grungy ects that an ‘make great brushes (Bdit>Define Brush Preset), 17 Rotation Reset ‘With touch capabilities on tablets and serens these days, orusing the Rotate View tol (Rin Photoshop, it’s easy to rotate your canvas to get a better work angle, But it an bbe maddening trying to rotate it back to its original orientation, Double-click on the Rotate View tool icon in the Toolbox and your canvas will sap back to its orig nalange. ws Ce ‘Whe using the Healing Brush tool (nested under the Spot ‘Healing Brush to! i] in the Toolbox), sometimes the best ‘texture or area hasaiferent oboe ‘than the area you're tying oe Dott worry, just args that area {(Option-cick [PC:Alt-click) and paint away: thecolor info will be discarded in order to ‘match the area being healed, Here's great way to create win dove shaped specularhighlights to ad to eyes. On a Blank layer, use the Rectangular Marquee tool to draw rectangular section, Press D to se your defi colors, and ress Command-Delete (PC: Ci Backspace) to fil the selection ‘with white, Switeh the Move tool (V), and Shift Option-drag (PC: Shift-Altdrag) to duplicate the rectangle dicety below the original. Command-lck (PC: (Qu-lck) the layer thumbnail inthe Layers panel t select both rectangles, and —Shif-Option- dag (PC: Shift-Altdrag) them to the right. Press Command-D (PC: Cur-D) to deseet, and then (Command-T (PC: Cel for Free Transform. Right-click inside the ‘bounding box and choose Warp. [Now use the hands to match the curvature of the eyes, and press Enter. Add a touch of blur (iter>Blur>Gassion Blt), drop the Opacity in the Layers pane, and you're done, 20. Command Option-Sif-E (PC: (QuF-Alt-Shift-E) wil take all of your visible layers and merge them into a new layer above the ‘currently active (and visible) ayer. “Thisis grat when you're working ‘on an image and you want all the clement combined, but you want the safety net of stil having ll the ‘original lyers belay. Once you try youll set llth ine,21 Batch Placing ina Slide Show Tes an esr ay to import ull mages into a se sow instead ofwsingthe lelce com ima Open the seis of images You want oui the Finder (9 Windows Esler sectallohe images tat you wat 0 impor, and rg tem nto an open doe tment In Photoshop. Afr you reve and postion he fet age seeded just ps ne and he sestimage wl apr inthe dos tment soon Fachimage alle plceonitsown aye ea inte a Sle Stow yowhave multiple imagesin ayers (sce the tip above), they will appear ts separate tracks inthe Timeline panel (WindowsTimetine), butyou ‘anatutomatically have them appear one after the other in singe tack. Seca ofthe tracks inthe Time line pane that you would like to use for the slide show. Click on one of the limstrip ions tothe et of one of the selected tracks, and select [New Video Group from Clips. This wil place al ofthe images one ater the other na single track. pias Create a text layer that contains your credits Inthe Timeline panel (Window=Tindine move the Current Tine Indicator (CTH) 10 ‘he pot where ou wou ike your crests to begin scroling, Expand the text ayer and click onthe stop atch eon next to Transform ost a keyframe, Use the Move tol (W) to dag the text ayer ff the otto ofthe canvas Move the CT othe point the timeline where you ‘would like the credits to complete thei seroling and cick on the da mond ion to the lef of Transform tw add another keyframe, Hold the Shit key and drag the text layer above the canvas, Presthe Phy icon to watch the animation, 24 ean fo a Movie Selecting a video group inthe Tay rs panel or Timeline and adding 4 layer adjustment (Layer>New Adjustment Layer) will creste a speciicadjutment for only the cur- rently active video group and any layers below, Drag that adjustment lnyertothetopofthelayertackand the efet will be applied to all he lipsand imagesin the Timeline, 25 Cweate Fly-Ji Paredes Using 3D Yu an cede compeling fin fics in ko sng Potato. Sc the image you woul ke o ‘wok wth and chose 30> New 3D Estraon fom Sct Lye. You then Beale ania th eet in 30 cy arian he 3D See Postion and 3 Gamera Potion in Se Tenn an free Note To aint the 30 Sore Fst fitdckon Sein he SD pro ninth 5D Caners Posto Fis kon aren Viewinthe 3 ane Add Contrast jin HDR Toning Adding contrast t0 your HDR tonemapped file i a great way to increase the tetue in an image, but you dn’ have to do kin an adjusment layer, Go to Image>AgusimentoHDR Ton- ing, and afer adjusting the Radius and Srength sidrs, click on Ton- ing Curve and Hitogeam at the trom ofthe HDR Toning dialog ‘A curve will appear allowing you to add additonal contrast. This _ghes youa one-stop shop for finishing that HDR file ee foam a Original ae ee eee ee eee ee eee Seale eeeen eee one another at the right places. Now use layer masks, slend modes, faeeem eopee aaa 28 Start with the ScattS Preset By deft, Photoshop aims to provide a atraliic view of what an HDR image wil look like. Set Kelby provided Adobe with a preset led Scot, which creates very stylistic ook Te preset vaso wel eve that snow ncaded as one ofthe presets in Photoshop CSand CC Select the prestin citer the HDR Toning Save your fle, sve itasa Radance fle he). In Photo shop, you can immediatly tone map the il by swiching the bit mode ofthe imagebackto I6bit Image>Mode>16 Bis/Channe) “his wil astomatially open the HDR Toning dialog As bonus, these 32-bit lesan alse opened with athee HDR eograms 30 Select a Different Ghost Source When merging seis of HDR mags in Merge» HDR Po, hosing may apearin potions fan age wher eject at rove. Cleingon he Remove Gh chek lata cally correct this ghosting by using one of the source images in the flmsp atthe atom fhe window: the ghosting conection ta youring yuan as cckononeohethe hams naan he ghosting alright lee img sth ne source 8epee D 31 Targeting Layers with Shortcuts Tacttethejerabve or beth cence yea the ler stack we hoe tcts Option) (9: Al and Opn (PC A rece Options (Cama) PC Ake ges the leat htt of i ad Opi. iad) CA a geste ery top yer These sho aerate when trwdngan acon tht th nae eer it ecole Moving Layers with Shortcuts “To move the activ yer up or don inthe yer tack, se these shortcuts Command] (PC: Ci) and Command (PC:Cxt, spectively Command Shift (PC-Cut Shi) moves the yer othe bottom ofthe tack above the Background layer, oto the very bottom if there is no Bagroand ayer. Com- mand Shit (PC: Ct Shift} moves theert the top othe tack 33 Hide a Layer Shorteut For many veins of Phos i een possle to se a ky bean short set te Opa for any active yer e555 {50 .nrotcedinPotshop Cs theaby pres for 0% Opciy we thisalteie as uk ay hieand show 2 yet witout moving ve and cickingon the ye con beside the le. Pres O0 hehe ayer and to shot. 34 Layer and Mask Shortcuts you ave layer with a maskand you want to activate the mask, press (Command (PC: Cu), Toate ayer, press Command: 2(PC: Cut 2), 35 Reposition While Dragging ‘Whedrggng wit many roving, youcan eoston tection of where yo raging by bling down the Spear, For ample, ter you arte dag wh he Rectangular Marge a (id ov the Spear eposton the marge, hen tg ocominse raging ont these you vant % sg and Shortcuts a 37 Crop Fool Cap ere are a fe use sontats ‘hen sng the Cop tot C to actatthe Cop tol cin he Boundingbox forthe oer sho «x, ees thoagh the View ves (Rae of Tink, Gri igo ec, R sho the Crop Image See & Reston dlog {€Séony an X ap the cop area from horizotlto verte crea view in Refine Fag can be sactivated by pressing a single let tee: M for Marching Ants, V for (Overay, B for On Black, W for (On White, K for Black & White, | for On Layers and R for Reveal Layer, One use way to use this {sto toggle between two views, for example, Blick & White and On Layer by pressing K and L 39 Cne Shonteut with Twe Uses Presing Commans-T (PC: CT) fsa wel-known shoseut for Free ‘Transion, but did you know that the same shortcut sees a second purpose Ifyou have ype selected andpressCommand-7(PC:Cit-T), twill open the Character panel so you can quickly acess all ofthe setting in that panel Chose and Sawe (0% Den’t) Ti abyss red when see people who sen tmofeyboud shorts ha fill smamally close iages and click either the Save or Dat Save bat- tons, stead, pres Command: W (PC: Cr.) for Ce wind, tnd then in the ressking dog. press D for Don't Save, Ee to Cancel (or Fate to Sie4 Be Smart ‘When we're retouching, ts best practice to work nondeseuctively so that we can go back at any stage and make alterations if needed, Smart ‘objects playa big part in that nondestructive workflow, but did yu also know that by converting your layers into a smart object rather than, say, eating a merged or combined lye, that you also virtually rede the fle size ofthe working ile in Photoshop, which speeds up your com ple’ processing spec, which in tum speds up your wore. Nowe thats working smart! Don't Hatten ' with HDR Soning Wantto use the HDR Tring feature on your image but dont want ols lhe ayes as. Just cre 4 uplieateof your working fle by going to Image>Duplcat, and then gotoliage> Adjustments HDR Toning. This wlfaten your ayers but ‘once you dn, copy the duplicated image by going to Select, then it Copy, and simply Elio Paste ton top of your orignal working fe The reat thing here you can then use Opin the Layers pelt control how much ofthe HDR Toning looks visible 43 Nondestuictive Sharpening Apply nondestctive sharpening o your images by sng the Sharpen tol ns unde the Br ol in the Toto on lank ye. tum on ample Al Lyersin the Options Baran seth deed Steg anche the unin our sharpen The advantage shat twecan now ak advange of eveything that comes with ayer Opacity. ayer masks.) 44 Color-Coded Menu Stems IF there are certain mens items that you return to time after time, rake them easier and quicker to find by clor-coding them. Jus goto EditoMenus, and then in the Keyboard Shortcuts and Menus dstog, find the menu items, ters, ete, and choos a color label fom the Color drop-down ment, Goone stepfather and choose specificcolors for spe Ligip, check onthe Advanced Mode box to ee the Reconstric button in the Reconstruct Opons section. Click on that button forthe Revert Reconstruction slider, Both tols enable ws to geal reduce any manipulating we've done tothe point where we can ‘remove itentiely. Think ofthem as Liquify’s version of Fade or Opacity. 46 Doublle-Check These Sebections When making selections, use Quick Mask mode to se i here are any areas you missed, Fis, double-lick on the Fait in Quick Mask Mode {on near the bottom ofthe Toolbox, make ute Selected Areas is tcked, and dick OK, From now on when you make selection, clckonce onthe Bait in Quick Mask Mode ion (or press the etter Q) and your selection willbe covered in a red overly. Ifany areas are missed, simply fl hem in by panting with black using the Brash oo (8), 47 Open RAW Fikes as Smart Clijects ‘Once you've finished working on your RAW les in Adobe Camera Rav, and yee ready to send them into Photesop, do s as smat objects. To set up Camera Raw so that every image opens asa smart object, click om the blue ine of image details below the preview area, and in the Workilow Options dialog that appears, sect Open in Photoshop as Smart Objects, and lick OK.To open images as smart objects onthe, simpy hold dawn ‘he Shift key, and the Open Image button wll change into Open Object. Shut Them UE Down you nd yoursele 50 Save That Workspace like me, you ike to keep your workspace neat and organized and have readily aallable only those items you tend to use the most, save it Just go to Window>Workspace>New Work space, giveita name, and then click Save, From snow on you have aquick-and-casyway to bring everything back to order should any items go astray by clicking on the Reset option under ‘Windows Workspace 3g eget gD (One ofthe benefits ofa subscription based distribution mode is that we can offer our users additional features ae the software hasbeen eeleased. ‘Youll notice thatthe ist below shows my tp tips for Photoshop CC, but we begin by looking at several updates that reached Photoshop C35 subscribers (oly) in the Photoshop CS6.1 update (these are, of couse al included inthe subscription-only release of Photoshop CC). ‘When you consider that Photoshop CS6 has only been out just over a year, the numberof new features (below) area strong validation of how ‘much we a deliver ina short perodof time, Asa passionate advocate ofthe user, Im exited fora mechanism to respond to your request faster than cre. For those of you who are on the fence regarding the Photoshop CC release, Tl encourage you to pll down the trial and check out these tips and features think youl enjoy them. Conditional Ceti ‘This long-requsted feature snuck into C86 as an update for subscribers, With it you can inset If, Then, ‘or Elke conditions into actions. The Insert Conltional ‘command is availble once you're recording an action ‘athe flyout menu atthe tp right ofthe Actions panel No more stop pingat speed bumps o slowing down your imesaving automatons. 52 Liquify as a Smart Filter Another 6.1 subscriber update, Liquify can now be edited after the fact assaf (ofl some cli) T apply itasa sar fer rs chose Fiter>Cnve fr Smart Fest cone our eye toasmart eb Af he Liga enhancements fundinC36 ar 90 snore flee and power than ever fr. 53 New Blur as Smart Filters Rounding out my fvorite 6. subscriber updates are the changesto C36 new family of Blur filters (Feld, Iris, and TitShi}—these can nov be edited ike any layer when applied asa smart iter and they can be applied to vdeo! (Convert the video toa smartfilter to apply the blurs to {he entire clip and not jst toa singe fame) 54 Convert Objects to CSS ‘Web designers rejoice You can now simply select an abject and navigate to Layer>Copy CSS to generate CSS for your shapes, ete. The CSSiscop- fed tothe clipboard and can be pasted intoastyeshet. 55 Smarter Smart Sharpen ‘The name nt ak strange sits cousin, Unsharp Mask, but rom mini mizing haloes to anifjng content, the ne Smart Sharpens the est svn to get det from your image—perod. [or more isfrmation bout Smart Sharpe, sep. 112—Ea} 56 More from Less (and More) ‘Whether oa egg nw-eston mgs tks get n prin saing witha lars imageand owing itp, henew ups Fling ehlogy (and prevew in Tmage>tnage Se preserves detail tnd shares witout introducing unvanted oie [For mor norma tow on te new nae Sz dl ep. 112) HDR ta Camera Raw. (One of my favorite Adobe Camera Raw (ACR) 7x updates was the support fr 32-bit lesa of the power of Lightroom or ACR with extended-range imagery. The toughest part was knowing what todo where you merged les n Photoshop, saved them as 32-bit TIF ies, and then old ACR o Light oom to open those THFFS—powerful but clunky. Go to File>Automate> Menge to HDR Pro in Photoshop CC, and when you select 32 Bit the Mode drop-down menu, you'll sea friendly Tone in ACR button that whisks you away to Camera Raw. SlickAdobe Camera Raw 8: Seeing and Scouring Spats New to Camera Ra a eding brush abt to remove spots wth he Spt Removal tool (8) Isead of just clicking, you can now paint the ates you want 0 ea Another new, complementary features the aio vualethose spots on your image Js clk the Visualize Spots checkbox the lower ight, andthen adjust the sider ond those spots. IF you liked the Graduated i ter in Camera Raw, youl love the new Radial Filter (), You can contol image adjustments within (or excluding) a radial area, Not only can you have ‘multiple radial adjustments, but these areas can even overlap or coexist with ther selective its, 60 Adabe Camera Rau: 8: Upright shad igi mpving upon strates coe ha tel ere The Up ‘feature in Camera Raw (found in the Manual tab ofthe ‘Lens Corrections pane) allows you to automatically straighten image con: tet Using our mots ou can uch and aut oe seed mops oe eyo heb Yoo sce imager coupe wthde angels ith Retina displays, For Camera Raw, that same support came ‘inthe frst update (ACR 81), High-resolution displays now look ‘heir very best in both Photoshop and Camera Raw. 62 Editable Rounded Rectangles (One of your most requested features is here. Now you can resize shapes, ecditthem, and eet them—before or after theyre created. Youcan even csitindividual comer radiusin rounded rectangles using the contol in the Properties panel. To adjust each corner individually, just cick onthe Link icon Ifa shapes bound forthe Web, export CSS data fom the fle (Cayer>Copy C55) t save time 63 Multiselect Paths, Shapes, and Masks A great JDI (just doit) feature, you can now slect multiple paths, shapes, and vector masks at once using the Path Selection tool (A). 64 Camera Shake Reduction Remember that amazing sneak peck fiom Adobe MAX a. few ‘years hick? Well Shoke Red ion delivers avery sel part of that tech to ses inthe form of “magic” for previously unsahage able shots. Images blurted from slow shutter speeds can now be fmproved dramatically using this new feature. Youll find it under FiteroSharpen>Shake Reduction, 65 Color J from We Another coal fer or dss is that ou can no impor clr swatches dry fom HTML, SsorsVG Aes 66 Impwowed Min and Maa Filters “ake your seo nd mas ven fre th more power Minimum aod acinus Goth ound unde Fite othe) “hese own onto pre per oqvernci or unoon 67 Behance Tnteguation otto long ago, Adobe acquted Behancenet, With the ability to pas files fom Photoshop 10 Behance, you se the fist exam Pls of integration already inthe pplication. Subscribes also get acces to Behane’s Poste (www prostecom), a fil-castomi she orf free 68 No More Extended Eveything that wat previouly only aaa in Photoshop CS3 through C86 Esters ow pare ‘of Photoshop CC! There areal sorts of cool features previously aail- able only to Extended users, but new to CC are myriad changes to 3D. Namely, new effets, dramatic changes to usbiiy, and most noticeable of all, changes to 3D aining—up to 100 times asst 69 Improved Type Styles withthe new pe ad pgp Se dls, you an eat pre {for type and dee sys for te in wep you new eld bef, These ses an pre femating andl diet frns etapa nds You ton fie Can conse and is. Uk of Adobe Camera Raw 8 Inside Photoshop Tyesved vere fora. Speaking of RAW pioogaphers thisisthecds ate ladin Phtosap CC—wor! Imagine all oft RAW uptesabre plas al he pover of esos bend rane Pht hp. What tan appl Nonrunnng sem plaon {eet « lg) now 8 fee, Yl nda Fier>Camer Rafter Beste tooppyitasa smarter tomake ede ey yin tal ofthiseenwaks video. Very. very 8 &3 8 eppraatataaa ey 71 Seeing What Shaxpening’s Slider Is Daing 1 se this primary when Tn sharperng a portato woman because eneraly want to aod sharpening he ki and instead foes on deta ares, sich ser hut ps nosis and 00, Sat by ng the Option (CA) ky and then cick ahold co he Masing erin the Deal ue Your pee wil ums it Tiss youn hath ene mages eng speed AS youdago the ih, parsonage aroun blk Tose ack areas ao fg bing sharpened and tere long yo seta your bjt tin appear in bik meaning no blag Shrpned) and al hat renin eh dei aes you acl ant Sharpened (hs wi apearin whe The Quick me i inten tas ‘When you have multiple images open in ACR, ‘you can lick on photo and press Delete (PC: Backspace) to mark ifr deletion, When you dick the Done button, automatically moves ‘hose marked isto the trash. IF you mark one for deletion by ac- dent, pres the Delete key again to unmarkit 73 Chet Your Shespening at 1007, Ifyou double-click the Zoom tol (sion looks like a magnifying, hss), om your image to 100%, which is prefect when yule inthe tal pane and you want to realy ee the fet of your sharpening, 7A Batter Views Wien You're Working with Muttiple Images youve male images oper ike Sekt luton up athe topftefmssp longest when youth Zoom the magifaton you chase i snd acs al hese otra or quit compring mags The Han tal abo invests imapesat nce. 75 Quichly Retwin to. s Shot ‘To reset changes made with the White Balance tol (just double- clickon the too self andthe white balance returns to As Shot. 76 Missing White Batonce Presets you're wondering wy you don’t sce White Balance presets such as Shade, Daylight, or Tungsten like you normally doin the Basic panel, here's what's up: you're working ona JPEG, TIFF, or PSD mage which already has the white balance embedded into the image. "Those other presets are only availble when you're working with a RAW image. Chose Mini: afte You Cpen ant Image a ore ae eoeeret ons ch deen hgh ant fone opp me a eee paren Poecrewern Aarieperiny Scere Serene Soe iding the Flmsbiip fora Langer View youve male phos open in Caer Ra, doable dik dey on the die ine between te fms and he main age pre vieetncalipsete nse ing you a ger pei of your cr rey ekctedimage Now you cn tse he Up and Dn Are es cn yourkboardto mor tough theoheropeninages Tring the fms tack, date ck onthe dividerbaragin 79 Petter Results Upright (CC Cnty) The nev Upright fee nthe smal tab ofthe Lena Coens ne atomaes th procesf retin ens robles andit des pretty dam goo job it you do these two things. Before you dick any ofthe Upright batons, go to ‘the Profile ab and tun on Enable Lens Profile Coretiens. With this tumed on, it works baer. ve ao ound thatthe Auto baton (dheone ‘with the A on it) generally makes the best overall correstion, usually ‘because it doesn't go everboard ke some ofthe other choices Adobe calls ita "balanced conection,” and ‘hats rght onthe money. Better Dustones [stopped doing my deotones sing ‘the builtin Duotone function in Photoshop once eames this trick for doing them in Camera Raw. Here's how First, goto the HSL GGrayseae panel and turm on the Convert to Graysee checkbox. Now go to the nest panel ove, the Split Toning pine You're ‘ot going to touch any of the Highlights stings o the Balance slider, so don't be tempted. In the Shadows section, move the Satu- ration slider to 25 (50 you can see the color) then drag the Hue slider to the color you want for your duotone (I usually we something around 41 ors) Tha’sittPhot tken at sunrise and sun set abeays ook great when we add warmth to the sing the White Balance slides in Camera Raw oF Lightroom, but youl tie that by Increasing the warmth, you ina vertenily make the sky more yellow, [ext ine, ty using the Graduated Filter () onthe sky, and move the Temperature slider toward the lft toadd some buebackin 82 Saturation Ion't Bad The Saturation slider in Camera Rave has received an undeserved bad. reputation lately, but really not bad at al. The problem fs when you use it on photos with people in them because it makes their skin tones tend to ook bad but for landscape photos, youl finda lite Saturation works gest 83 Patch Foot for Contras 1 seems whenever Ti phot grnhing oor, a panes are routed icy oer me sa tes eons sete con tl (or planes) in my shes A grat toa get dof them without making he sy ook ake i the Path tool in Photoshop Choate under he Spot Healing Brash tool [in the Toate Just dag a selection around the contrail, then move it over a good areaof ky and Pots doesa great ofremoing teal and raking the sy ok great. 84 The Landscape Gap rerthig i wide thse as from aptos to monitors o TVs rps eno lok wide beans takes advange ofthe fall el esate ofthe screen. A great vayomakeaninpatiste widescreen 169 crop rat hats bait into Tighrom and Pho shop. ust elect he Crop oo andchos169in the Ratio drop own meni the Opin Ba. Being ee ccutnectonsns tebe aeons Cer ot ob 86 Revealing Shadows with the Graduated Filter Oneal bem othe Gad Per () in bt Ca ca Rov and hu dan beh is by lang the Espo secting Acommon etl arn th hs at ning dato chvetic brn (ach sm) tak, tba To hp aad hs ig becca thacaes ine he Stay ke lo pe the die haba el the dali agin Spot Remaval Frich yo ping or vein your hts alge son thn emoting toe esky sense plinth Sbysamatandhea pio blp ate teaser Tn Potboppess Command (C: Ce one ore ihe Layers panel Your pts ng to fn ely eid a hs pit Dut dont seat Nex. san ver jour shes ay pts shold sicko he soe than ut se the pt Heigl obra heme Fay res Coomant (FC: Ct) oe gan ver your pet back tonomal 88 Clanity for Skies Gus kes lvethe Cy sierin Camera aan ghevom ht iyo rank the sr up #10, oul sar sex ome ike det and coms fs inthe of the photo Instead goo ou Adis trent rsh) and mak trash smallenough wo fins ted and eins he eds ifthe ky. youn even ey ving the hy ser ep +100 Increase the Clarity setting tosround +50-73 89 Even More Clarity This works wl fos or anywhere you want an gy and dae Tok sedan the as ip yu an pint Cyn prs of apo withthe Adjustnent Brak bt he brash ein for Clty mazes cut 2 +10 What you may want more! No pole. fst ick the New bation ad ance bh asim and pant ven mare Chityon top ofthe lao. Yu can ad allthe alse that yukon op ofeach atheros more ines ef. Waterfall Frick for Getting Mare Feature Mot photos of wail nd moving water shoud we ong enough expose © make the water lok sath and sly bt if youre horingn bright ight (nd dna etl dest wi oo) tssometinesard etalon enough ste speedo alo the water toblar without oeesosng the photo, Next time ty ding js tat Make sure you sot in RAW moe, nd preps the heck ot of the photo foun, in Camera Raw or Lightroom and reduce the Exposure ard Highlghts setingsYouTbe ara at how much tals tse br ke wellexposed photo, oo). Open your photo 8sy G, 5; GeotbUelieis printf Lge 91 Clone Sources in the Clone Source Panel Need a quick, When using the Clone Stamp tool (S), you can have multiple clone random frame sources fora given image, each withitsown modified characteristics such or ragged selec 4s rotation and seal, Open the Clone Source panel (Window>Clone tion around your - Source), an choose one ofthe buttons across the top before designating image? Create a ‘clone source with an Option-lick (PC: Alt-lick). Bonus ip: Youcan nev layer and lod it up witha iter such set any open document sa source! as Clouds, Fibers, ec, Use the Rectangular Marquee tool (M) to make selection on ali the fiter yer, and choose SelecoRefine ria Chases ge Start witha fairy large Rais, then ‘sveak the othe slides, especially Contrast. ‘Choose the output you wantin the Out- put To drop-down menu—ustally See tion, Layer Mask or New Layer with Layer ‘Maskand click OK. Tired of endlessly dragging back and forth with the Gra- dient tool (G) or opening the Gradient Editor to get a gradient just right? Try using a Curves adjustment ayer (LayeroNew Adjustment LayersCurves)to change the spe ofthe gradient instead. Seriously, give ita shotand youl see what mean, 93 Use the Spot Healing Bush i Fook on a Blank Layer Oiler Work nondestructvly wth the Spot Healing Brush tool by adding 97 Duplicate Lay- | Tired of tying to mint precie a blank layer above your background image and puting a check nthe xs and ub i masks? Or maybe you need some Sample All Layers box inthe Options Bar. This way, you can scea before nace alee cea and afer by clicking on the Eye icon next to your healing layer in the Doc with meres Layers pane, and then make any necessary changes. Click Blortol inthe Techn) to mud [Need to move some layers to those pies ino place. And if you another document quickly? Select need tose the mask tse Option the layers or groups inthe Layers click (PC: Alt-click) the masktosee 95 Madifier Keys ped to. panel, Right-click on one of the itdirectlyon the canvas. ior teens selected layers, and choose Dupli 94 Apply Cajust- eae Didyouknow youcanclpadjust- Tovey Wacom IntuosS for ste Layers (or Groups). A dag 99 Nonedleotawe- ment layers to entre group" I's manyreaonsnottheleatof _—_—Wilapparhereyoucanchoose five Shadows | tre! Justholdthe Option (PC: Ak) whichistheabiltytomapthe which open documento copy Highights key and cick between the adjust ExpressKeys My favorite thing themsorevencopythemtoanew _ Shadows/Highlghts is avaible ‘ment layer and group layer in the todos set them as modifies, document, It’s great for page lay- under the Image>Adjustments Layers panel sich as Shif,Opion (PC: aly, sand alae work men but ifs deuce, Get and Command (PC: Cr. And around this by fist conver thee spring oad, just ke ing your layer toa smart object using yboard in Photoshop. (tersConver for Sart Fes) Smart Filters Use and Blend Modes = Smar filters already give you some amazing nondestructive oot capabilities, but id you know you can change their opacity Sa and blend mode, as well? 1 you remember the Fade com ‘mand this wil look familar. Double-ick the litle icon that looks like two slider controls on the smart ite layer in the Layers pane. This will open the Blending Options dialog ire you can change the Mode and Opacity, iphotobacks CN ON Cd DIGITAL TEMPLATES, BACKDROPS & MORE UTS) AUS ACTIONS x ia Vz fi 55 ACY | : * Unleash the power of Photoshop with hundreds of customizable, layered Photoshop templ: plus digital backgrounds, textures, overlays, video tutorials and our exclusive Photoshop plug-i * Create outstanding images, including portraits, photo books, cards and more! Print at any lab! + Perfect for any style or design, including studio, 265+ Photoshop Templates, fashion, wedding, senior, boudoir, baby and promoti ee : * Use any version of Photoshop CS, CC or Elements! Digital Backgrounds, Textures, * Download today or anytime from the Photobacks Overlays & Video Tutorials! Cloud! Discs available as well! tet NET A em agRS Gees mg « ea enue Rc teers rs Sn Ls Arg Eee Brea) DAN CT8 nev concerts: @ townats @) sneaties * BEGINNERS WORKSHOP Lesa SNNDER Adding Motion ‘The blur filters in Photoshop are just the ticket for simulating movernent in a photo. Not only does thisincrease visual interest, but it’s also a useful effect for stock photographers. By using smart filters, your original remains unharmed and you get an automatic mask that you can use to hide the motion from parts of your photo. D step ONE: To get your subject moving, open an image ‘and activate the pertinent layers). f your document consists (of multiple layers, click to activate one ofthe layers and then Shift-clck another layer to activate all the layers in between, or Command-clck PC: Ctr-cick) to activate noncontiguous layers. Next, choose Fter>Convert for Smart Filters. When you do, Photoshop tells you it's about to create a smart object from the active layers, which you can think of 2 a protective wrapper; that way, the filter happens to the wrapper instead of the image (click OK to close the dialog). If at any point you need to edt the orginal layer(), double-click the smart object's layer thumlonail and Photoshop opens the Crignal layers in a temporary document, When you're finished ‘making changes, save the temporary document by pressing ‘Command: (PC: Ctr), close it, and your changes are updated in the original document. LIVAPP members may download the fle used inthis tutorial at ttp:imembers photoshopuser.comimagazinelissuefoctober- 2013. All fle are for personal use only.) STEP TWO: Trt back up to the Fiter menu and choose Blur> , Motion Burn the resulting dia- = log, adjust the Angle setting to make the blur goin the direction i You wart. For example, to create 2 perectiy vertical lu, set the an je 10 90°. Toacust the stenath of the blr, crag the Distance sker right for more blurng o eft for les (a setting of 100 Piels sas used here). Click OK when you're fished STEP THREE: To hide the motion from pars of your photo, such as our super family’s heads, mouse aver to your Layers ppanel and click to activate the Smart Filters mask, the large ‘white thumbnail beneath the smart object (cced). Once it's ac- tive, the mask thumbnail will have tiny white brackets around it‘STEP FOUR: To hide the blur, you need to paint with black Inside the mask, so press D to set the color swatches at the bottom of your Toolbox to the default of black and white, e- spectively, and then press X until black hops on top. A helpful vay to remember what color to paint with inside a mask is the rhyme, "black conceals and white reveals.” STEP FIVE: Press B to grab the Brush tool, and from the Brush Preset Picker near the far left of the Options Bar, choose 2 softedged brush (circled). Set the size to about 250 px. To ‘You can pres the Left Bracket key () to decrease brush size, oF the Right Bracket key ()to increase brush size. STEP SIX: Mouse over to your image and paint in a gentle ‘arc across the super family’s heads. I you reveal too much of the original image, press X to swap color swatches so white is (on top, and then repaint that area to reveal the blur STEP SEVEN: Choose File>Save As and pick Photoshop {rom the Format drop-down menu to save a master copy of your document. To edit the blur amount later on, simply open the document and double-click the fiter’s name in your Layers ppanel to reopen that filter's cialog. Here are the before and after images. Step Four StepFve ‘After Motion alr 8g Another useful technique, especialy for stock photography (much more so than the Motion Blur fie), i to use the Racial Blur fiter to create @ zoom effect, Above are two examples downloaded from iStockphoto.com (both have been dov loaded well more than a thousand times) To create this effect, follow the steps above, though choose Racial Blur in Step Two instead of Motion Blur. In the resulting dialog, set the ‘Amount to 35, the Blur Method to Zoom, and Quality to Best. Click- ‘and-drag inthe filter's preview area Before Roc lur (circled) to reposition the blur center (the point at which the zoom emanates) In this image, that's the boy's head if you don’t get the positioning right the first time, double lick the Radial Blur fiter in your Layers panel to reopen the filter's dialog Use the Smart Filters mask to hide the blur from the little boy's head as described above, ‘As you can see, adding motion to the right image can rake big impact. Not only does this give photographers another product to sll, either to theie own clients of as a stock shot, ‘but it also helps designers capture attention in ads. Unt next time, may the creative force be with you alll mo ‘ter Radiol lrCAR-FRESHNER Pes ®) = Ask permission The Tree design is a registered trademark. This means it can only be used by the owner (that’s us) and those who have permission. To ask permission, email legal@littletrees.comkev concerrs: @toenat YCLASSIC EFFECTS Paper Chase PETECOLLINS, Confession time: have an insane number of stock images of paper. Why? Adding a paper backing toan image can create an eday frame, or give it a texture that makes it feel more real, as though it has been weathered by time. Just beware that once I show you how easy itis, you may become addicted to stock paper, too. > STEP ONE: Find a good paper image. For this example, we're {going to use the paper as both a texture and a frame, so look {or an image with lots of good, rough edges, as if the paper \was torn out of a book, or damaged edges that reveal a stack of papers underneath. Stock sites like Fotolia.com are a great place to search for these types of images. IWAPP members may download the files used in this tutorial at http:/imembers photoshopuser.comimagazinefissuefoctober- 2013. All files are for personal use only.) STEP TWO: You'll want to remove the paper from the background, Since this ‘ype of image usually has a clearly defined edge to it, set the Selection Preview at __ Summ oom STEP THREE: Go back up to the Select menu and choose MadifysExpand. Type in 1 piel and click OK. This will make sure that al the white pivels are selected. Go to Select>inverse to select the paper instead of the white background. Press Shft- ‘Command: (PC: Shift-Ct) to cut the paper texture to its own layer. Click on the Background layer to make it active, press D to set the Foreground color to black, and press Option-Delete (@C: Alt-Backspace) to fill the Background layer with black Srepone ‘Step ThreeDrag your picture into the paper texture file using the Move tool (V). In the Layers panel, drag the image layer to the top of the layer stack, and set the blend mode to Multiply. This will allow you to see the texture and edges ofthe paper, which fs going ‘to make it easier to adjust the final look. Now, pres Pc: Ctl) to bring up the Free Trans: form handles. Hold the Shift key {and drag a corner of the bounding box to resize the picture to fill the paper as needed. Press Enter to apoly ransformation ‘Add a layer mask to the photo by clicking on the Add L square) at the bottom ofthe ayers fer Mask icon (circle in a panel. Now you'll want to choose 2 hard-edged brush set to black th 100% Opacity in the Options Bar. Paint around the edges of the photo where the layers of paper texture are. In this example, there are clear cracks and lines that show areas of wear and tear, so mask ‘away as much of those areas as possible. You may be tempted to finesse the edges at this stage, but right now, just knack out the areas and leave the finesse forthe next step. Now isthe time for your artistic side to come out. Lower the Opacity of your Brush to 30% by pressing the num 'ber 3, and change the Foreground color to white by pressing X Painting with white will ring back the photo, but the Opacity setting will determine how faded the image will appear. Choose roma aroas ta paint ever with the low Opacity cating; theca wil fom areas. Change the Opacity to 50% {and paint some other edges that willbe a litle darker, and finish with some areas painted at 75% Opacity, This will make the edges look as if they have been rubbed and wom and that some have faded more than others. With alitle practice, you'll {get the hang of it, and it wll become a no-brainer. represent the mosta ne Of the reasons this technique works so wel is because most paper is fai light in Color and gives just a hint of texture to the photo. To add extra texture and make it look asi the paper is wearing through even more, you'll want to choose a different brush tp. Right-cick in the image, and in the default set of brushes in the Brush Preset Picker, look for ‘any brushes that have a nice texture. Increase the brush size 0 that it covers one corner of the paper. Set the Opacity to ‘around 20% and the color to black. Strategically brush across the corners and other areas that would be prone to wearing ‘and fading, This to wil take a couple of tres to figure out, but you can do it STEP EIGHT: Now that the photo is merged with the paper, you have a great frame to display it. You can easily take the ‘photo into another image and combine it with other elements fora scrapbook or title slide Being able to quickly and realistically place a photo onto tex tured paper is a great technique that will hopefully become @ staple in your design arsenal, But remember, with great power comes great responsibility. Use it wisely and collect images boldly. You can never have too many paper images! At least that's what | keep telling my design counselor. moGreat images start with your vision. But mastery pro heppensinattercaptue,traneetewacons — IL 1 | IOS new line of Intuos Pro pen tablets and a dose " 6 of Photoshop. Learn the nuances of pressure Designed for creativity. sensitivity as you selectively apply brush tools enabled exclusively by Wacom pen input Make selections, streamline compositing and enjoy an immersive creative workflow. Learn more at Wacom' finest intuitive Multi pen capabilities & h combined, (© 2013 Wacom. Allsghts reserved, Wacom and itu ae repstered trademarks ‘ot Wacom Co Ltd All othe: trademarks are property of thee respective ownersg key concerts: @ roma YFROM BERT’S STUDIO vithout 3D ng into 3D Though Photoshop has a built-in set of 3D tools and a 3D workspace, there are times when these tools won't work to solve a particular problem you might be faced with, Let's see how the Warp feature and the Dodge and Burn tools can provide you with a 3D solution. D> This image shows a tiny 7x2" section from an image t'm curently working on that measures 60x80" overall The fall scene includes ‘mary tees that re losing ther leaves in preparation forthe coming winter months. This sample shows few ofthe leaves that have cl- lected inthe gute. Lets take a look at how to create the leaves STEP ONE: Using the Pen tool (P), create a series of paths to represent the basic structure ofa leaf. There's one continuous path {or the overall shape ofthe leaf, and additional paths ae generated to represent the veins within the leaf blade. STEP TWO: Click the Create a New Layer icon at the bottom of, the Layers panel. Inthe Paths panel, Command:-Carwas Size), and se the Move tool (V) to drag the leaves side by side so you can see each one in the canvas. Change the color of each duplicate Using Hue/Saturation (Image>Adjustments>Hue/Saturation). Click on the Colorize checkbox in the Hue/Saturaton dialog, and adjust the Hue and Saturation to taste. A touch here and there with the Dodge (0) and Burn too adds adaitional varity, mak= ing each leaf diferent from the others. 3D TRANSFORMATION "Now comes the fun part—making the leaves look 3D! The main file containing all your diferent leaves should remain untouched. Itbecomes a stock image for future images that require leaves, Handle each lea independent to ensure randomness, STEP SEVEN: Command-click (PC: Ctrl-click) the layer ‘thumbnail for one of the leaves to select it, and then copy- and-paste it to a new fle, Choose the Warp command (Eait> Transform>Warp. Here is where you take over. Move the points ‘and handle to bend your lea into shape. You can also cick-and- dag anywhere inside the bounding box to alter the shape. This ‘one has been given a simple bend. STEP EIGHT: Here, the leaf has been warped so that it 3p- pears to be bending completely to expose the back part. Even though the leaf ison a transparent background, white fil the Warp bounding box around the leaf, making it look lke there will be white obscuring part ofthe lef. Once you press the Enter to.confim the warp, though, the write will disappear. ‘STEP NINE: Now you must add the shadows that will com- plete the 30 effect. Using the Lasso tool (L, carefully select the shape of the bottom portion ofthe leaf where itis curing over the top face ofthe ea. sing the Burn tool, darken the curled section, with the darkest portions appearing atthe bottom edge. You ‘may need to change the Range top-down men inthe Options Bar to achieve the best effect. Choose Selectoinverse to select the top fae ofthe leaf Using the Dodge too ighten the lower part ofthe top face, behind the curled up edge. Press Com- ‘mand:D (PC: Ctr-0) to deselect the leaf. Using the Burn tool ‘again, adda sight shadow to the top part of the leat ‘Tere you have it—teaves that look lke they were photographed 25 they fell the ground. This technique doesn’t apply only to leaves; it can be used for any lat piece of art that needs to look like it’s bem. | suggest that before you tackle a parcular problem, make a ‘model and study what happens when your intended distortions take place. Bending a real leaf or scrap of paper and studying how it looks will give you a better idea of what you need to do to make your image appear real in Photashop. >> FROM BERT'SSTUDIO Ween ~ ‘Bepseen De peor bd ‘epNine ‘SepienTerilipsferBetter Wildlife Macro Photography Photographically, macro has always been my first love. There's something very special and different about the miniature world, and the fact that it's one of the only fields where you cant real- ly see the details of your subject with your bare eyes increases the mystery. Over years of tral, error, and contemplation, Ive developed a number of principles that I hope might help a pho- tographer who is trying to get into the fantastic world of wife macro. Here are ten of those tips. Get Closer Macroisall about capturing the inticate details of your subjects, and the BWP closer you are to them, the more beautiful and curious detail is revealed, Getting close means that you need to use specialized optics that can focus from a close range; i, a macro lens, extension tubes, or a dopter filter (or any com bination thereof). While it’s not necessary to use the minimum focus distance of your setup, try not to settle for cropping as a way of filing up the frame with your ‘subject, at resus in las of resolution and much-desied detail Flower crab spider, Holon, Israel. Cancn, & EOS 40D, Canon MP-E 65mm I-5x. ‘macro lens, 9 at 1/25, SO 100 NAV EREZ MAROM cia potest nature ptorayanhr who specials in mac ara By Etez Marom, Mating devi shorse mantises, Rshon Lake, Israel Canon EOS 5D Markl, Tamron 180mm macro ens, f/10 at 1/40, ISO 100 ea Try to Shoot in Soft, & Natural Light Using natural ightis challenging, problematic, and often very fasting, but nothing gets close the natural appearance that resuks. f you use artical ight, shiny pats of your subject can appear washed out, while other pats remain shadowed, and exeggerated contrast can cause an apparentlack of sharpness. But, when using soft, natura igtn conto such as those beloe suns or on a heavily overcast day, the contrast is well controlled and the oles are much more natural, Another adven- tages that insects usualy spend the night ina dormant State, and shooting them early eansthey‘be tame and won't fly aay jst as you've finished composing Using natura ight has is disadvantages, too: the necessary lona exposures compel you to use a tripod, and the sightest breeze can ruin an image. For the lazy Gncuding yours truly, geting up bere sunrise is hard, but the resus are unparalled Wake up Early and porate pblses ances nd nrc ten arcane ard cits an eater corsa he fo cng tung wore ana hs untae teat) woxcheps Melange and Os” ‘ebooe are sg moganes {nd "a Pade estar tour Yuta ow Ee sear can or ie he cameronUse aTripod and a Camera Remote —_—, The smallest camera shake can ruin your image when you're shooting tiny subjects down to a few millimeters in length Imag- ine a 0.5mm subject movement. Doesn't seem like much, but when you'r shooting 3mm subject it's considereble indeed, and wil simply tender the image unusable. The fact that dosed apertures (usually required in macro) and low ISO to maintain high qual) are prevalent in wildlife macro pho- tography also means that long exposures are often needed. And for those, a tripod isamust But there's more. Even when using a tripod, pressing the shutter release button Dragonfly hoveringin mihi, ish Tamron 180mm macro manually creates teribe vibration that's potentially destructive to the image. So, Use a remote, preferably coless, to avoid ‘camera shake, rY Red-eyed tree frog, Bocas del Drago, Panama. Canon EOS 7D, Tamron 180mm macro lens, f/13 at 1/13, ISO.2 aah & Shoot at Eye Level 3 jungle or a lion in the savannah, the interesting details of your subjects are usually seen at eye level; therefore, logic dictates that it’s : ‘the same, even when your subject is a fly or a spider. The difference is only in the actions needed to view your subject at eye level. For example, u 2 thno's eye i rough the same height asa human’, but fora fis ey, that's sual atthe cas. So, you need to poston your camera to view the subject a an angle showing its most important features. 08a8 Redeyed tree fiogembryos, Boe EO $ 7D, Robber fly, M macro kns. Stacked from four cel Drago, nron [80mm macrole see, [SO 100 tzpe Modi, Irae. Canon EOS 40D, Tarnron I80emn, 65 al Ison ‘An image's background has a profound effect fn the image asa whole. t may serve to con nectan animal to is environment (consider camoutlage), (oF to distinguish it fom its surroundings (by opposing cols). In macro, because we usually shoo the subject from a very cose dstance, a small changein the angle Cf shooting can result in a very significant ifference in ‘the background. Be mindful ofthat. ‘Another aspect to keep in mind s the blurriness of the background, depending on focus distance, back {ground distance, and aperture value, arong others. Ha subject fils the frame, a busy background would most likely take attention away from the subject ‘and make the image too crowded. A more blurry, featureless background is therefore prefered, On the other hand, when a subject i relatively small in the frame, maintaining a smooth, even background could result in a boring image. In my opinion, i's usually appealing to have some sort of gadient—of calor, brightness, or both—in the background. Control Depth of Field shallower the depth of ed DOF. nraco, we shoot fram a vy shor tance, so DOF can en be to alae ene ace fare th eg Ingvar and deed et Remember tat DOF depends on both aper tery eco egal prcection ofthe subject onthe srr, rela ae ey ee rere icrees DCF, as es hag the subject sale re eae ene sa erate rectal eg see eae) leegia |e ashen ate neax es cia aed a acl The cai Wy ate ane ie pcre eee ee parle ot body, stat, een though DOF slow oe a ee fous. Tis eperoath fas he subject ft or mere aoa feet Itom the ide. Atiough thre are seveal soln Comedies IineaStenaee sete a sees of mages focised in diferent depths and acta eter cae‘As mentioned above, DOF is very shallow in macro photography; therefore, any deviation from perfect focis can render the image useless, Generaly, in widife imagery, the eyes are the most impor ant part of the subject to have in focus, although there ae rare cases where focus fon the eyes is unwanted. | use manual focus (end live view) exchsively when shooting macro because autofocus (AF) simply isn't accurate enouch in extreme ‘magnifications. Why trust the AF sensor when you can trust your own eyes? Rbber ly ater huntinga fly Mitzpe Modin, Israel. Canon EOS 40D, Ternron 180mm macro ens, £713.at 1/20, IS 200 Try to Capture Rare, Interesting Scenes, Not Just Insects Sitting on Branches Ihave nothing ageint images of animals doing nothing, but an image of a robber {Wy sucking the ife out ofits prey is move interesting and desved than a shot of it clinging to a branch, and an image of a ragonty hovering in mide wil suit in a vey diferent response than an image of the dragonfly esting, When shooting lager animals, photographers look forthe hunt ing, fighting, and mating scenes, so wy Know Your Subject Thistle mantis nymphs, Rishon Lake, Israel, Canon EOS 7D, and Its Behavior Tamron [80mm macrolens f7.| at /125, ISO 100 Even basic knawedge can significantly help you to shoot the more interesting sides of your subjects, and get he shots more aly. For example, knowing robber ies hunt when i's hot and sunny enables you to get hurting shots, and even mating that includes hunting, Also, knowing that most insects breed inthe pring will enable you to get mating shots. Some species ‘ate more easily fightened than others. Some you can get very close to without scating them off Learn as you go, and use the Tam 3 g GQ ) cor: curr ic undestncng the care parts sb beh, wether codon gt andthe NAY) secs important, and wil make athe dference between 2 medoce photogpher anda good oe. Maco is igh techincal eld of photography, and ifyou want to consistently produce good resus shooting thousands of shots and courting ona fw of them doesn't seem ikea god aperoach at asin my ees. seed, don't be afraid to ies sometime in learingthiscrft, wth alts nuances an technicalities Your shots wil benefit! 8 aFEATURED PHOTOGRAPHER IV e@ernnstold Sean McCormack shoots people. With a camera. Generally, i's aimed at models, musicians, actors, and other interesting peo- ple. Sean secretly believes that photographers can be good at more than one type of photography and loves shooting land- ‘capesand cityscapes, He even sneaksin the odd interiors shoot. Based out ofan intimate studio in Galway he'sin theenviable position of being halfway between Connemara and The Burren, two of reland’s most beautiful scenic locations—fantastc for both scenicsand locations for fashion and band shoots. When not shooting or retouching, Sean likes to writeabout photogra- phy, with plenty of magazine articles and books to is credit. ‘Canon EOS 5D Markl body; Canon EF 24-70mm f/28L £F 70-200f/28L, 28mm 1.8, 50mm {/14, 85mm {/18, 17-4Omm 4 L, 24mm & 90mm TS ‘and Sigma 105mm f72.8 Macro lenses and various Canon flashes, studio lights, anc modifiers. also have an Olympus OM-D system for travel Ive laved photography since | was. kid, We couldn't really afford any ‘reat cameras soit wasn't nti 2000 when gota camera. started onflm cameras, but progressed to digital quickly started shooting live bands, but loved doing cites and landscapes, A studio workshop around 2004 got me started with lighting and Ihavent stopped since, Because | shoot a variety of stuff, | have broad range of influences, many from the fashion world: Avedon, Penn, Newton, Bob Carlos Clarke, Miles Aldrige, Steven Mlse, Bruce Weber, etc. Others are known well to NAPP and Kelby Tianing, such as Joe Grimes, Zach Aas and Peter Hurley. composite quite alot, so the oel Grimes influences pretty obvious For landscapes, love Ansel Adams, butalso people lke Julian Calverley, Joe Comish, David Noton, and Doug Chinnery. As for lesser-known photographers like Joey ‘Wright he's appeared on Photoshop User TV) and Adam Robertson, Process Version 2012 andthe improved Contrast and Carty. love how this change with Lightroom 4 opened up the dynamicrange ofa RAW fle. 's amazing. With the Basic panel, can get most of iyimage work done quickly. Generally editorial assignments have briefand you work tit Theresa smallamount of leeway, butthe editor has anidea and you shoot to specication albeltin your stye. Sometimes you getachanceto do your own thing atthe end, which may or may not getused. Ifyou _get chances ite that, take them because they may work for your porfoliafnotin the publication, Get the safe shot you were asked fo, ‘and then gofor the personal oe Mast often these area team effort to get thebest. you want amazing editorials, get an amazing stylist, Sometimes when fm planning shoot, ve already decided that | want particlarimages in backand white The removal ofcolor FaldersSean MeCormackPRIOLITE Cable-free studio lighting. Super fast flash duration. onal a truly portable 2 and px r of power cabl LED cont video light a but offering full studio power on location shoot anywhere*. Utilizing Fully int Integrated Lithium-ion batteries and certain models a range of highly portable include highly advanced LED modeling lights y powered monoblocs and power-pa designed and manufactured in Germany tailored The entte line-up is enhanced by a ly for the demands of the new generation which include a unique dual b -compromising Hensel and S/Type fitting acrass the whole range. Take a look at the range at w MBXS00 + MBX1000 + M500 * LED400 * M-PACKS00 + M-PACK1000 * HEAD 1000 Distributed by: Interfit Photographic Ltd 420 Industrial Court West, Villa Rica, GA 30180 Tel: (toll free) 1-866-947-9796 www.priolite.com8 8 UNDER THE HOOD for Travel Photograp For me, i's important to start the image cataloging, review, and editing processes as quickly as possible, even if mon the road. Usually, this means curling up on the hotel bed ~atwhatever odd hour with my CF cards, a solid USB 3 card reader, anda frosty beverage by my side. The key is to have ‘8 workflow routine. As long as you follow a routine that ‘works for you, Lightraom makes it easy to take a batch of new images and coalesce them into your permanent photo liorary when you retum home. The following is the work: flow! when traveling, Feel free to adopt it as a whole Cr cheny-pick pieces that you feel are a goad fit within your existing workflow. IMPORTING, KEYWORDING, AND STAGING. lve spoken to lot of photographers who look at the import, process asa basic ingestion of new photos into their Light- room catalog. While that’s the core action you'r executing, there's so much that you can do during ths pracess to save time down the road. The fist obvious steps are to select the ‘Source location from the left-side panel area and the destina tion for the photos t you want to import from the Dest- nation panel onthe right sie, along with selecting the actual photos themselves, That's the straightforward part, but there ‘are so mary more things that you can do right here. ‘The fist thing | dois encure that ''m using the same filename conven- tion that | do at home. I've always sed the stock convention of Date — Filename in the File Renaming panel. It gives me all of the information that I'd typically care ‘about when looking ata filename. (Note: If you're won dering why my iename syntax begins with BRL, it’s because my Canon FOS 50 Mark lows met sey a custom vale) Tenet tree import options ar overlooked by more photograhers tan care to act ut theyre mporart. the Apply Dutng Inport panel, the Develop Sets dop- deo lens you to apy ay preset hat you hae loaded in Lightoom. ractonay, my resets re based on shzation eaters but there's one common task that ato apy to every mage on import and thats Lens Cortecton, By saving he lens cotton ai on preset, can apply it 10 every mage tat|impor. Te oe exception wth potoe taken vith my Canon om Fhe ns never want to coc that distortion The second and thid options ae the Metadata and Keyra they should be taken ero App ing my metadata ensures tat key dential infomation thats reeraneto me's aces to each image, and keywording makes it easy todo custom searches and sped up the proces of upoad ing photos to stock webstes. nthe case of keywording my recent shoot around Donner Lake in Northern Calfori {added terms that were both generic enough to apply to allot the images, wel a pectic geographic ers STACKING AND STARRING The first thought that usually comes to mind after ifnish importing photos from an HDR shoot is, "Oh man, what have | done?” My anxiety usualy stems from being pre- sented with a seemingly never-ending stream of repeating images that vary from dark to light. At frst glance, the Lnruliness of this aloum can be off-putting, and thet's why immediate organization i citcl (see next page, 00 lft) Before | even think about doing anything to my images, including rating them, | first group each set of brecketed [photos into individual sets, | do ths by highlighting the series cof images in that bracket set (in this case, my Cann EOS 5DUNDER THE Hoop Mark Il takes 7 exposures per set). Next, | want to select which image of those seven will be ranked as the top image in the stack. To do so, | just click inside the actual image ‘thumbnail to make it the most selected photo (you'll know ‘because the entire thumbnail will bea bit brighter than the rest ofthe selections) Then Right-click on any photo inthe selection and choose Stacking>Group into Stack. The photo you chose to repre- sent the stack will appear with a number in a box at the top left of the thumbnail. Ths represents the number of pphotos in the stack. | repeat this process again for every set of bracketed images in the new album, ‘hiss critical because it makes identifying which images you should prioritize much easier. With the stacking done, {'m presented with a much cleaner view of the individual Jimages that | took, and going through them is @ breeze, My rating system is prety straightforward for HOR images. {start by applying a 1-star rating to bracket sets (stacks) that | want to tone map and work on (cick on the set then press 1 to assign a t-star rating). | also press X onsets that 1 know tl never touch again to flag them as rejected. These stacks have a black flag atthe top left. TONE MAPPING AND STYLIZATION Now that I've identified the top photos from my shoot that | want to edit, i's much easier to kick through and send the brackets off for tone mapping. | switch between Photo- matix Pro by HDRSoft and HOR Efex Pro 2 by the Nik Col- lection by Google, depending on the nature ofthe image ‘and the particular looks I'm going for. When the tone mapping is complete, | apply a 2-tar rating tothe photo so ‘that | can quickly find all of my tone-mapped results before stylzation occurs Stylization is easly my favorite part ofthe digital photo ‘workflow process. There's no shortage of editing products ‘out there, and my recommendation isto try them al (most ‘companies offer 15-30 day free trial) to find which ftyour ‘own style sensibites and budget. | spend most of my time, in the Lightroom Develop module, as wel sin the Nik Col lection by Google and onOne Software's Perfect Photo Suite ‘When the stylization is complete, | apply a 3-star rating to the finalized photo, indicating that it's ready to share online. EXPORT FOR SHARING I'm a firm believer that the goal of any photo that you're proud of isto share it with the world. I's the essence of photographry, especially in the way that it’s tightly woven. into the fabric of social media, To that end, lave a pretty straightforward export preset that outputs a full resolu- tion JPEG image at 90% quality and 72 ppi, using the RGB colorspace, to a “hot folder" located on my Google Drive account. | do this because it gives me access to create a post using any of my finalized images no matter ‘where lam, which i really important if you travel alot. To create an export preset, choose File>Export. In the Export dialog, set up your fle parameters, click the Add button near the bottom left, give your preset a name, and ck Create. ‘So there you have it. Once you put your own routine into practice a few times, the whole process wil truly beccrne second nature and you'l find yourself with way more time ‘to focus on the images that realy matter to you. mlUNDER THE LOUPE ‘ae Expand the Lens Corrections panel in the Develop mod: tle and you'll see a new tab, labeled Basic, has been added to Lightroom 5. This Basic tab provides one-stop clicking for the three checkboxes—Enable Profile Cor- rections, Remove Chromatic Aberration, and Constrain Crop—that are carry-overs from Lightroom 4 and are associated with the Profile, Color, and Manual tabs. “This makes it easier to enable them before jumping into Using the buttons in the Upright section in the middle of the panel. You don’t have to check them all before applying Upright, but Upright will generally do a better job you check the box to Enable Profle Corrections, and profile is available for your camera and lens, so that any lens distortions are automatically remaved fram the photo frst. (Note: To see if there's a profile avai able for your camera and lens, click the Profile tab and look for the Make, Model, and Profile for your camera system.) Checking Remove Chromatic Aberration won't affect Upright, butit’s a simple way to auto: mate the removal of lateral chromatic aber- ration (the kind that will appear around the comers of the photo), and | usually check it each time. While i's handy in some situations to have Lightroom automatically crop the photo to exclude empty areas of the image that can appear after a per spective correction, | prefer to do the cropping myself, 0 leave Constrain Crop unchecked Upright i primanly geared toward correcting horizon. tal and vertical perspective isues in photos that contain buildings (or interiors of buildings), where the keystone effect is most noticeable after taking a photo with your camera angled upward to capture the entire subjectin the frame. Ive also had some success with simple landscape ‘hotos that havea slanted horizon line, Lets look at some. ‘examples of how you can use the various buttons found. in Upright. 8 8 LeveL The Level button does exactly that: A single cick ofthe but- ton causes Lightroom to analyze the photo and attempt to straighten it. In this example, | applied it to a landscape photo ‘with a crooked horizon. VERTICAL Looking at a different photo, we can see that the Vertical button combines a vertical perspective correction witha side helping of leveling, You can see thatthe vertical nes re now ‘and a subtle leveling adustment was also applied, Full takes the vertical adjustment to the next level by ing a horizontal perspective correction, as well. This can be helpful for photos with severe distortion issues. The harizon- tal and vertical perspective distortion issues in the ptoto on the next page were intense and the Full corection saight ened things out. The areas of white you see in the comersare the result ofthe correction and will need to be cropped out or reconstructed (Content-Aware Fillin Photoshop can do wonders). Sometimes this corection produces results that may be technically straight, but look too intense. In those cases, you might want to ty the Auto correction. —— Ge ‘Auto isa kinder and gentler version of Ful. t performs the same types of adjustments, but tends to give a more normal: looking result compared to Full. Tis fairly subjectve, but easy to check with a simple click |With that in mind, let's look at how to put that together in a workflow where you've shot a 3-exposure bracket that you'd lke to merge into a 32-bit image for HOR. I stopped by my alma mater, the University of New Hampshire, and took three photos, one stop apart, of ‘Thompson Hall using a Nikon 1 V2 and a 10-30mm lens. [didn't have a tripod handy, so | braced the camera (on the base ofthe flagpole out front and tried to keep. it as steady as | could while manually bracketing the exposures (there's no auto bracket on this camera), You can see the three photos at their default setings prior to aioe Paes keri)8 sing Upright. As you can see from these photos, there's: distortion from bath the lens and the perspective | took {rom shooting down low. ‘To begin | selected one ofthe photos and pressed D to Jump to the Develop module, and then expanded the Lens Corrections panel to the Basic tab. After checking Enable Profile Corrections and Remove Chromatic Aberration, the ‘photo was ready for Upright. | didn’t do a very good job (of keeping the camera level while shooting, so this series will definitely need a leveling corection. Beyond that is the obvious keystone effect resulting from pointing the camera up atthe tower. In other words, this photo needs lot of help, so jumped straight to the Full button to get. the maximum correction and straightest ines possible ‘The clock tower is indeed very tal, but the result from Full made it too tal in my eyes. The correction from Auto ‘was more natural, bt it didn’t go far enough in correct- ing the problems, in my opinion, When you get a result that you're not completely satisfied with it’s important to ‘remember that Upright an be used as a starting point for the controls in the Manual tab of the Lens Corrections panel. fact, there's a new slider in the Manual tab in Lightroom 5 called Aspect, and it’s exactly What Ineed to finch thisjob, The Aspect sider transforms the spect ratio of the photo by stretching the image taller and narower when siding to the ight, or by squshng the image shorter and wider when sliding to the left. A slight tweak tothe et gave the dock tower a much mare nat wa appearance With one photo adjusted to my liking just reeded to-snc my adjustments othe other two photos before sending all three tough the Merge to HOR Pro func- ‘tonto finch the ob. So selected al three photos ith the adjusted one beng the most selected, or bghtest and clicked the Sync button There ae two new options inthe Lens Corecons ec tion ofthe Sycionie Settings dla to accommexate the new Upright featur. Theft ontons Upright Mose, anc when this s checked, Lightroom apples the same Upright ‘mode yu selected on the fist phot, butt analy each photo separately and applies a unique adjustment to each photo, The other option is Upright Transforms, and this apes the sae ype of acustment sng the same numer icalvluestoal selected photos nthe sc: n my station, nce was snchoning thre photos ofthe seb that ere taken altogether (eventhough wasn using a tod) | wanted all ree photos transformed the same ‘way so that they would merge successfully later on. For this. reason, | checked Upright Transforms abo chected the Trasferm boxso that my astment via the Aspect sider ‘on the Manual tab would also be applied. With all three photos synchronized and selected | went to Photo>.cit In>Merge to HDR Pro in Photoshop. saved the merged result as a 32-bit TIFF fle and then frished ‘processing the merged copy back in Lightroom to get the ‘photo shown here. I don’t mind saying that | was pretty impressed with the result.sw fs . OT Tlie i —— , so INTRODUCING” = DIMMABLE-DAYLIGHT ae DESIGNED FOR MOTION & STILL CAPTURE a Er a . , I oT 1 ee : 7 Ce nee DETAILS & STORE LOCATIONS AT FIWESTCOTT.COM | eon ra8 8 ADoBe PHOTOSHOP Every yearn our “Annual 100 Photoshop Hot Tips" issue, we ask Sean to vite a special expanded instalment of Lightroom Tips & Ticks" with 20 tps. That's a whopping 120 tips in one issue, These tps are extremely hot, so handle with caution! —Ed. GENERALTIPS Basic Interface Shortcuts. Press Tab to hide or show the side panels, Shift-Tab wil hide the entire interface (panels, Filmstrip, and module names) F cycles between Normal view and Full Screen Preview (and in Lightroom 5 it's now a truly fullscreen view!).L wil cycle through normal, dimmed, and full Lights Off view. lean Up Your Backups Every time Lightroom backs up the catalog, it creates a new folder containing that backup. Realistically, you probably only need to keep the mast recent two or three backups, and you can free up some significant hard drive space by going to your Backups folder and deleting the older backups Delete Unneeded PSD & TIFF Files ‘When you open an image into Photoshop, it creates a PSD or a TEF file (whatever format you've chosen in the External Editing Preferences) and add it to your catalog. The file is added even if you close it without making any edits and don't save it Use the filtering capabilities to do a search of your catalog for only TIFF (or PSD files. You may find many files that you don't need and can throw away, freeing up a lot of disc space. Create Custom Edit-n Presets In the External Editing section of the Preferences (Lightroom [PC: Edit]>Preferences), you can save presets for the Additional External Editor section in the middle of the dialog, | use this to create presets for specific types of images. For instance, when ‘open one of my iPhone images, | don’t want Lightroom to create 2 16-bit version of the original JPEG, so | have a preset configured to bring them into Photashop as 8-bit sRGB fies. ‘The preset will appear in the Phato>Eit In menu LIBRARY MODULE ‘Auto Advance Filmstrip f you want to speed up the rating and flagging process, try turning on the Auto Advance setting in the Photo menu. When you apply a star rating, flag, oF label to the current image, the & Tricks Filmstrip will automaticaly advance to the next image. You can cess this same feature on a per-image basis without turning ‘Auto Advance on by adding the Shift key to any rating, flagging, or labeling shortcut Show Exposure Bias When using Expanded Cells for the thu nals (View>Grid View ‘Style>Expanded Cels), you can display four items of information that are visible in Grid view mode, With Com- pact Cells (View>Grid View Style>Compact Cells, you're Eited 10 ‘wo tems of extra info ‘Showing the Exposure Bias can make finding the correct HDR shots a breeze. To set this, choose Views>View Options (Command: (PC: Ci). You can find the drop-down menus for these labels under the sec tions for Compact Cell Extras and Expanded Cell Extras, Hide Grid View Extras & Loupe View Info Use Command-shiftH (PC: Cu-Shift) asa toggle to hide and show the extra info on the image thumbnails in Grd view. To ‘ie through diferent view setups, res the J key repeatedly. In Loupe view (©), press | to cycle through different versions of the info display in the upper-eft corner including no display at al). Color-Coded Hard Drive Status Icons ‘The smal “light” next to the hard drive name in the Folders panel displays three status levels forthe drive: green=ree disk space; red=crive is almost ful; and gray=drive is offre DEVELOP MODULE Radial Filter In Lightroom 5, you can access the Radial Filter via the Shif-M shortcut (it works even if you're inthe Library module). By foul, the Racal Fiter will affect the arca outside the elptica shape you define, Press the Apostrophe key (to invert the fil- tro it affects the area inside the ellipse (there's also an Invert Mask checkbox in the control pane). Copy Radial and Graduated Filter Adjustments Sometimes you need more than one Radial Filter in the same image fLe., one for the interior of the elipse and one for theexterior) You can easily copy an active Raial Filter by Option- Command: dragging (PC: Alt-Ctr-dragging) on it. This same shortcut works for the Graduated Filter. ‘Adjust All Local Adjustments with Scrubby Sliders Option-drag (PC: Alt-drag) lft or right on the placement pin for the Graduated and Radial Fiters to adjust all of the applied sliders atthe same time. For the Adjustment Brush, just place the cursor on the pin and drag with no shortcut key. Dragging left reduces the effect; dragging to the right increases the effect Visualize Spots ‘The new Visualize Spots feature in Lightroom 5 makes finding sensor dust spots very easy. To access the Spot Removal tool, press Q. To turn on the Visualize Spots feature, press A (or you ‘an use the checkbox under the main image preview). Use the sider below the preview area to modify the contrast and brightness so you can find the spots. The shortcuts of Q and A ‘might not seem very intuitive, but l remember them by thinking "Quality Assurance. Crop Too! Shortcuts You can access the Crop tool from either the Library or Develop ‘modules by pressing R. Press O to cle through a variety of dif- ferent crop overlay guides, including a grid, rule of thirds, golden spiral, and common aspect ratio guides. Press Shift-O to change the orientation of some ofthe every guides. Press X to change the orientation of the crop itself. Pressing A wil toggle between ‘a constrained or unconstrained crop aspect ratio, Choose Crop Overlays and Aspect Ratio Guides In Lightroom 5, you can choose which Crop tool overlays are shown when using the shortcut of ©. In the Develop module {and with the Crop tool active (®), select Tools>Crop Guide (Overlays>Choose Overlays to Cycle. You can also specify the ‘ype of aspect ratio guides that are visible as one ofthe Crop 1001 overlays. nthe Develop module, select Tools>Crop Guide (Overlays>Choose Aspect Ratios. Enable Lens Profile Corrections Before Using Upright The new Upright feature in Lightroom § can be found in the Lens Corrections panel and is very useful for automatically leyeling shots, as well as straightening the verticals in photos of buildings. To get the best results, be sure to first click the Enable Profile Corrections checkbox. TIPS &@ TRICKS. ‘Save Sharpening & Noise Reduction for Full-Size Previews Even though you can use all of the Develop module adjustments with smart previews, i's best to wait until you haveaccess to {ullsize previews for evaluating the effects of sharpening and noise reduction. VIDEO. ‘Apply Develop Settings to Video Via a Preset ‘Apart from the Quick Develop options in the Library module, f you try to work on a video in the Develop module, you'll see ‘a message that states video isn't supported. But there's a way ‘around this. f you create a Develop preset, you can apply this via the Saved Preset drop-down menu at the top of the Quick Develop panel. Using this method, the following changes can 'be applied to video: White Balance, Exposure, Contrast, Whites, Blacks, Saturation, Vibrance, Tone Curve, HSL, BAW Treatment, Spit Toning, Process Version, and Calibration. Set In and Out Points on Video Use the shortcuts of Shift to set the in point of a vdeo and Shift-0 to set the out point. BOOK MODULE ‘Save Custom Page Templates, In Lightroom 5, you can create a custom page layout design and save it as a user-generated template. To do this, just modify an ‘esting page design as needed, and then Right-click on the page {and choose Save as Custom Page. The next ime you open the page templates browser, youll see @ new category for Custom Pages, with any custom page design you have saved available to se in other procs. Page Numbering Enable the Page Numiters checkbox in the Page panel. By default ‘page numbers appear on the outer corners of the pages, but you can change this in the drop-down menu at the top of the Page panel Right-click on a page number to specify where the ‘numbering starts. Click on a page number to activate it, and in the Type panel you'l find options for changing the size and font forthe page numbers.8 8 YCAMERA RAW WORKSHOP vent Bru y. Vibrance, and Saturation, and at the end of the article we applied some int Brush but we really didn't explain how the brush works—we just pickedit up and Intro to the Adjust Last issue we talked about Cle Clarity using the Adjus started brushing, This time, we start from scratch so you can really unlock the power of the Adjustment Brush, D> when you select the Adjustment Brush (K), you'll se the same sliders you have in the Basic panel—with the excep tion of Whites, Blacks, and Vibrance—plus four new sliders Sharpness, Noise Reduction, Moir Reduction, and Definge ‘These sliders will be set to whatever you lst used, so if you lust stat painting, you'l be painting with old settings To reset the sliders, click one ofthe plus (+) or minus (-) ‘signs to the right or lft of one of the sliders, respectively. This will reset all the other sliders to 0, and if you clicked on the plus sign, it sets that slider to +25 if you click it again, it goes 0 +50, and so on); if you clicked on the minus sign, it sets that sider to -25 (cick it again, and it goes to -50 and so on} The one exception is the Exposure slider, which changes in increments of 0,50. The four siders atthe very bottom (Size, Feather, etc) aren't affected by this since theyre just the prefer: ences for your brush (Open the download file in Camera Raw, click on the minus sign tothe left of the Exposure sider twice to 2er0 out al the other sliders and set the Exposure to ~1.00, and then paint the right side ofthe floor. This area will get darker, or ‘burned! in traditional darkroom lingo. INAPP members may download tr Fite use in hs tutor at flea doer bers photoshopuser.com/magazi {ssueloctober-2013, All files are for ‘personel use only. To open a JPEG files ; in Camera Raw, go to Photoshop (PC: Edit>Preferences>Camera Raw, then set the JPEG drop-down menu at the bottom of the dialog to ‘Automatically Open All Supported JPEGs} AUTO MASK: 90% OF THE TIME, IT'S AWESOME! f the brush seems alittle slow, it’s probably because Auto Mask is turned on. Auto Mask tries to sense the edges of ‘areas to keep you from accidentally painting something you don't want to paint. For example, in this case, if you were brightening the area around the headlamps, it would keep you from brightening the orange paint on the car. Auto Mask is controlled by the crosshair in the center of the brush ‘As long as you keep that cross hair within the siver headlamp area itwllignoce the orange paint surrounding it, even ifthe brush aslfexendsinto the orange paint. ‘Auto Mask is really pretty amazing (I wish it werein regular Photoshop). It’s great for small areas that you want to adjust, {and it's super handy when you're painting near the edges of anything, Auto Mask has to doa lot of math asit analyzes the ‘area beneath that crosshair, and that makes the brush move slower as you paint. That's why you might find it helpful to turn Auto Mask off when you're painting large areas lke the floor in this example, because the brush will pant much faster. To tum ito, either uncheck the Auto Mask box near the bot: tom of the Adjustment Brush panel, or just press the letter M. (on your keyboard. With Auto Mask turned off, paint the rest of the floor, as well as the wall behind the caron the right. you don't think the area you've painted is dark enough, just drag the Exposure slider tothe left until it looks good to you, Just remember—you tured Auto Mask off so be careful nat to paint over the car self. You can change the size of your brush using the Left and Right Bracket keys on your keyboard: the Left Bracke () makes the brush smaller; the Right Bracket () makes it largerWORKING WITH MULTIPLE ADJUSTMENTS. (OR PINS AS THEY'RE CALLED) When you drag the Exposure slider, it affects both the floor and the wall, but what if you want to brighten an area? By default, any additional strokes you paint wil be added to the Cone you originally created (that’s why the Add button at the top is already selected for you). To tell Camera Raw to paint different adjustments somewhere else, you'll need to cick the New button, ‘so dick the New button, click the plus icon to the right of the Shadows slider twice, and then paint the front wheel this ‘would be a goad time to tum on Auto Mask). f opening the shadows isn’t enough, drag the Exposure slider to the right to ‘around +1.00, and now the whee!’ brightness really comes ‘out. That's the great thing about the Adjustment Brush—once you've painted an area, any sliders you adjust will affect that ‘masked area. if you want to add some contrast to this wheel (sure do}, just drag the Contras sider to the right (| dragged itto around 455). Do you see how there's a green pin on the wheel? That lets you know which ofthe two areas you've adjusted so far is the ‘active area If you were to dick on the white pin in the bottom. right corner, now you'd be working on the arees you darkened originally (those pins appear at the point of your first brush stroke), So, if you want to go back and change the darkness of the floor, just click on the white pin, It will tun green, letting you know it’s now the active pin, and you can pick up right ere you left of, Prety slick, isn't it? The door area looks a ttle bt dark and the color looks a litte flat, so lets adjust that area. Click the New button, cick the plus sign to the right of the Exposure slider to zero out all the other sliders and set the Exposure to +0.50, and paint ee | | CAMERA RAW WORKSHOP. the door area. You can aso add some Clarity (to add midtone punch), and Saturation to punch up the color. Again, these adjustments are only applied to the door area you just painted, and now you have a third pin Tip: If the pins are distracting, you can turn them off by Lnchecking the Show Pins box atthe bottom of the panel, or you can toggle them orvoff by pressing the letter V. SEEING Your Mask A helpful feature isthe ability to see the mask (the area you've painted). If you want a quick peek to see if you missed an area or accidentally painted an area, just move {your cursor over the pin in question, and it splays the areas ‘you painted in red, When you move your cursor away from the pin, it returns to the normal view. You can change the color of the mask by clicking on the swatch next to the Show Mask option, You might find it easier to leave the mask turned fn to edit it (sure do). To do that, either turn on the Show Mask checkbox atthe bottom ofthe panel, or just press the letter ¥ to toggle itonfff. Now you can see that when I painted the floor, |accidentaly painted (and thus darkened) the ‘wheel. Luckily, you can paint away areas you didn’t ‘mean to mask. Just hold the Option (PC: Alt) key and it temporarily changes your brush into an Erase brush. Shrink the size of your brush, and paint the tire while Show Mask i tumed on. As you paint, removes ‘the red tint, which removes the darkening from the wheel. You can check all three pins one at atime to quickly and easly paint away any errors. ‘We've just started, but at least this will get you up and run- ring. I'l cover more features and tips for warking with the Adjustment Brush next issue. See you then! mi8 Y CREATIVE POINT OF VIEW Class Is in Session, Part 1 KATRIN EISMANN Outstanding teachers are engaged, respectful, enthusiastic, and encourage independent learning and explora- tion from themselves and their students. Teaching digital maging isa challenging and constantly chancing fie, ‘This two-part article shares what Ive leamed by teaching workshops, continuing education, underaraduate, and in-class and online graduate classes for more than 20 years. D> STRUCTURE IS CREATIVE Every hourlong seminar, weekend workshop, 5-day continuing: education cass, semester required class, or yearlong elective {an opportunity to enlighten, impact, and encourage your stu dents toleam, grow, improve, and explore new materials, meth- (ds, ideas, and experiences. Each lass, no matter how long or short, will benef from a plan and structure that allows both the teacher to teach with confidence and the student to concentrate fon learning. Provide the students with the cass plan, refered to.as.asylabus or outline at the beginning ofthe dass. It serves 2 a contract that clearly states the dass's objectives, methods, evaluation criteria, requirements, and contact information: len Wallenstein leading Handmade Book wekshop 1. Class description: Addresses the level and primary topics of the class 2, Objectives: Which concepts, sis, or theory students will learn, complete, or master by the end ofthe class 3, Weekly or daily plan: A straightforward list foreach class meeting similar to chapter tts in a textbook 4, Requited or recommended materials: Books or equipment that are required or recommended 5. Assignments: Includes reading, watching, researching, collaborating, projects, etc; due dates; and how assign ‘ments are to be submitted 6, Evaluation: Criteria on how the students will be evaluated and graded Jack Rezic critiquing fashion work by Robin Li 7. Expectations: What behavior i expected ftom thestudents ‘and faculty; for example, all work sto be created solely by the student; discussion and communication isto have ‘respectful tone and with professional vocabulary, etc 8. Contact information: Instructor email and possible office hours, ‘A well-structured syllabus that's shared, reviewed, and is- cussed (and possibly adjusted) at the stat of the clas allows the faculty and student to agree on what the class wil adress and achieve, BREAK IT DOWN, Similar to the sylabus isthe daly lesson plan, which lists the ‘main points that the class covers, Break each class down into 345 components (technical, conceptual, creative, practical to ensure variety. Avoid overestimating what a studentcan learn ‘and retain in the given amount of time. 1. Objectives: 3-5 skils or concepts the class will address. Too many objectives or goals are counterproductve and is better to address fewer skills well than to supertcly touch upon to0 many. 2. Content: The essence ofthe cass, often taught in a com- bination of lecture, demonstration, and dscusson,3 Applicaton: Time for the students to work along with and apply new skils to provided and personal images. 4. Question & Answer review: Conclude teaching new ‘material 15-20 minutes before the end of lass to allow adequate time for questions, discussion, and assign ment review. ‘Greg Gorman working with Stephanie Rachel Guttenplon 5. Assignment: Creative, engaging, and challenging tasks that encourage students to apply what they have learned and to explore the material further NO EGO REQUIRED The most important consideration of being an outstanding teacher isto check your ego at the door. The classroom or stage not the place to show of, bluff, or intimidate anyone. As ‘a teacher you need to remember what it was ike to be a student {and how you felt when you might not have initially grasped a concept or process. ill never forget the frustration of learning how to civ a stick shit how to it ago ball with any semblance cof success or how to, in complete darkness, insert exposed black ‘andehite fim onto @ metal 35mm film spool. In each instance, it took practice, patience, and the support of a teacher or men tor to get me through what I felt was an impossible task NEVER ASSUME, JUDGE, OR ABBREVIATE ‘Asa teacher, avoid the following terms, phrases, or habits in the classroom: + "As you know. ‘or know that a previous class has specifically addressed a topic, never assume or take existing knowledge for Unless you have explained something (CREATIVE POINT OF VIEW ‘granted. Doing so will make the student feel lacting and they may be too intimidated to ask what you mean + "This is complicated.” If, as a teacher, you find yourself thinking or saying that something is complicate, take a step back from the material and devise a way to explain or break down the seeminaly complex subject into manage- able pieces. += “You might not get this.” This questions the student's intelligence and knowledge. On a more direct level, you might as well be saying, "You're not smart enough to Understand this.” * Defi jans and acronyms: The first time you use a term (or acronym, make sure to define itor add context, Say- ing USM or ACR may be faster or easier, while adding UUnsharp Mask and Adobe Camera Raw aftr the abbrevia tions takes vey litle effort and will help the stucent learn the professional terms, * Shortcuts: Keyboard commands and shortcuts seed up your work and make you more efficent, but the fist three times you use a shortcut, show the menu so that the stu- dent can learn where the command is. WE ARE ALL STUDENTS. Being a student or workshop attendee can be intimidating, and teachers (and school or workshop taf) need tobe aware of a stu dent's vulnerabilty, respect the student’ financial invesment and time commitment; and understand that people leam differently and at a variety of paces. What may seem easy for ene person 10 grasp may be obtuse for another to comprehend. Teaching, leaming, and sharing are among the most rewarding things you can do with yourife—share, grow, and be a lifelong student, ‘The ne installment on teaching breaks down how to sucessfully teach software techniques with my golden rule: Explain. how. Repeat together. m5 o conestamptoo! ©) sasstoer quit Selctontoo! @ cotorrange attention away from th hil — —| on Por eeHere's a summary of how | mentally broke down this ‘Make the wall gray scale to simplify the work that needs to be done and then add the color back a the end once the mural has been removed. (2) Select the large areas in the mural one task: ( feFeMaining finer details in the mural into chunks that are surrounded with the standardized gray value that was used in #2 above. (4) Have Photoshop do most of the remaining work by using the Spot Healing Brush tool to easily remove the remaining details. (5) Add color back into the grayscale wall with a simple Hue/Satura tion adjust 5) Somehow figure out how to deal with the reflection of the mural in the window (| didn’t have a ian for that at the beginning). Here's a more detailed description of how | accomplished each of those steps. INAPP members may download a version of this fil in this tut les are for personal use only} STEP ONE; Select the entre wll that contains t 198 combination ofthe Plygonal asso oo nested under the Lasso tao (Land Quick Selection tool (7, When selecting with the Poly the Shit key to ad to that selection aye>tew Adjustment id OKinthe te onal Lasso tool, make Coren selection. Wit Layer>Black & White, Layer dialog, and click on the Targeted ‘Adjustment Too TA Properties panel, Ten, lage ara that used 1 contain coer and kag cal fate wol left orsign the image to bighten or darken th nate 108 ther to be more consistent ovr STEP TWO: You won't ale to get all the ge 5 to completely even out when austing them via the Black & Wit austen. To facher fine-tune Cte the layer mask fr the Back & al and cick slayer taal so the the bghess, Command: ick ‘mask it active. Conine the seecton to one of the Large areas tone in the omnand, and then chase Layer New are ick nthe mata using the Select>Colr Rang ck on the TAT inthe Propet Adjustment Layer>Cures area that was selected, and area isthe same brightness the athe large areas within the mu ag stalght up or down unt the sec nt Rept thi proces unt Geyscale al after making fog onze contenDynamic Range ‘STEP THREE: At this pont, the lage areas Should have visually combined to simpy the mul, which leaves all the fine dtals that need to be reraued manual. To begin that process, cick the Create a New Layer icon at the bottom of the Layers pane! to cate a new, empty layer above the adjustment layers. With default setings, the retoucr- ing 00s in Phatshop woa't work when an empty layers active because the tools ae set upto ignore all but the active layer. Choose the Clone Stamp tool (9), and change the Sample pop-up menu inthe Options Bar to {Curent & Below so hat it wil recogrie and copy from the underng image ayes. so choose the Spot Healing Brush to! () and tumon the Sample Al Layers checkbox inthe remaining mural deta clicking and. raging. ‘STEP FIVE: Now thatthe image is prepped, al we have to do is sich to the Spot Hang Bush tol and paint ve each slated chunk, making sure the ege ofthe brush never extends beyond the wal texture we doned into place inthe previous step. Upon releasing the mouse button that area wil automaticaly be replaced with texture simi t the surrounding wall Atleast ‘Are potted wth Spot Healing Brush ‘STEP SiX:Now thatthe walls simple, consent shade of ay ad aks ary hint ofthe ru al has ft isto add back some coor. To acc that, hol the Command PC: Cu key andin the Layerspane cick on thelaer mask ‘thats tached othe Back & White adustment ayer. That produces a selection ofthe wal that'sidescaltothe ane we created ear. Toad the col, cose LayersNew Adjustment LajerHueSetuation, and click OK i the daog that, anpeas. nthe Properties panel, tum on the Cole checkbox. ad then exper Resa of emerge ere mural ving he etare from the ogre wa toa (Options Bar. With the newly cated empty layer actve and the retouching toos setup Properly, wei ready to start removing the ‘STEP FOUR: The arount of remaining mura etal feels verwheling, so let's break it down ito more manageable chunk. Using the Clone Stamp teol with a harcedged brush, break each lage object nto multiple smal olated chunks tat ae surrounded by the brightness and texture that we want 10 end up with inthe wall. lust Option-cick (PC: Aci to sample rom the areas where no ‘mural deta is remaining and use that infor ‘maton to suround each smaller chunk by Rest of ping head with Spt Heaing Bash Large reso etal broken down ino smo his 20% ofthe tine, the tol should work flawlessly, making for vey quick work in remeving the rest of the mural dei. nthe ae instances when the tol dees to bring back mural deta istead of simple wal texture just gave the tool asecon, and occasional third chance, by repainting over te area uni iegets tight Rex of pining oe each soloed hk f dtl ime with the Hue and Saturation irs unt you Ke the resting coo Tofissh the wal trarsfrmation, darken the ef sie ofthe wal to ete the feeting thatthe sence tation locking some ofthe ightfling onthe wall Sat by selecting the wall once aan, create anew layer, and apy the Grant too! (@) going from back to white aco the lt ofthe wal Nex, change the blend made pop-up near te top left of the Layers panel to Mutiply and aust the Opacity 0 20%.eu of masing wel mater oe window oreo STEP SEVEN: Start by making a simple selection ofthe right half of the wal, and then choose FtoCopy Merged and then Edt>Paste to get a copyof hat area onto its own layer Use the Move toalV) te reposition that ney cated layer so that it completely obscures the windows tothe ‘ight ofthe doooway. Sethe window i mach Ike a ior, choose Eat>Trensfonm>Fip Horizon tal toreverse the er. STEP EIGHT: The net task sto get the copied layer to ony appear where the glass ofthe win dows ate. To accomplish that, tum off the Eye icon for that ayer ta hide it, and make a sele tion ofthe windows using the Polygonal Lasso tao. Once i’ selected, tun the Eye icon back fon and then choose LversLayer Mask>Revea Selection so thatthe layer only shows where the windows were. STEP NINE: Alte refinement maybe necessary to get the varied edge ofthe window to look 90d. To make that precess eas, tum of the ye forthe layer, press the Backlash key) to view the mask asa red ove, and then aint with the Brush tol (8) over any areas whee the red doesn't match the underlying image. Sette Fore ‘round coor to back to revel the orginal win lwrbelow, and white torevel the copied ayer you need to repostion the coped layer indepen cent ofthe mask, cick onthe ink icon between ‘the ayer thumbs he mek harbralinthe Layers panel click onthe layer thu to make it active and then use the Moe tool to eposton the teflon. Now that the mural is history, let's remove the reflection of the mural from the service station window. The win- dow near the right edge of the now mural-less wall is a good starting point to produce a faux reflection. Daten and red satin ose bk of refectn STEP TEN: Repest he process sing a copy of the ae othe et of he tations sign tl in thewinds se above and tough the dos. STEP ELEVEN: We need to take steps to ensure thatthe copied parts of the wall look more ike a rea reflection. In the ginal photo, the reflection isboth darker and les saturated than the wal that contained the mura To achieve simiarlook wth the copied wall material select the two layers that ‘ae beng used to ate the faux refiection, and press Conmand- (PC: Ctr.) to place them into up (which looks ike a olde. Change the blend mode fom Pass Through to Normal. That has the effect of limiting any adjustment layers Placed nto the group to any affecting the layers inside the group, preventing them fram affecting the underying mage. STEP TWELVE: With the group active and empanded in the Layers pane, ceate @ Cues adjustment layer. Click onthe TATin the Curves, Properties pane clk onthe wal an drag down to darken it. Abo, crag the uppe-sght point on the curve dawn to make sue the brightest high lights nthe image ako become darker. Net, acd a HuoSanation adjustment layer and bring down the Saturation setting to -75 to make the wal ess colorful STEP THIRTEEN: Finaly, the faux reflection ood hint atonal etal to make ios! ae if you could see through it just enough to catch a glimpse ofthe inter. Le’ se the dark area to the et ofthe enty door asthe raw material for ChacingOreay mode a 5% ‘Opocy fishes the effect. this addtional deta. Crudely select that area, choose Edit>Copy Merged, and then Edit>Paste to gett onto its own layer. Use the Move too to reposition it over the lft-mos area ofthe faucreletion. STEP FOURTEEN: Since the coped area sit large enough to cover the enti reflection are, choose Edit>ContentAware Scale, drag the right edge of the layer untl it covers the entire «are ofthe refecton, and press Ere. Lower the Opacity ofthe and choose Overlay from the blend mode pop-up mesu atthe top ofthe Layers pane STEP FIFTEEN: Now we jist need t limit the ara ofthis etal sot only appears the gas of the windows. Reselet the windows tothe right of the door by halding down the Command PC Ci) key and clckng onthe layer mk thumbrall forthe fist section of wall we use to produce the flection, Then, oad the re ofthe ele tion found above and through the doors, hold Command (PC: Cif) once again, but this time add the Shift key an then cick onthe layer mask attached tthe second chunk of wal used forthe ‘election. With the esting selection active cick ‘the Add Layer Mask con (rc ina quar) atthe bottom f the Layers pane forthe deta ayer and the reflection is complete IF you would lke to see more images from this series on vintage service stations, vsit my website at www TheBestofBen.com. ao ‘hoteahop Hallo Famer Bon Wilmore far ugh mare fan 100000 Poaiop urs on contrat ees on oad tte vith aed ede, Wh fas ‘sowed Despre andpheteragh a 3 tates Follow his chert at Where com an find ou about hi seo an edt products 3 Oeste com¥ DIGITAL PHOTOGRAPHER'S NOTEBOOK Kem fetybody loves fireworks! Lots of us shoot them off, Even more of us set up the tripod and photograph them, hop- ing to capture the magnificence of the finale. For me, that last shot never measures up. This time, the "Notebook" shows how to create a blazing light spectacle with Camera Raw, layer masks, and blend modes in Photoshop, D> Download the four RAW files and four JPEG files from the NAPP member website. These files are only for working tutorial The following steps work in Photoshop C55, CSé and CC. (APP members may download the fs used in this tutorial at ht:imembers photoshopuser comimagazinelissuefoctober- 2013. Alfie are for personal use on ‘STEP ONE: Open the sample folder in Adobe Bridge C56. Click the first CR2 file, and then Shift-lick the last CR2 file to select all four RAW files. Now, press Command: (PC: Ctt-R) 10 open them in Camera Raw hosted in Bridge ‘STEP TWO: Start by clicking the SelectAll bution in the upper= left comer ofthe Camera Raw dialog or by typing Command-A, (PC: Ctrl-A), Move the Temperature control to 3200, Increase the Contrast (447), Highlights (+50), Clarity (467), Vibrance (453), and Saturation (+13) | recommend you experiment with these settings. See what you lke, With all ofthe RAW files selected in the Fi in blve are propagated to the rest automaticaly. Click Done to retum to Bridge. trip, the changes made to the one framed STEP THREE: The adjusted RAW files are still selected in Bridge, Choose Tools>Photoshop>Load Files into Photoshop Layers, These four files were shot in sequence with the camera 2 ona weighted tripod, so they're already aligned. All of the tonal changes were made in Step Two. Choose lmage>Mode> 8 BitsChannel STEP FOUR: Drag the layer in the Layers panel so they are in the folowing order from top ta bottom: 2772-0133, 2772: (0132, 2772-0131, 2772-0134, Click onthe layer thuminal of 106 the top layer. Change its blend mode to Lighten if you would slike to use the keyboard shortcut fo Lighten, press V to switch 10 the Move tool, hold down Shift-Option (PC: Shif-A), then press the G key. The Lighten blend mode works in the layer below. Repeat for the next il reveal the fire- wo lower layers, Leave the bottom layers blend mode at Normal. The result is reasonably spectacular. I's still something shart of a true fireworks finale that | picture in my mind, Onward STEP FIVE: Choate File>Place and navigate to the download: ced samples folder. Choose 2772-0162 jpg, then click Place. The file appears in the image in Free Transform, Click the Commit checkmark in the Options Bar. STEP SIX: Drag this new layer to the top of the layer stack in the Layers panel. Change the blend mode of this new layer to Lighten. Using the Move tool, drag it to the left so the fireworks overlap the building with the sll lick the third icon counting from the bottom left of the Layers panel to add 2 layer mask. Press D to set the default colors then X to make the Foreground color black. Using the Brush too (8), paint out the extra building and any of the sparkes infront ofthe main building. I find it useful to Option-clck (PC: Alt-lck) on the ‘masked layer’ Eye icon to see only that layer to make sure | removed all the distractions STEP SEVEN: Option-click (PC: Altick) where that same layer's Eye icon used to be t toggle the hidden layers back to visible STEP EIGHT: Place the file 2772-0161 jpg into the stack Move it even farther to the left and change its blend mode to Lighten, Add a layer mask then paint out anything that doesn’t belong. My version shows light tals in front ofthe sail asif they were launched from a parking deck behind it8 'STEPNINE: Place 2772-0164,jog into the stack. Set its blend ‘mode to Lighten. Mask it appropriately then drag it tothe right 0 its smoke almost touches the right edge ofthe frame. 'STEPTEN: Pace 2772-0165 jpg. After setting the blend mode to Lighten and masking, move it to the lft t's overpowering even at a lower Opacity. Let's work with this lyer's size, The in Photoshop always makes the placed layer a smart object. It can be sized down and back up again as many times as you want ith no loss of quality, Press Command-T (PC CCtr-T) for Free Transform. Hold the Shift key then drag comer handle inward, Adjust these fireworks’ size to taste, then click the Commit checkmark 'STEPELEVEN: Hold down Shift-Command-Option (PC: Shift CCl, then press the E key. This copies al ofthe visible layers intoa single new layer above the active layer inthe layer stack. Retouch out any lights on the lower right that you find distract: ing. For me, the flare of the parking light is simply annoying, A lite bit ofthe Clone Stamp tool) and it's gone away. The camera can't do this, but fortunately, Photoshop can. That's the secret for making a s photograph that’s both ooh- and aah-inspiring. U photos to create your personal version. 'm going to use mine ill you use yours? Let lon Twitter @amesphoto or at KevinAmesPhotogra 100k. Until next time, keep shooting! mc Jar fireworks finale 5 your own for a New Year's party invitation, HowAL eames Creda emery TT AOU CUA Ae MRL OAT R LAO AISNE Cag ewe Gol esa taY BEYOND PHOTOSHOP. scorronstorr Creating Subtle Motion within a Photo, Part 2 In part 1, we converted a video into a frame-based animation such that there's a direct correspondence between its frame and layer numbers, We also enhanced ane frame of the video to act asa static backdrop, which will act as a foil for the motion that welll reveal in this installment. D> The real work in this process is creating masks on each layer and painting over the moving object, which is a bee in this tutorial. Ths frame-by-frame masking process will gradual reveal the moving object agains the static background ofthe Aigita panting, This technique canbe applied to any moving Step One jobject against any chosen static backaround NAPE members may dovnload the file used in this tutorial at htaimembers photoshopusercommagtinessueloctober 2013. All les are for personal use only} STEP ONE: Open Rhodo psd. Choose WindowsTimeline and click the Play icon, Watch the bee inthe center of the window— this is what you are going to progressively reveal, frame-by- frame. Click the Selects the First Frame icon along the lower edge of the Timeline panel ‘STEP TWO: Select frame 1 in the Timeline panel, then select Frame 1 in the Layers panel. You mus select two items because changing frames in the Timeline simply toggles layers on and off, but it doesn’t actually select any layer for editing, ‘STEP THREE: Hold the Option (PC: At) key and click the Add Layer Mask icon (cre in a square) atthe bottom of the Layers panel to add a black mask, which completely obscures the layer, thereby revealing the Background layer. The bee doesn't appear in this first frame, so there's no need to reveal anything. Thus, ‘we move on tothe next frame and its corresponding layer. ‘STEP FOUR: Select frame 2 in the Timeline panel, and then select Frame 2 in the Layers panel. Option-cick (PC: Alt-cick) the Add Layer Mask icon to completely mask this layer. To reveal the bee on this mask, we need to seeit inthe window so we can paint overt. Shifteick Frame 2's layer mask to toggle it off temporarily, indicated by a red X over the layer mask Step Seven 10STEP FIVE: Select the Brush tool (B) and choose a round, 20-pixel brush with 0% Hardness. Paint with white over the ‘motion-blurred bee that’s emerging from behind one of the central blossoms. If you don’t see where i i, click Play in the Timeline panel and watch it ly around, Then, reselect frame 2 in the Timeline panel, and paint over the bee. Shiftclick Frame 2's layer mask to toggle it back on. [STEP SIX: Select Frame 3 in the Timeline panel, then select Frame 3 inthe Layers panel. Option-clck (PC: Al-lic) the Add Layer Mask icon in the Layers panel. Shift-lck the new layer mask to toggle it off. As you you do this, observe that the im- ‘age jumps a few pies. This is evidence ofa sight misalignment between the current layer and the Background layer due to handheld camera movement and the breeze. STEP SEVEN: Press V to select the Move tool, then press 7 to set the Opacity ofthe current layer to 70%. Drag the image in the document window or press the Arrow keys to nudge the layer one pixel at atime until the current layer aligns with the Background layer. Press 0 tose the current layers Opacity back 10 100%, Press B to select the Brush and paint over the bee. Shift-clck Frame 3's layer mask to toggle it back on STEP EIGHT: Put on some music and repeat Steps Six and ‘Seven for each frame of the video. When you get into a rhythm the work goes quickly. "Ninety-nine layers of bees in the bush, ninety-nine buzzing bees. STEP NINE: Select frame 1 in the Timeline panel, click the cisdosure triangle atthe bottom right ofthe frame, and change its duration to 5 sec. Change Once to Forever in the drop-down immediately below frame 1 STEP TEN: Choose File>Save for Web. Make sure the Op- timized tab is selected, and choose GIF from the drop-down ‘menus at the upper right ofthe dialog. Inthe Image Size section at the bottom of the dialog, enter 800 in the W field, and press the Tab key to shrink the image down to 8 more manageable size for the Web. Click Save and output the file as Rhodo. ait 'STEPELEVEN: Clck-and-drag Rhode ait into a Web browser 10 see the motion, or upload it toa file server and go to its UR. You can only see GIF animations in @ browser. The result has 2 refreshingly unexpected quality appearing after 5 seconds of siliness. mi > BEYOND PHOTOSHOP: ep leven® YADOBE PHOTOSHOP CC Smart Sharpen and Image Size Improvement: SEAN DUGGAN Each new version of Photoshop has some features that get more attention than others. This is understand- able simply because some additions are flashier and have more of a wow factor than others. In this article, ‘we'll look at two essential features that have been around for a long time that have been reworced with some very good improvements > ENHANCEMENTS TO THE SMART SHARPEN FILTER ‘The Smart Sharpen filterhas been around for awhile in Photo- shop, and it's my preferred way of applying sharpening in that program. For many images find that it creates a more subtle {and realistic sharpening than the venerable Unsharp Mask. In Photoshop CC it has received a significant upgrade that not only makes it easier to use, but thanks to a revised algorithm, it aso produces noticeably better result, When you first access Smart Sharpen (Filter>Sharpen> ‘Smart Sharpen), the first thing you may notice s thatthe dialog {and the preview are bigger than in previous versions. But it gets better because the entie dialog can be scaled larger: just click-anddrag on any of the sides or the corners to expand the cialog and the preview. If you want to have it ill most of your screen, you can. This makes it much easier to judge the results ‘vera larger area ofthe image, even if you're viewing at 100%. ‘As with earlier incarnations of Smart Sharpen, if you click {and:hold on the preview image, you can see the unsharpened Photoshop 36 before version. When you release the mouse button, you'll see the sharpening applied. The Preview checkbox at the {op of the dialog will affect the image in the main dacument window (you can turn this off and on by pressing the letter P Con the keyboard) ‘A new addition to Smart Sharpen is the Reduce Noise slider. In an image where noise isan issue, any sherpening can produce the unwanted effect of enhancing the noise ‘and making it more visible, The Reduce Noise slide in the new Smart Sharpen dialog gives you more control for customizing the adjustment and reducing the effect that the sharpening will have on areas where noise isa problem. If you click the gear icon in the upper right, you can choose to use the Legacy version ofthe filter and compare the old withthe new. In the 200% detal view of a high SO photo of 1 dance performance (see next page), you can see that with: ‘out the Reduce Noise slider, the legacy Smart Sharoen filter makes the noise much more apparent. Photoshop CCFor mast purposes, the Remove blur setting works best when set to the defauit of Lens Blur. If the image you're working with has noticeable camera shake issues, you'll have more luck addressing that in the new Shake Reduction filter (Flter>Sharpen>Shake Reduction). [See Photoshop User, July/August 2013, 90d.) ‘Another powerful feature of Smart Sharpen isthe ability to reduce the sharpening in the shadow and highlight areas. This functionality was present in Smart Sharpen all long, but in C56 and earlier it was tucked ‘away under the Advanced options. Now you can find these controls by clcking the disclosure triangle for ‘Shadows/Highlghts (see capture atthe bottom ofthis page). These work the same way as the main Shad- ‘ows/Mighlights feature (Image>Adjustments>Shadow/ Highlights). The Fade Amount controls how much the effect is reduced in the target area (ie,, Shadows or Highlights). If you set this to 100%, no sharpening will 'be applied to that tonal region. The Tonal With slider determines how much ofthat tonal area is affected. A low amount il target only a narrow range of ether the darkest shadows or the brightest highlights, wile higher values will broaden the area that’s affected. The Radius slider will modify the transition between the sharpened and unsharpened psels, Reducing the sharp- ening inthe shadow areas can also help minimize noise since noise tends to lurk mare in the shadows than in the wellexposed areas ofthe image NEW AND IMPROVED IMAGE SIZE ‘Another bread-and-butter Photoshop feature that has received some polshing and refinements isthe Image Size dialog (Image>Image Size). The frst thing you'll notice isthe addition of a preview that will display iat the specified resizing I ook like before you click OK (see next page). Although not the mast exciting feature when compared to other advancesin Photo- shop, this is a welcome addition since it enables you to see how resizing may affect fine and delicate detail structure in the image. This can be an isue if you're agnificantly resampling 3 photo to a much larger size. ‘Another improvement that's not readily apparent is that, like the Smart Sharpen fiter, dragging on the lower right comer will expand the dialog, resulting in a much lerger preview window. ‘A new addition to the CC version of the Image Size clalog isa very useful preset menu (the Fit To drop-down ADOBE PHOTOSHOP cc ‘New Smart Sharpen with nosereduction = Sietewe, ‘Legacy Smart Sharpen with no noie reduction 13.z ADOBE PHOTOSHOP. cc —— aes —_ as, | ES Photoshop C36 menu) for common image sizes that also allows you to save your own presets. The Auto feature that resized the image based on a line screen value can be found in the presets menu {its now called Auto Resolution). Other changes are the use of chainlink con in place ofthe previous Constrain Proportions ‘checkbor, and the Scale Styles option for scaling ary layer styies| that may be present has been moved to the mall gear icon in the upper-right comer. As with CS6, the Resample drop-down ‘menu is set to Automatic by default. This means that Photoshop as Seman (soma =a Photoshop CC will use the best resampling algorithm depending on whether you upsampling (making the image larger) or dowrsaring (making it salen (Overall the improvements and new additions to the Smart Sharpen fter and Image Size aren‘t as momentous as other ‘new features in Photoshop CC, but they do represent very useful {and inteligent revisions to these essential commands that are likely to be @ part of every image's workflow. Fo Frere 2101287 mm 300INTRODUCING THE LATEST BOOK BY AWARD-WINNING AUTHOR SCOTT KELB¥ Dena MAY iki inwororn Ba Dre B ele reeaeceraes ‘Scott shares his own personal settings and studio-tested techniques, not to eC eh eee gn ae tee eck meer am| supposed to do things in, and where does Photoshop fit in? Plus, you Pee Cem tee Se Meu nace eed Dee nee ecto ed a: (© ORDER NOW KELBYTRAINING.COM/BOOKS OR CALL 800.201.7323 as Cloceaabiakitscuanelacuniie in Ga ers Seed ee et ete aerate eee Teea Y THE ADOBE CREATIVE CLOUD ‘ativ be Cre: ness Catalyst and Ac AYNELSON When Adobe acquired Business Catalyst in 2009, nobody outside Adobe had Creative Cloud on their radar. Now ‘that Adobe Business Catalyst is included in Adobe Creative Cloud, it’s starting to make sense. D> The classic way to build a successful business or product isto {ill an existing need—and charge for it. In the case of Business Catalyst, the need is for an all-in-one solution that design- es (both graphic and Web) can use to build and maintain robust, modem corporate website, The solution must include ‘combination of website design and management, website hosting, e-commerce, customer tracking and record keeping, email marketing, lots of tools to analyze traffic, and a way for the designer to make money on its ongoing use. Adobe’ Business Catalyst Ideally, the solution would be simple enough for nontech- ‘nical users such as graphic designers and in-house corporate ‘graphic designers, yet flexible enough for technical users to customize as needed, Business Catalyst aims to fil all these needs by providing several ways to build, grow, and maintain such a site, Nontechnical users can use the tools built into the Business Catalyst Web browser interface. Graphic designers can use Adobe Muse, which is a new desktop application available exclusively to Creative Cloud subscribers, and Web designers and coders can use Adobe Dreamweaver or other Web coding tools. (Adobe Muse was created by the Adobe InDesign team as a designer-friendly, InDesign-lke tool for Web and mobile design.) Without Business Catalyst, the website developer must cob- ble together solutions from multiple sources. A simple website requires a Web hosting service, a website creation tool such {as Dreamweaver, and a blogging tool such as WordPress of Drupal. When you add corporate needs such as e-commerce, customer tracking, email marketing, search engine optimiza tion, and analysis tools, the time spent maintaining all those tools quickly becomes ditticult. With Business Catalyst, Adobe ‘promises to maintain al those pieces for you, while continuing 10 add new capabilites, Much lke Creative Cloud itself, Business Catalyst is modu- lar, with the goal of tying in other Adobe tools and services— (or even third-party solutions. For example, you could choose 10 use custom Web fonts from Adobe Typekit, or add an ‘Adobe module for e-commerce, email marketing, and so forth. This modular integration also works to the designer's benefit because you can employ only those features necessary for your current vision of the website, and later on add new features as needed Ag Ag Ag Ag Ag Ag Ag Ag Ag Flexible Content Management [4 Dynamic Extensible Modules An Online Store Buin Web Forms & integrated CRM Targeted Email Marketing LS Powerful Reporting & Analytics A.Complete, Hosted Solution Payment Gateways Shipping Providers Social Media ‘Adobe Tools & ServicesColorado Ballet Business Catalyst also lets you incorporate third-party tools, such a8 Google Analytics (although Business Catalyst offers powerful reporting features, as well), your own database engine, HTML, CSS, and e-payment systems. However, server-side code such as PHP, ASP, and .NET is not supported. The Business Catalyst website has a showcase page of impressive websites that use a varity of possible features (www.businesscatalyst comshowcase) WAYS TO PAY TO PLAY Now for the money aspect: integrating all these features together works to Adobe's benefit because they receive a steady monthly stream of income—if you stop paying your ‘monthly Creative Cloud fee, your tools top working and your websites go away, To entice you to try Business Catalyst, your ‘$49.99 per month Creative Cloud membership includes five basic hosted websites using Business Catalyst. You can use these either for your own website(s), or resell them to your clients. These webBasics websites include content manage- ‘ment, site analytics, Web forms, social media sharing, phone {and tablet suppor, and an FTP and file manager. Basic stuf. Without a Creative Cloud membership, Adobe charges $6.59 per month for these websasics websites. With or without a Creative Cloud membership, you can add 10 hosted email accounts and a dynamic menu builder for $12.21 per month. if you want to add a blogging engine, customer database, email marketing, and commu- rity forums, get the webMarketing package for $18.88 per month, A full-blown webCommerce site costs $38.88 per ‘month and adds an e-commerce platform, business report- ing, event bookings, and database-driven Web apps, such as real estate directories and membership sites. All plans include 1 GB of storage and 1 TB of bandwidth per month All paid plans let you use your own Web address or domain ‘THE ADOBE CREATIVE CLOUD name, Adobe has full pricing details at their webste: www BusinessCatalyst.com Regardless of which package a Web designer chooses, she ‘an generate ongoing profit by marking up those prices and providing the final result to her clients. Print designers can think of it as the 21st-century version of the time-honored practice of marking up typesetting, photo services, and print- ing. To do that, you'll have to pay Adobe's fees yourself and collect money from your clients. Your clients will also have to trust you to keep paying for their websites—or else they stop working. Alternatively, you can let your clients pay Adobe drectly, but that cuts out any opportunity for your own markup. (Adobe hhas @ way around that: you pay a one-time Partnership Pian fee of either $995 or $1,995, and then earn a 20% commission on {ees paid to Adobe by your clients. Both plans include technical support, while the $1,995 plan lets you brand sites with your ‘own name and logo.) Once your Business Catalyst website is up and running, you oF your client can monitor and update it through a Web ‘browser interface, That's part of the beauty ofthis sysem—you can tum over its dally maintenance and reporting tothe client, yet be ready to update its content or structure yourself at any time using Dreamweaver, Muse, oF the Web browse interface. Business Catalyst isn’t for everyone. If your goal isto create an attractive portfolio website, it's far simpler and efficent to use ‘Adobe's Behance service included in the Creative Coud—you can keep a Behance site current from Photoshop, lightroom, CF Bridge. But when you're ready to take your website to the next level, or if you offer website services for clients, Business Catalyst offers a powerful, flexible system that integrates with Dreamweaver and Muse, saving you lots of maintenance head- ‘aches and providing the possibilty of addtional income. m ”Y THE SMIA\ BUSINESS AND FREELANCE COACH A Mastermind Approach to Small Business if you're an entrepreneur, one of the smartest things you can do isto spend time with fellow entrepreneurs to discuss business and marketing. Incredible ideas can come out of thiskind of collaboration. Finding like-minded LARRYBECKER ne professionals in your local market can be challenging; but there are a few workarounds, no matter where you live. > MASTERMINDS, MEETUPS, AND MORE ‘There's something special about how an entrepreneur thinks, ‘and in many cases, it's exactly opposite of how an employee thinks. After decades of running small businesses, | realize that, while people like my wife and parents may completely love {and support me, and have my best interests at heart, their best ‘advice may be wrong for my business, That's why running ideas past someone who has their own small business—even in a ifferentindusty—is such a good idea, By the way, don't get me wrong: My wife has given me some briliant insights and great new ideas; it's ust that some business ideas and marketing _appcoaches wil generate a ciferent response from a business pro.) ‘Your friends who have small Businesses may want to have lunch, or they may even be wiling to participate in more formal bbusiness-strategy planning meetings. That's a great place to start! Take advantage of that sounding board and help one ‘another with business development ideas. I you don’t know any entrepreneurs with whom you can exchange business ideas, try looking for a Meetup group. There's actually a site thats all about helping you find like- ‘minded people for club-style get-togethers. I's called Meetup com and there, you'l find all kinds of existing meetings on topics from photography to needlepoint. But there's also a specific subdomain you can use to locate MasterMind groups Just type in masterminds meetup.com, enter your ZIP Code, {and youtl see a list of meetings within driving distance from where you live, And f there fn a group just ike you're looking for, you can start one using the resources at Meetup.com. Just a word of warning: While these MasterMind Meetup {groups can be helpful, and you might get some excellent speak- ers with inspiring programs, it's also likely that the group will be too big to serve all your needs. f you have more than eight people at your Meetups, the dynamic will probably not allow you the opportunity to spitball ideas that might generate spe- Gific suggestions to use in your company. So, whether or not you join or start a MasterMiind Meetup, as soon as you hit 10 attendees, start looking for a smaller group or maybe even a spin-off group of that larger Meetup. At this point, about half ofthe entrepreneurs reading this column are excited about the MasterMind Meetup group pos- sbltes and the other half ae thinking about all the reasons this wouldn't work for them: maybe it’s personality type: maybe it's because you lve in a realy small town; or maybe it's because you'te working so incredibly hard on your small ‘business that you just don't think you have the time. Technol- (ogy offers a solution for shy, small-town, busy entrepreneurs 100. I's called podcasting ‘THE IMPERSONAL MEETUP. Years ago, Apple announced that they would provide the platform for people who want to create and distribute free, radio-style content. The term "podcasting" was invented to descrive iPod broadcasting. In fact, Scott Kelby stated one Of the first-ever podcasts, all about Photoshop, and as the technology evolved and video podcasting was announced, the Photoshop User podcast became a video podcast the very same week! And, while Kelby Media Group continues to regu: larly produce Photoshop User TV, Photography Tips Tricks and The Grid, there ae thousands of other free podcasts out there (far more audio than video) on all kinds of topics, includ ing smal busines. ‘You can search for podcasts by topic, keyword, author, ete. {and 've found dozens of worthwhile shows that are well pro- duced and packed with great, usable information. instead of searching for “photography business,” I suggest you search for “small business” or “entrepreneurship.” Then, Isten ta show Cor two from each of the suggested podcasts, and subscribe to the ones that seem to connect with you. Even ifthe overall sentiment of the podcast isn't something that you specifically aspire to, if i's qood business information, youl probably get something out of it. The following is one example. PROCESSES DISCOVERED | subscribed to half a dozen small-business podcasts that the iTunes Store suggested were popular with entrepreneurs. listened to only two partial episodes of one podcast, and thendeleted all podcasts from that author because of bad audio duality that made it hard to pay attention to the content, But, | was so impressed with one podcast from a couple of world-traveling entrepreneurs that | listen to it regularly. The {focus of ths specific podcast is on entrepreneurs who want 10 be “location-independent” and live in Hong Kong or the Phifppines because ofthe low cost of living and local access to cheap labor for their (usually online) businesses. Now, Lave no desire to move away from Florida, so that podcasts primary focus means nathing to me; but the way these guys describe vatious business challenges, and the ways they deal wth those challenges, i insightful and helpful to me. ‘The authors are big on implementing standardized proce- dures and process documents fr just about everything in their bbusiness. Think of these as in-depth checklists (or checklists with descriptive instructions), They create standard operating documents for almost everything that happens in the com- ‘websites, email, Facebook, Twitter, and zilions of vations con each of these potential marketing channels, It's ‘ar more ‘overwhelming than advertising used to be but, if done cor- rectly, these new media-marketing methods can reach a more specifically targeted audience for even less money than the ‘ld-school options. And of course, there ae podcast that serve up in-depth information about all of these topics. Sure, some ate fluff, but there are quite a few that have sold, actionable information. Quite a few podcasts that delve free, compre- hensive information on a topic—say for example, search engine ‘optimization (SEO)}—are more current, acurate, and actionable than whatever your local small-business marketing firms think 's the right way to do SEO. ‘Most small-business people won't have the time to person aly lear and implement everything that their business needs ‘when it comes to SEO, social media, and email marketing, but a \welkinformed, technically aware, smal-business owner is much SHARING IDEAS AND WORKING WITH A GROUP OF LIKE-MINDED PEOPLE IS SMART LEVERAGE TO EXPEDITE BUSINESS IMPROVEMENT. ppany—even if it's something they do regularly themselves. ‘Then, whenever they're bogged down, the handoff to @ new hire or temp worker is far easier because these procedures are documented and in place. As crazy ait may seem, spending time to create a process document, even for aspects of your ‘business you do every single day, can save you time and boost productivity almost immediately. For example, | regularly record talking-head videos for a business project. | almost always get everything right, but about lonce @ month, something is wrong with the video: maybe it's ‘the audio quality o | forgot to set the white balance; or maybe the mic is on the wrong channel. With a process sheet, I can skim through the checklist and not worry about forgetting a setup step. That allows mea little more mental freedom to con- centrate on the script Ibe delvering, ve now started creating process documents for eveything. MARKETING AND MORE! ‘These days, local small businesses have more than just local cable commercials, radio, newspapers, and direct mail as, ‘options to reach potential customers. Technology has added moe likely to be successful Whether it's because you know how to better direct employees and freelancers, or because you've leamed about some marketing opportunities others have yet to discover, ether way you're a winner, And ve found pasicasts on ‘both of these topics that ae targeted tothe nontechnical stener. My only real word of warning is that most of these podcasts se the strategy of "Deliver expert content for free, then sell some extra stuff tothe listeners who've come to tust you There's nathing at al wrong with ths. Just don’t race right ‘out and buy the podcaster’s latest “exclusive trairing video package” unless you're certain that you need it. Listen to some. podcast episodes and see if there's anything legitimate and sable fist Going it alone isthe hardest, slowest way to improve and arow your business. Sharing ideas and working with a orcup of ike- ‘minded people is smart leverage to expedite business improve- ‘ment. So go join or create a MasterMind group, or at least subscribe to some business-targeted podcasts, Ard in case you're on the OS platform, like and recommend the podcast manager app called iCatcher. 198 PRODUCT REVIEWS NIKON D7100 ¥ Great DSLR for the Discerning Photographer Review Cisoin ‘The D7100 is Nikon's flagship camera in its DX format DSLR lineup. ‘The specially designed CMOS sensor comes in at a whopping 24.1 IMP. which generates 6000x4000-pixel images that will take up between 25 to 30 MB on your hard drive, We tested the kit that ‘came with the NIKKOR AF-S 18-105mm f/3.5-5.6G ED VR len. ‘As you might expect, this camera comies with al the features, buttons, and dials that will keep photographers of every level satis fied. We recommend that you spend a few late nights with the ‘manual to realy learn all the features and customize them to taste Plus, some features aren't very intuitive; for example, changing the default Auto-area AF to Single-point AF requires holding the AF-made button tothe left ofthe lens and tuming the subcom- mand da. The 07100 can capture up to 6 frames per second at fll resolu tion (as well as full HD video, but youtl have to watt on the buffer {or a couple of seconds before you can take another shot, and ‘even longer to do anather burst of 6 frames. The 07100 also has Live View for those times when you need to old the camera away ‘rom your ey; however, Live View impacts the speed of AF, as well as the time between each shot, BEAUTY BOX PHOTO3 ¥ Skin Retouching Plug-In Review esa Maldonado Digital Anarchy recently updated its Beauty Box plug-in for Photo- shop, Photoshop Elements, and Aperture I's touted as an “easy ‘and powerful way of smoothing out skin and removing blem- ishes.” That's somewhat true. As for removing blemishes, this doesn't, It will smooth the areas affected by the mask, but actual blemishes wil need to be removed before applying the fier. The Beauty Box masking algorithm does 3 decent job of auto- ‘matically detecting skin tones to do a quick smoothing job with just ‘a couple of clicks. There are tools to adust the mask, but they werk ‘abittoo much Ike the Magic Wand tool in Photoshop—selecting pels based on simlarty of hue/ightness, many of which you prob ably dont want in your skin mask (ike hair orp color) with no | ‘way to subtract from the mask. There are great ideas here—slders for smoothing, shine reduction, sharpening, texture—but there's ‘way too much room for user errr. There ae only afew points on ‘each sider that provide good results, and a twitch on either side of that golden zone creates ovely airbrushed resis, or worse—scaly, supertextured skin, ool for an effect, maybe, but rarely necessary in beauty applications The image quality i exceptional (especialy at lower S09. Our test images were sharp, and the colors were spot on, Cn the rare ‘occasion, very bright colors appeared with a touch too much saturation, but veal the D7100 takes reat images. Noise begins to creep in beyond ISO 400, but you have to do some piel peep ing to discover it, and images up to 3,200 are stil very usable with a litle noise reduction. if you'e just getting into DSLRs, or you haven't upgraded your camera in more than 5 years, we highly recommend the D7100. m Company: Nikon in Price: $1995 body onl) Webs worwikonusa.com Raing 0406 Per cath Origine! Heowy Preset Normal Preset There are 34 presets, a half dozen of which | can't imagine anyone ever using. And the few you might actually use are bur ied in alphabetical order (please move these up top, Distal Anat- cy), Even using the sample images provided by Digit Anarchy, the results are just okay, Far a studio or lab with hundreds of images to process per day or week, Beauty Box could serve as an affordable tool to speed along skin smoothing, but fora designer (6 professional portrait photogranher, | would probably suggest other avenues. Company Digital Anarchy Web worigtlanarchy com RatingPICCURE ¥ Photoshop Plug-In for Camera Shake Reduction evened Sin Dison Piccure isa plug-in for reducing camera shake blur, the same issue that's addressed by the new Shake Reduction filter in Photoshop CC. As with Shake Reduction in Photoshop CC, the usual caveats apply: this won't help images that were not focused correctly, and the more obvious the camera shake, the less effective it will be. In short, don’t expect miracles Piccure works on 8: o 16-bit files, and you can also use it a a smartfilter once a layer is converted to a smart object. The ‘website claims it can work on RAW files, but this isn't entirely accurate because they have to be processed through Photoshop first and converted to 32-bit, Once @ RAW file is processed in Photoshop, i's no longer a RAW file. There are siders for Speed vs. Quality four levels of shake intensity, a5 well as a smoothness {and sharpness adjustment. Unfortunately the default settings ‘ate pretty bad and produce an overprocessed result that looks as ‘fit has been run through an aggressive sharpen filter with a dash Cf Find Edges. Tis plug-in desperately needs better defaults that don't abuse the image, The good news is you can change the settings and save them as new defaults. With patience and experimentation, MANFROTTO SNAKE ARM ¥ ‘Snake Arm or Swiss Army Knife? Fevew by Michael Corentino Photographers love tools that make thei work easier, do mace than one thing, and help them carry less gear. This is especially ‘true when it comes to grip equipment. What is “arip equip ment"? Good question t's the general term used to describe light stands, grip heads, spigots, or ary piece of hardware used. to securely and safely mount lighting equipment, light modifi- rs, and even cameras exactly where they're needed. A reliable, ‘multipurpose piece of grip equipment can be a lifesaver in the studio or on location Manfrotto’s Magic Arm has become standard issue grip equipment for photographers seeking flexible, durable, jack- of.alltrades solution that MacGyver would be proud of. Fans of the Magic Arm are going to love Manfratto's new Snake ‘Arm, an innovative, compact, reimagined take on the flexible Grip arm. Designed from the ground up and sharing the same ‘mount-anywhere, do-anything mission as the Magic Arm, the ‘Snake Arm takes functionality to the next level. Its twistable design, four-point rotation, and locking system allow users to twist and lock the Snake Arm into myriad previously impossible you can get pretty good resuits that minimize the blu aspect by improving the sharpness of camera shake shots, though motion traces will stil be evident. For subtle to moderate ‘amounts of camera shake, | found that the Micro setting ‘works best, and using the Quality setting is also worth the slight extra time, Overall, Shake Reduction in Photoshop CC doesa better job and you can more effectively target specific regions with that filter. But for Photoshop users who are deciding to stick with C56, piccure may be something to look into, There's a free 14-day demo. m Companyintligent imaging Solutions Price: $69 fr Photoshop #9 or Photosiop Elements \Vieb: warwintligentimagingsolutions.com Ratings @ #000 shapes, Add to this its three mounting spigats and you have 2a really useful grip arm that can be used in endless configura~ tions, supports multiple pieces of equipment, and hes innumer- able uses. \With @ maximum weight capacty just shy of 9 Ibs, the Snake ‘Armis perfect for supporting external lashes, lightweight strobes, ‘and DSLRs. One of te thing ike to do twist the Snake Arm into {small ight stand for ground level use when lighting beckgrounds. The Snake Arm is available alone or with a Super Clamp for ‘added mounting options. Company: Manfiote Distribution Price 517999 Webs wnwimantrottocom fain eooee g8 LIGHTWAVE 3D115 ¥ Modeling, Animation, and Rendering Program eve Danil ast In the world of 30 modeling (virtual or otherwise), NewTek's LightWave 3D continues to be the standard for professionals. ‘The latest undate (115) takes this software to new heights, with features that are over-and-above many designers’ wishlists. “The rendering qual is outstanding and now offers greater control overall aspects of your perceivable subject, as well as the virtual envionment. Remember that this is an update (not version 12), but its feature-rich set of improvements offers many new features since the release of version 11, The fist thing that stands out isthe ality 10 make fine adjustments to surfaces, both hard and soft. In addition, NewTek no longer requires dongles to access many ofits features, and offers new options for an easier workflow. And, as one might expect, the perfor- mance of everything in LightWave 3D 11.5, including Bullet and the addition of Genoma rigging, offers substantial improvement From gaming to full production movies, LightWave 3D not only moves lght yeas ahead of anything in this category, butt makes the process of creating 30 imaging and animation more fluid, functional, and fun. The price for LightWave 3D 11.5 in the sub: 51,500 range ($695 upgrade for current uses) s well worth it FLAME PAINTER2 ¥ Create Original Art, Light Effects, and Backgrounds Reve by PeteCalins Flame Painter 2is a unique program that’s not for everyone; however, creatives will ind loads of excuses to play with this application. Flame brushes are just one small segment of the process, and the control and precision you have using these esoteric elements will make you feel bad for foks trying to do similar things any other way. Try the free download and just get in there and play w the Basic tools. You'l probably find this program to be a utility player when you need to make something specific ike fie), or you just need to reignite your creative spark (horrible pun), ‘Once you've checked out the free demo, decide if you want 10.90 for the Percanal version ($78 49} ar make the jurmp to Professional at $59.99, The reason that Id purchase the Profes- sional version isn't the extra options, which include unlimited layers and vector-path editing for extra contol, but rather the commercial cense, Then | can freely use the elements that | cre ate in my other commercial endeavors. have an extra weapon in my artistic arsenal that | can use over and over again, which will pay for the program in no time. NewTek’s LightWave Group brings version 11.5 up to and ‘beyond current standards, with stunningly realistic ourput, new levels of visual intensity, and more capabilities. From the After Effects Interchange functions to the excellent new modeling tools, and all the tools that its loyal customers already love, LightWave 115s, indeed, an entirely new virtual werld, Company: NewTeking Price: $1485 (Upade: $695) ‘Web: wunightWave3dicom Fang. # @@ Graphic designers wil find this a great new painting tool to create backgrounds and elements for their artwork. Adults and kids alike can just have fun playing with it and coming up with now works of art You awe it ta yourself to chock out Flare Painter 2, and unleash your inner creative dragon! a Companyescapemations Price: §2999(Personal$5998Profesional Webswuweescapemationscom fating @# # #:See the from Scott Kelby’s best-selling book series come to hfe LIVE! Coming To A : : $ For A Full Day City Near You! i 99 of Live Trainingg LUMOPRO LPI80 CAMERAFLASH ¥ Manual Flashgun Set to Delight Strobists Review by skein ‘The latest camera flash by LumoPro, the LP180 Quad Sync Manual Fash, comes in a padded carrying pouch, witha stand, specially cut Rosco color-cortection gels, and a sync cable. It recycles in four seconds on NiMH batteries, and one second on high-voltage bat- tery power. The LP180 flash has the same motorized zoom adjustment as the LP160, and you can make 1/3-inctement power adjustments, with a range from 1/128 to 1/1. With this new LP189 flash, you ‘an choose from 12 modes of builtin optical slave functions: SO tuins it of, St is standard slave, and mods S2-1 through S2-10, Coffer multiple preflash arrangements ‘When the LP180 flash i ready to fire, it doesn’t whine; instead, you're warned by a discreet alarm, which you can tum off. The flash head has 180° rotation freedom to both sides, and incina- tion goes from -7° to 90" ne briliant addition to the LP180 is the 1/4-20 mounting thread on one side of the flash head and, for good measure, LumoPro now aso includes a sturdy stand with another mount in the bottom. Finally, the metal hot shoe has a rubberized TIMETRACKER ¥ Automatically Capture How You Spend Your Time Aen yen For creative professionals, tracking time spent on projects is a necessary fact of life. In an ideal world, your computer would tack the time you spend on projects, and you could then adjust, the numbers to account for mistakes, and include additional time spent on noncompute tasks. If you spend most of your billable time in Adobe Photoshop, InDesign, llustrator, InCopy, or Flash, (or in Microsoft Office, CreativeWorx offers exactly that possibly vith their TimeTracker system Just install their extension for your version of Adobe soft- ware (CSS and higher), create a free account at the Creative Worx website, and keep working. You assign a project name to each document—either by selecting it in the TimeTracker panel in your Adohe ann or by ving the document toa folder ‘associated with that project—and it tracks the time spent on leach document. (TimeTiacker recognizes when you're actually working on a document, not simply having it open) All data is private and securely stored in a color-coded chart at the CreativeWorx website. There, you can view and adjust ll your tracked time, and also export your activity toa PDF or CSV file, when needed. safety lock—from left to right—that you can actually operate with gloves on. ‘The battery door on the LP180 has a hinged design, and the power pack interface sits behind another hinged door where you'l find the firmware update interface, the mini-jack and PC- ‘Sync connection. The LumoPro LP180 Quad-Sync Manual Flash is great value for the money. It would be absolutely perfect with a GN help/ calculator. Pricer$19999 hale eeee Company: LumoPro Webs wwlumoprecom To keep within a budget, you can assign an hourly lit to a project and check your progress. Because all imeshee activity ‘occurs in a Web browser, you can work with it on your iPad, CCreativeWorx is working on an iPhone app, as well. Designed by creatives for creatives, TimeTracker strikes the perfect halanre between conten, functionality, and usability, which means you're mare likely to use it at Compary:GreatveWorx Price Upto $28/monthringule or Enterprise ‘ieb-vavncreativewonccom Rating: @ @ @ @NIKON COOLPIXA ¥ ‘Advanced Performance Compact Camera Review by Mike Mackie The COOLPIX A marks Nikon's introduction to the advanced, fixed focal length lens, compact camera arena, joining com panies such as Ricoh, Leica, Fujifilm, Sony, and Sigma. Char- ‘acteristics ofthis group include fast lenses, RAW ile capture, and large price tags. Features of the COOLPIX A include @ 16.2-megapixel DX sensor in a compact body with an f/2.8, 28mm lens (35mm equivalent). The build quality is very good and the buttons ‘and dials all have a solid fee!, Shooting modes include Pro: ‘gram, Aperture Priority, Shutter Priority, Manual, scenes, and ‘two customizable user modes. You can choose autofocus, ‘manual focus, and there's the obligatory macro mode, with a ‘minimum focusing distance of 4", Other features are similar to \what you'd find in a well-equipped DSLR, including exposure compensation, 1080p video, and in-camera editing capabil- ties. There's s hot-shoe mount for an external flash or optical viewfinder, and at the back of the camera isa 3°, 921,000-dot, LCD that's loaded with icons ‘There are two questions: How does it perform and who is this camera for? The COOLPIX A performs very well in many areas, including image quality, low-light situations, video, OWC ENVOY PRO EX ¥ USB 3 External Solid-State Drive Review by Danie. ast Solid-State Drives (SSDs) are finally improving in quality and drop- ping in price to bring stunningly fast performance in a small pack- age (nat to different in size than an iPhone 5), Even after testing ‘a number of storage brands and madels that feature SSD drives, | wasn't prepared for the unreal speed of OWC's Envoy Pro EX: tsa portable SSD solution that outperforms the desktop SSDs. ‘The Envoy Pro EXis not only fast and remarkably small, but it ‘also has a simplicity and ultrasleek appearance that only added ‘to my amazement. When I tested the drive, the transfer of full size, 1080p DV files—ranging from a few megabytes to nearly 3N.GR—mewed inerecthly quickly to and frorn the Fury Pan FX. ‘The read-and-write speeds ran just below 400 MBVs via the USB 3-only, bus-powered drive. Ths isa testament to both the drive interface and OWC’s outstanding Aura Pro 6G SSD quality. Even after extensive use, the drive was barely warm, and the tests ‘were consistent. So, it runs well and it looks cool, butit's also solid, with an anodized aluminum casing that simply feels like what its a fist- and audio. Accessing the video function i difficut without the assistance of the manual, as Nikon moved it from a scene ‘mode, where it typically resides on their compact cameras, toa place buried in the menus. The manual facus ring is arge and easy to use, but it takes too much input for this reviewer's taste. Battery life is quite good. The question about who this cameras for is more difficult to answer. At nearly $1,100 for a compact camera, it hes a limited ‘market, The COOLPIX A is forthe serious pro photographer or ‘amateur who's technically proficient and has deep pockets. The x-format sensor gives it an obvious advantage to cameras with smaller CMOS sensors, but at more than double the cost of the Nikon COOLPIX P7700, i’ stil hard to justify the price. Company: Nikon Price 5109995 Ratngi@ #00 Webs wowikonusa.com class product, Since the Envoy Pro EX is bus-powered via the USB 3 connection, it doesn’t require a power cable orany adap ers; however, i's not backward compatible, as is typical with colder USB connections. The OWC Envoy Pro EX is @ whole lot of speed that fits in any briefcase ar pocket You can even use it asa dasktap soli tion, Welcome to the future of portable storage. Company: Other World Computing Pie $349 (240 GB $6:999 460 6), Webs arwmacsalescom Rating 0 00 0@ : 1 2s8 BOOK REVIEWS PETERBAUER > The Photographer's THE PHOTOGRAPHER'S MBA: Everything You Need to Know for Your Photography Business 8y Sal Greota Ws difficult to provide “Everything You Need to Know for Your Photography Business" in a mere 175 pages of con tent, The author isa business school graduate and a former employee of Microsoft, but also an accomplished portrait and wedding photographer with shelves of awards. These two aspects work well for him and his studio. The author discusses the pros and cons of various corporate entities, creating bus ness plans, branding, marketing, pricing, contracts, model releases, copyright, and perhaps most importantly, the final section, “Where to Start?” The target audience for this book isa photographer or team that has the skis, experience, and equipment to produce top-end product and needs some guid {ance on the small business aspects of being a photographic lentrepreneur. It's not a book for a self-taught, seat-of-the- pants, self-proclaimed professional photographer who rakes ‘a weekend of shooting weddings at discount prices THE DIGITALNEGATIVE JEFF SCHEWE THE DIGITAL NEGATIVE: RAW rage Proesingin Litton Caer Ra ard Paton By chee The subtle ofthe book s "RAW mage Processing in ght room, Camere Raw, and Photoshop" but t's actualy more about understanding the tecnica aspects of shooting and processing RAW images than itis about doing the actal processing. (One thing that’s abundantly lear after reading this book isthe influence the author has had on the develop- tment ofthis software) nhs discussion of adjustments in Lightoom, Camera Raw, and Photoshop, the author focuses on is own work and his oan workfiow. “Tm going con Centate onthe image manpuations| do." and "Thee are alot of blending modes, many of which nether understand nor use" This fit atechno-geek book for em, you want o know the backstory onthe name ofthe color profile “Adobe RGB (1958)," ose 9 2500% cep vew OF photostes on a camera's sensor, here's. a Book fr you! Publisher Peachpit Press Pages 163 Publisher Peachpit Press| Pages299 Website: wow peachpit.com ating Website: wan peachpitcomi StartHere> Begin with the basics—become a pro! sf , KelbyTraining.com introduces personalized expert photography training for - Se eC CUE aS ee Suey Se eee rn Dee en ae a ura ibe Today and Save $20 0} eure ata ce CS TUGg Photoshop Detter 2013 USOT eee For advertising information, please contact Kevin Agren VP. Sales, a 813-422-2370 11 iret [A] Adobe soshp Upon SBook ferOitePhemoreptr, Te Tt hatpraningecm Tep/kramingvecom ‘en Sn Sota. ‘anos ([B] wnsphotovidea com ay Photo ‘nemo aca Des, wladogedsin canis [c] ‘ucresnercom eetmeaing vinnerpxingcom 05 ‘emalitkagrenetelbymediagroup.com weulsuplescom ntl Weo2 "wwinelcon lotr Photographic Lied 9 "wiewintertphotegraphiecor [K] Kelby Tali nas poring (L] he. 10 epikcyiingconi gnc Mogae. 10 Muiphciodpaaconichicometampor [M] ‘onoumanrodertion Ne seas [0] one Sofa ° [P] Peachpit Pubsing croup, a pesca Photobacks LC, ‘wuphotabackscom Photoshop rd Confeenee Expo tpphotshopwerkicom Photoshop Are wnvshetodopce com ‘nwphotsmitapac Pression hctogaphesof Aner FR. [R] Rey gh Su. ‘ewreaiignttcon [s] Suespace. npr [1] [Vv] angus ‘ntoiatdriam [Ww] Weta muecotcom 1m 12 asCe Ee Coe NL Dae el) REO Rs Ease) Eee eens SenUe a4 pin a alba tg Cee a ee ee ac) nd so much mre. Radrs wl id ing tis nd ks, scion for begins, nerves with he pos, ond es and reves on eas ger (om eerste a == bayphoto e MODULE Sa aoa een ecy Perce ao Sa eae Retry Sree tne eae ) DOWNLOAD THE LIGHTROOM” eG alg cOrUertac eter eet!Photoshop Bl AL Singl le Light tan icons CS caer Pe cae Peon 13 Hour AZ Guideto retouching in Photoshop CS6 Lighting techniques using justa single ight oe (imu Hyperceatve method t rapid logo design eS rai fcr 10 Hour AZ Guideto Lightroom 4 Introduction to 3D Gone ied in 3 with The industy stan tablets and Photosho eee te ee bY a Perera PI) www.PhotoshopCAFE.com/videoJOIN & GO! Get a full year of benefits & money/time/sanity savings plus Col irevoMol Relay xo Si0) Imaging USA* fered) ImagingUSA.org/join-go IMAGING USA IS HOSTED BY IP LIA)PRINT SMART PRINT WITH ¢ 4D Lenticular Prints * Akuafoil * Business Cards * Buttons * Door Hangers Brochures * Calendars * Korokards * Envelopes * Letterheads * Booklets * Magnets * Notepads * Linen Uncoated Stock * Plastic Cards * Postcards * Puzzles * Silk Laminate * Stickers * Posters * Banners Banner Stands ° 4Tee * Mugs * Foil Worx © Rigid Signs * Window Clings * Rolled & Mounted Canvas ... and more! REGISTER AT AND GET STARTED TODAY!134 YPHOTOSHOP Q&A I'm having a hard time finding a specific panel in Photoshop. Is there a way | can quickly reset m Photoshop workspace? D> Beginning with his issue, I want to start something ate new Not ony wil answer questions that come via ema and the Web, but lao jump into the members’ Help Desk on the NNAPP website, aswel Thisis a wonderful peer-to-peer com munity where members help eachother with Photoshop issues. (ur Hep Desk team of experts aso monitors the forum So fel free to post your questions thee; you might eet used herein Photoshop User magazine! What is the purpose of the Adaptive Wide Angle filter in Photoshop? \When you open an image in Adobe Camera Raw, you have the option to eiminate some distortions and vignetting using the Enable Lens Profle Corrections option inthe Lens Corections panel, which reads the metadata inthe file. You can also use Fiter>Lens Cor- rection in Photoshop. There ae times, however, when wide-angle lenses don't get enough of an adjustment to make the image look straight. Adaptive Wide Angle (under the Fter menu) will not only read the metadata fr the lens (t's included), but aso offer you a CConstain tool (C). Click-and-drag on any straight area in the picture and the image will be corrected, | use Adaptive Wide Angle when | merge multiple images together ina panorama How does Pin Depth affect what you're transforming in Puppet Warp? Puppet Warp (Edit>Puppet Warp transforms an image based on a set of pins that you place ona picture. Think ofthe pins asthe joints fan yaurarm and wrist Placing nine nn the image el moving pow tions of the image will bend the image around those points. How ever, when a potion ofthe image comes in contact with another pin, it wil hve to decide whether it goes infront or behind that pin. By default, the pin depth has the newest pins on top. f you'd lke to place a newer pin further back in the order, lick on the pin tomakeit active and dick on the second icon next to Pin Depth in the Options ar. This will move the pin down inthe order. RAFAEL “RC” CONCEPCION Photoshop uses a variety of workspaces listed in the Window> Workspace menu, Let's say you have the Essentials (Delault) work space selected and you can find what you're looking for (e.g, you closed the Layers panel). Click on WindawoWorkspace>Reset Essen- tials and the workspace wil rset tse to its default installation ‘When you open an image in Adobe Camera Raw, at the bottom there's a link to open the Workflow Options, ‘which has a Resize to Fit option that allows you to select how large you would like the image to open in Photo- shop. Is there a similar option in Lightroom 5? In Lightroom you can specify the Resolution ofthe image to be ‘opened in the preferences (Lightroom|PC:Eait|>Preferences> External Editing), but you can’ resize the image as it's coming into Photoshop, per se. | would, however, recommend agaist enlarging your images inthe Workflow Options section in Adobe Camera Raw. ‘There are some cases when users wll want to opensmallerver- sons oftheir images, ut the option that entices people here i the bigger filesize option, You can't take a3-megapixl image and turn itinto a 14-megapive image without having Photoshap scale it for you, which wil lose some detal in the process. How do I puta link on some text in a JPEG image? The short of itis, you can't. JPEG images don’t contain anything ther than pine information andthe occasional vector path stuff ‘There are two ways that you can insert a link into an image area HTML or POF In Photoshop, set up the text ayer and color it as iit were a link Save the fle asa Photoshop POF. Ifyou have Adobe Acrobat Pro on your computer (not the free Reader version, you can use the Link tol in the Content area under Tools to drag cut an area (nthe image and set it to go toa webpage when clicked, |D EVERYTHING YOU NEED TO CREATE AN EXCEPTIONAL PHOTOGRAPHY WEBSITEBy F i 4 ] Nellie lL cma UMelm a Oli aicelOMIats oli lca) pull out all the creative stops. The tools fram Alien Skin help me quickly explore ideas that ‘Would be tedious or impossible otherwise.” ed photosunoie UO ee cy software at less than haf price Our tools Ege ce Mee cl Visit AlionSkin.com to see beautiful examples ‘and try the Photo Bundle for yourself.