THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM

DISPLAY UNTIL JANUARY 14, 2014
E I G H T H A N N U A L
SCOTT
KELBYS
GONZO
HOLIDAY
GEAR GUIDE
Combine landscape, portrait,
and still-life photography to
add depth and enrich images
New and hidden features
that will improve the way
you interact with fonts
CREATIVE
POINT OF VIEW
CREATIVE
CLOUD
T H E A D OB E

P H OTOS H OP

H OW- T 0 MA GA Z I N E D E C E M B E R 2 0 1 3
Your most demanding tasks
have met their match the
3rd Generation Intel Core i7
processor the perfect engine
for power users.
PCs based on the 3rd generation
Intel Core i7 processor help
cpIimize ycur wcrkdcw and
maximize your productivity
during editing, importing and
exporting of photos.
Unparalleled performance will
unleash your digital creativity for
a richer and smoother experience.
The only thing more amazing
than Intel technology is what
you will do with it.
The Intel Core i7 is my processor
of choice. It gives me a faster,
smoother and richer experience
while helping me bring my
creative vision to life. The amazing
performance lets me capture,
post process and share my work
faster than ever. I can absolutely
breeze through archiving loads of
high res images and multilayered
PSDs, and best of all, my work has
never looked sharper!
Scott Kelby
Photographer, Designer and Award Winning Author
[ for hardcore creatives ]
you need
power
the
2012 Intel Corporation. All rights reserved. Intel, the Intel logo, Intel Core, Intel Inside, Intel Insider, are trademarks of Intel Corporation in the U.S. and/or other countries.
Photopraghy courtesy of iStockphoto, and Scott Kelby
FEATURE
46
SCOTT KELBYS
GONZO HOLIDAY
GEAR GUIDE
Scott Kelby is back with his 8th Annual Gonzo Holiday Gear
Guide. From stocking stuffers to great value gear to things
that make you go cha-ching, youll find it all here. Scott only
includes gear that he cant live without, so you know it has to
be good. Add one or two of these items to your gift list for the
photographer or Photoshop user in your life, and he or she will
have a wonderful holiday season.
Scott Kelby
DEPARTMENTS
From the Editor 6
About Photoshop User Magazine 10
Contributing Writers 12
NAPP Member Community 16
From the Help Desk 20
NAPP Member Gallery 22
HOW-TO
DOWN & DIRTY TRICKS 34
Pitted, Rusty Type Effect
Flip Fonts 38
HDR Compositing 42
BEGINNERS WORKSHOP 58
Safe Healing and Cloning
62 CLASSIC EFFECTS
Get Your Head in the Clouds
66 FROM BERTS STUDIO
Drawing Dog Tags
90 DIGITAL PHOTOGRAPHERS
NOTEBOOK
The Power of Layer Comps
96 BEYOND PHOTOSHOP
Out of This World Animation, Part 1
COLUMNS
28 DESIGN MAKEOVER
Laying Down the Law
82 CREATIVE POINT OF VIEW
Still-Life Portraits
94 THE ADOBE CREATIVE CLOUD
New and Hidden Font Features in Adobe Creative Cloud
100 THE SMALL BUSINESS
AND FREELANCE COACH
Question Everything
110 PHOTOSHOP TIPS
118 PHOTOSHOP Q&A
table of contents DECEMBER 201 3
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LIGHTROOM
LIGHTROOM FEATURE 70
Understanding Presets
UNDER THE HOOD 74
HDR and Panoramics
UNDER THE LOUPE 78
Expanding Web Gallery Options
LIGHTROOM TIPS & TRICKS 80
86
TWO FROM ONE
Dave Cross shows us how to double process a single RAW
exposure using Camera Raw and smart objects: once for high-
lights and once for shadows. He then blends the smart objects
together using stack modes to extend the dynamic range in
the image. The beautiful thing about this technique is that it
requires no masking.
Dave Cross
DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it
means there are either downloadable practice files or additional
content for NAPP members at http://members.photoshopuser
.com/magazine.
KEY CONCEPTS
These icons at the beginning of columns indicate theres a short video on a tool
or function used in that tutorial at the Key Concepts NAPP member webpage at
www.photoshopuser.com/keyconcepts.
BUT WAITTHERES MORE
Smart objects
Dodge & Burn tools
Quick Selection tool Pen tool
Layer masks Lasso tool
REVIEWS
102 Exposure 5
Actual Multiple Monitors
103 DxO ViewPoint 2
Brianna Graham Actions
104 Florabella Collection
Smooth Skins 2
106 Photogenic Ion
Topaz ReStyle
108 Photoshop Book Reviews
DYNAMIC
RANGE
www. photoshopuser. com
FROM THE
EDITOR GOING GONZO FOR THE HOLIDAYS

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Its the end of the year and time for one of my two favorite annual issues: our Annual Gonzo Holiday
Gear Guide (my other favorite is the Photoshop 100 Hot Tips issueits hard to beat getting a years
worth of tips in one issue). Once again, Im sharing some inexpensive stocking stuffer ideas (I have a
few in there for around six bucks), and a host of gifts that will put a huge smile on the face of someone
special on your holiday gift list. Lots of cool stuff (all stuff I use myself in my own work), and I hope you
fnd some real gems in there, because theres nothing more fun than getting gear you didnt have to buy
yourself. It starts on page 46.
Of course, we have lots of other cool stuff on tap, including your favorite columns, such as Lesa
Sniders Beginners Workshop on how to use the Healing Brush and Clone Stamp tools effectively
and nondestructively (p. 58). Our own Pete Collins shows how to create a cloud brush to add happy
little clouds to plain skies for a little added drama in our Classic Effects column (p. 62). Dave Cross
shows how to double process a single RAW capture using smart objects, and then combine them
using stack modesno masking required (p. 86). In our Adobe Creative Cloud column, Jay Nelson
takes a closer look at some of the font features that are available in the CC versions of Photoshop,
InDesign, and Illustrator (p. 94), and Kevin Ames looks at how and why youd use layer comps in the
Digital Photographers Notebook (p. 90).
In other year-end NAPP news, I hope youll join us this spring as we bring the Photoshop World
Conference & Expo to Atlanta for the frst time ever. I think Atlanta is going to be a rockin location
for Photoshop World because it has such a thriving design and photography community. There are so
many great opportunities for us in that area, with great locales and lots of studios, plus Atlanta is a
really fun town all the way around. Were out at the beautiful Cobb Galleria Centre, and the location
couldnt be better (close to great shopping, dining, and fun), so I hope youll make plans to join us
April 810. Get all the details (and save a bundle by signing up now) at www.photoshopworld.com
(dont forget, as a NAPP member, you save $100 off the nonmember price).
We have some really big things coming at the beginning of 2014, and I wish I could share them
now, but were still putting the fnishing touches on it all. I think its the most exciting thing thats
happened to NAPP in years, and Im really glad youre here to be a part of it.
My humble thanks to all our members in more than 120 countries around the world for your sup-
port this year, including your ideas, suggestions, enthusiasm, evangelism, and friendship. I cant wait
to share all the cool new stuff the new year has to offer. Heres wishing you a safe, fun, happy, and
healthy holiday season, and may 2014 be your best year yet!
All my best,
Scott Kelby
NAPP President & CEO
Editor & Publisher, Photoshop User
a few words from scott kelby
AWARD OF
EXCELLENCE
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Mike Mackenzie, Senior Editor
Contributing Writers
Kevin Ames Corey Barker Peter Bauer Larry Becker Bruce Bicknell
Pete Collins RC Concepcion Michael Corsentino Dave Cross
Sen Duggan Daniel East Katrin Eismann Brian Matiash Sean
McCormack Bert Monroy Jay Nelson Scott Onstott Colin Smith
Lesa Snider Rob Sylvan Erik Vlietinck Jake Widman
GRAPHICS:
Felix Nelson, Creative Director
Dave Damstra, Production Manager
Tafy Cliford, Senior Associate Designer
Dave Korman, Senior Premedia Specialist
Marketing Team
Krista Rosado, Marketing Director, NAPP
Eduardo Lowe Leslie Montenegro Margie Rosenstein
Web Team
Karey Johnson, Director of Web Development
Melissa Cozart Christopher Reed Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
David Moser, Executive Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
Larry Becker, Executive Director of the NAPP
ADVERTISING:
Kevin Agren, V.P., Sales 813-433-2370
Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 215
Veronica (Ronni) ONeil, Director of Circulation/Distribution
800-738-8513 ext. 235
HOW TO CONTACT THE NAPP:
U.S. Mail: 333 Douglas Road East Oldsmar, FL 34677-2922
Voice: 813-433-5005 Fax: 813-433-5015
Customer Service: publicpsu@kelbymediagroup.com
Letters to the Editor: letters@photoshopuser.com
Letters to the Lightroom Editor: lightroom@photoshopuser.com
Membership Info: info@photoshopuser.com
Membership Suggestions: lbecker@photoshopuser.com
World Wide Web Including the Photoshop Help Desk,
Photo Gear Desk, and Advice Desk: http://members.photoshopuser.com
COLOPHON:
Photoshop User was produced using Adobe Photoshop CC and Adobe
InDesign CC. Blair ITC was used for headlines, Adobe Myriad Pro for
subheads, and Frutiger LT Std for text.
DECEMBER 2013 Volume 16 Number 10 Printed in USA
The ofcial publication of
The National Association of Photoshop Professionals
This seal indicates that all content provided herein is produced by Kelby Media,
Inc. and follows the most stringent standards for educational resources. Kelby
Media is the premier source for instructional books, DVDs, online classes, and live
seminars for creative professionals.
All contents COPYRIGHT 2013 National Association of Photoshop Professionals.
All rights reserved. Any use of the contents of this publication without the written permis-
sion of the publisher is strictly prohibited. Photoshop User is an independent journal, not
affiliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator,
InDesign, Lightroom, and Photoshop are registered trademarks or trademarks of Adobe
Systems, Inc. in the United States and/or other countries. All other trademarks mentioned
belong to their respective owners. Some of the views expressed by contributors may not
be the representative views of the publisher. ISSN 1535-4687
The Photographers Choice
for Photo Editing
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2013 onOne Software, Inc. All rights reserved.
about photoshop user

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ABOUT
PHOTOSHOP
USER
MAGAZINE
Photoshop User magazine is the official publication of the National
Association of Photoshop Professionals (NAPP). It is for members,
by members, and is not available to the public by subscription.
As a NAPP member, you automatically receive Photoshop User
delivered right to your door (or digitally) ten times a year. Each issue
features in-depth Photoshop tutorials written by the most talented
designers, photographers, and leading authors in the industry.
ABOUT NAPP
THE NATIONAL ASSOCIATION OF
PHOTOSHOP PROFESSIONALS
is a dynamic trade association and the worlds leading resource for
Adobe

Photoshop

training, news, and education. Founded in 1998,

NAPP has become the largest graphics and digital imaging association
in the world with more than 70,000 members worldwide. NAPP is open to
any individual using Photoshop in a casual or professional environment.
Theres no faster, easier, and more affordable way to get really good at Photoshop.
You can join for only
$
99 U.S.,
$
129 Canada, and
$
99 International (digital delivery).
NAPP also offers special educational memberships.
Go to www.photoshopuser.com to get more info.
MEMBER
BENEFITS
PHOTOSHOP USER MAGAZINE
Ten issues of the best Photoshop tutorial-based magazine in the industry.
MEMBERS-ONLY WEBSITE
Our extensive website features time- and money-saving content.
TUTORIALS & EDUCATION
Thousands of Photoshop tutorials, bonus classes, and quick tip videos.
MEMBER DISCOUNTS
Save anywhere from 24 times your membership cost by using our many
industry-related discounts.
TECH SUPPORT
Fast, friendly Photoshop, Lightroom, and photo gear help, equipment
advice, and more from certified experts.
MEMBER COMMUNITY
NAPP members range from beginners to pros and love to lend each other a
hand. Together, we have built the friendliest, most knowledgeable Photoshop
and photography forum on the Web.
NEWS & REVIEWS
Unbiased coverage on the latest equipment, plug-ins, and programs
in the marketplace.
MONTHLY E-NEWSLETTER
Produced exclusively for members to keep you informed of everything new
in the industry and at NAPP headquarters.
REGISTRATION DISCOUNT
TO PHOTOSHOP WORLD
CONFERENCE & EXPO
The semiannual NAPP convention and the largest Photoshop and photog-
raphy learning experience on the planet. Its an amazing Photoshop event.
FIND NAPP MEMBERSHIP DETAILS AT www.photoshopuser.com or call 800-738-8513 MondayFriday, 8:30 a.m. to 7:00 p.m. EST.
Lastolite accessories are essential for my shoots.
The Ezybox is my go to speedlight softbox, it
produces fantastic soft light for portraits, and
packs up tight for easy transport. Trigrips are
always in my pack. Having a grip handle makes
these reectors very easy to use.
Small flash. Big results.
Image on left taken with Ezybox Hotshoe shown
above, designed to work with most ash guns.
Dont 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.
Tom and Lastolite Professional

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contributing
writers
KEVIN AMES
creates evocative photographs for clients such as Westin Hotels, AT&T, and
Coca-Cola. His fourth book, published by Peach pit Press, is The Dig tal Photog-
raphers Notebook: A Pros Guide to Photo shop CS3, Light room and Bridge.
STEVE BACZEWSKI
is a freelance writer, professional photographer, graphic designer, and consul-
tant. He also teaches classes in traditional and digital fine arts photography.
His company, Sore Tooth Productions, is based in Albany, California.
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select
group of corporate clients. His latest book is Photoshop CC for Dummies.
He was inducted into the Photoshop Hall of Fame in 2010.
BRUCE BICKNELL
is the founder of Digital Blue Productions. He has been an instructor on Adobes
in-box training, and is an instructor at Sessions.edu. His clients include Time Inc.,
NFSTC, DTCC, and magazines that include People and National Geographic.
PETE COLLINS
is an education and curriculum developer and website overseer for NAPP. He is
one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts
background, Pete is well versed in photography, graphic design, and illustration.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker
and international workshop leader. Learn more at www.michaelcorsentino.com.
SEN DUGGAN
is the co-author of Photoshop Masking & Compositing, Real World Digital
Photography, and The Creative Digital Darkroom. He leads workshops on
digital photography, Photoshop, and Lightroom (SeanDuggan.com).
DANIEL EAST
is an author, free lance writer, presenter/trainer, and consultant with more than
20 years experience in photography, pro-audio, and marketing. Daniel is also
founder and president of The Apple Groups Team support network for user groups.
KATRIN EISMANN
is the author of Photoshop Restoration & Retouching and co-author of Photoshop
Masking & Compos ting and The Creative Digital Darkroom. Katrin is Chair of
the MPS in Digital Photography department at the School of Visual Arts in NYC.
ED GREENBERG
& JACK REZNICKI
have a blog at www.thecopyrightzone.com where you can read about
their book, Photographers Survival Manual, published by Lark Books.
MATT KLOSKOWSKI
is a full-time education director for Kelby Media Group and a Tampa-based
photographer. Hes the editor of Lightroom Magazine, a best-selling author,
and teaches Photoshop and Lightroom seminars around the world.
BRIAN MATIASH
is a published photographer, writer, and Googler. When not out photographing,
he leverages his industry experience to help grow the Google+ Photos platform
and community.
BERT MONROY
is considered one of the pioneers of digital art. His work has been seen in countless
magazines and books. He has served on the faculty of many well-known institutions,
written dozens of books, and appeared on hundreds of TV shows around the world.
JAY NELSON
has been writing about graphic design topics since 1992. As former publisher
of Design Tools Monthly, he knows a lot about digital publishing, fonts, and font
management. Learn more at www.DesignToolsMonthly.com.
SCOTT ONSTOTT
is the author of Photoshop CS6 Essentials, Enhancing Architectural Drawings
and Models w th Photoshop, and many other books and videos. You can see
what hes up to at ScottOnstott.com.
COLIN SMITH
is an award-winning digital artist, photographer, and lecturer who has authored
18 books and has created a series of training videos. Colin is also the founder
of the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
LESA SNIDER
is the author of Photoshop CC: The Missing Manual and several training videos (lesa
.in/clvideos), and co-author of iPhoto 11: The Missing Manual. Shes on the Photo-
shop World Dream Team, a columnist for Macworld, and founder of PhotoLesa.com.
ROB SYLVAN
is the Lightroom Help Desk Specialist for the NAPP, on staff at the Digital
Photo Workshops, and the author of Lightroom 5: Streamlining Your Digital
Photography Process. You can learn more at www.lightroomers.com.
ERIK VLIETINCK
founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik
has been a freelance technology editor for more than 20 years. He has written
for Macworld, Computer Arts, Windows NT Magazine, and many others.
JAKE WIDMAN
is a writer and editor who lives in San Francisco. Hes been covering the intersection
of computers and graphic design for about 25 years nowsince back when it was
called desktop publishing and Photoshop was just a piece of scanning software.
photoshop s most wanted
For a free sample and more information,
visit: fuelbooks.com
Need a little boost? Then ll up on Fuel! Packed with practical tools and tips that will
help you quickly advance your creative skills, these short eBooks get right to the heart
of what you need to learn. Every FuelBook comes in three formatsMOBI, ePUB, and an
elegantly laid out PDFso you can choose the reading experience that works best for
you on whatever device you choose. Written by top professionals, FuelBooks offer friendly,
straightforward instruction and innovative ideas to power your creativity.
Powerful Ideas. Inspired eBooks.
MY JUGGLING ACT by KANSAS PITTS
At MpixPro, we offer high quality, relevant products and a simple ordering solution
so you have time to enjoy the little things in life. Now go have a belly laugh.
KANSAS PITTSs FAVORITE PRODUCTS
LIFESTYLE & PORTRAIT PHOTOGRAPHER from FLORIDA.
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ACCORDION MINI LUXE CARDS LAYFLAT BOOKS

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INDUSTRY
NEWS
TRAINING
AND
INFORMATION

Where youll find notable achievements, musings, and inspirational work from fellow members
NAPP
MEMBER
COMMUNITY
BY LARRY BECKER
COREY LIVES
IN A TIME WARP
Ever since I saw his frst Photoshop tutorial, I knew
Corey Barker saw things differently, and the results are
really cool. He can realistically change a dry cityscape
into a rainy street scene, complete with puddle refec-
tions and falling drops. Or he can use something like
rendered fbers to make believable water pour from a
faucet. Its cool stuff! But sometimes Corey shows what
goes into a big, complicated production, without neces-
sarily making it into training video. He shows the pro-
cess. Originally inspired by speed painting videos on
YouTube, he has done a number of time-lapse videos of
larger projects. Some have eventually become tutorials,
but if you just want to be inspired by some great Photo-
shop production, and youre ready to be entertained (more so than trained), have a look at some of Coreys time-lapse videos.
Here are links to three of them: http://kel.by/1aDbgd2, http://kel.by/HF5b41, and http://kel.by/1bWgBsC.
A HOLIDAY (GIFT) STORY:
GIFTED NAPP MEMBERS AND THEIR FRIENDS
NAPP has been around for almost 20 years and we have our faithful, long-time members to thank for spreading the word so that NAPP
could continue to grow, becoming the largest image-related association in the world. For many years, NAPP members who loved their
memberships and wanted to share it with friends wanted to buy gift memberships for fellow creatives. Unfortunately, it was hard to
do. We didnt really have a gift certifcate until we were old enough to drive (around our 16th birthday). We dont really make a big
deal out of it, but since weve had them for a few years now, I thought it would be worth reminding NAPP members that its pretty
easy to give the gift of NAPP. All you have to do is call the toll-free number at 800-738-8513 and well send you a 6x9" NAPP Gift
Certifcate and mailing envelope that you can personalize. Finally, giving the gift of NAPP is as easy as ever.

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TAKING BETTER PICTURES
WITH YOUR SMARTPHONE
Speaking of smartphone pictures, as many of you know, were pretty darn good
friends with B&H. Several folks on staff here are the reviewers and onscreen
talent behind many B&H video reviews on their YouTube channel (http://kel
.by/175zrKZ). The reason we mention this is because recently, Larry Becker
recorded a quick, simple class all about taking better pictures with your smart-
phone. Stop by the B&H YouTube channel and look for Larrys smartphone
class. Who knows? You might just get rich with Fotolia stock photos.
MORE COMMUNITY
INTERACTION
Here are more ways to interact with
us and other NAPP members
MEMBERS ONLY
NAPP members, show off your talent by uploading your
artwork to the Portfolios section. You could be the next
Editors Choice: Image of the Week winner. Visit http://
members.photoshopuser.com/portfolio for inspiration.
We also have the best community around. Visit the
Forums section and become part of the conversation.
Have a look at http://forum.photoshopuser.com.
SOCIALLY SPEAKING
Friend us on Facebook, follow us on Twitter and
Google
+
, and check out informative blogs by
industry leaders.
NAPP
www.facebook.com/PhotoshopUser
@NAPP_news
Scott Kelby
www.scottkelby.com
@scottkelby
www.facebook.com/SKelby
kel.by/onGplus
Matt Kloskowski
www.lightroomkillertips.com
@mattkloskowski
www.facebook.com/ThePhotoshopGuy
kel.by/MattGplus
Corey Barker
www.planetphotoshop.com
@planetphotoshop
www.facebook.com/PlanetCorey
kel.by/CoreyGplus
Rafael RC Concepcion
@aboutrc
www.facebook.com/webrc
kel.by/rcgplus
Pete Collins
@PeteCphoto
www.facebook.com/PhotoshopPete
Jessica Maldonado
www.facebook.com/PhotoshopJessica
The Grid Live
kel.by/TVtheGRID
@TheGridLive
Podcasts and More
YouTube: YouTube.com/KelbyMediaGroup
Photoshop User TV:
KelbyTV.com/photoshopusertv
Kelby TV: KelbyTV.com
Offcial NAPP Gear Store: kel.by/NAPPgear
ACCLAIMED MICROSTOCK
COMPANY FOTOLIA
HAS SMARTPHONES IN MIND
In response to the new trends in social media, mobile phone, and smartphone
use, Fotolia launched a new app and collection, uniquely designed for smart-
phone photos. Created for iPhone 4 and up (an Android version is coming
soon), Fotolia Instant offers fresh, new, in-the-moment images taken using the
new app, which allows users to shoot and upload to Fotolia directly from their
smartphones. Thanks to a new flter and easy exposure control, the new Fotolia
Instant app allows users to take better, more aesthetic shots without compro-
mising image quality and resolution.
The Instant Collection offers users a new opportunity to enhance their visual
communications with spontaneous, high-quality photos. Photos being submit-
ted to the Instant Collection must meet the same quality and aesthetic stan-
dards as other images for sale on Fotolia, as well as meet the legal requirements
related to image rights and intellectual property as specifed by Fotolia. The
Fotolia Instant app makes it easy for photographers to upload digital model
releases to the site, directly from their smartphones, making the process sim-
ple and effcient.
Fotolia Instant is available for free in the App Store, and should be available
for Android users by the time you receive this magazine. An iPad application
will also be launched shortly that will allow users to browse Fotolias library,
and download images to their device or Dropbox account. For more informa-
tion, visit http://us.fotolia.com/instant.
PETE COLLINS,
COMPOSITING GURU
Recently, we told you about a regular event on the NAPP member site called
the Photoshop Fun Contest, where Pete starts us off with an image and
practically no guidance, and the best composite using the supplied image(s)
wins. With this in mind, Pete undertook the challenge of putting together a
comprehensive Photoshop training class all about compositing called Design
Series: Compositing Fundamentals, and its one of the latest full-length classes
posted on the NAPP members site. Just log onto the members-only site at
http://members.photohsopuser.com and click the Online Classes link. There,
youll fnd around 50 full-length classes, listed in chronological order. Because
its new, Petes compositing class will be near the top, right along side Trey
Ratcliffs Landscape & Travel Photography Series class and Calvin Hollywoods
Color Adjustments and Manipulations class.

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In mid-October, Nikon Inc. announced a new addition to its DSLR lineup,
the Nikon D5300. Though compact and lightweight, the Nikon D5300 has
an enhanced 24.2-megapixel DX-format CMOS sensor, EXPEED 4 image
processing, and the convenience of built-in Wi-Fi that allows users to easily
capture and share amazing images and videos. Following the technology of
the well-received D7100, the 24.2-megapixel CMOS sensor boasts height-
ened clarity and detail due to the removal of the optical low-pass flter (OLPF).
The Nikon D5300 covers a wide ISO range of 10012,800, expandable
to ISO 25,600. The new EXPEED 4 image processor maximizes performance
and energy effciency, while reducing image noise and delivering true-to-life
colors. To further help users capture the intended image, the D5300 features
Nikons Scene Recognition System and 2,016-pixel RGB metering system to
analyze and recognize the scene. Using these systems results in adjustments
to exposure, AF, and white balance to deliver the best photo possible. It also
has a 39-point autofocus system, and it shoots at a respectable 5 frames
per second. The Nikon D5300 is available now for $799.95 (body only), or
$1,399.95 with the AF-S DX NIKKOR 18140mm f/3.55.6G ED VR lens.
Right before going to press, Nikon announced the Nikon D, a powerful
DSLR that pays homage to the classic Nikon F-series flm cameras from the
1970s. The Nikon D (for digital fusion) is billed as a photographers camera.
A series of knobs and dials put commands that are ordinarily found buried in
the menu at the photographers fngertips, such as white balance, ISO, and
exposure compensation.
The Nikon D uses the same 16.2-megapixel FX-format CMOS sensor
found in the fagship Nikon D4. It also uses Nikons EXPEED 3 image process-
ing engine; a 39-point AF system; 2,016-pixel 3D matrix metering; 3.2"
LCD screen with 921K-dot resolution; and an ISO range from 10012,800,
expandable to 204,800.
Arguably, the most interesting aspects of this camera, apart from the
design and features, are what it doesnt include. Theres no built-in fash
and no video. This camera was designed for photographers who yearn for a
digital camera that feels like a flm camera.
The Nikon D is available now for $2,749.95 (body only), or $2,999.95
with the new 50mm f/1.8G Special Edition lens, which also pays homage to
classic NIKKOR styling. For more information on both the D5300 and D,
visit www.nikonusa.com.
NIKON RELEASES
TWO VERY DIFFERENT DSLRS
SIGMA ANNOUNCES
NEW ART LENS
Sigma Corporation of America
announced a new lens at the Photo-
Plus Expo 2013, the 24105mm f/4
DG OS HSM Art lens. This new Art
lens was developed as part of the
companys global vision and will be
on shelves by the time you read this,
starting with Canon mounts, for the
street price of $899.
The full-frame lens, which will also
work with APS-C sensor cameras
with an effective increase in focal
length, will be available in Nikon and
Sigma mounts in December, and Sony
mounts will soon follow. All but the
Sony mounts will incorporate Sigmas
proprietary Optical Stabilizer (OS)
technology to compensate for camera
shake. This functionality is omitted
from Sony mounts to accommodate
for that manufacturers in-camera
image-stabilization system.
The 24105mm f/4 DG OS HSM
has an internal focusing system that
eliminates front lens rotation, enhancing
the lens stability and allowing the use of
circular polarizing flters. It also offers the
largest possible fxed aperture-to-zoom
ratio that will maintain optimal integrity
for many kinds of photography, includ-
ing landscapes, architecture, portraiture,
and still life. With a minimum focusing
distance of 17.7" and a maximum mag-
nifcation ratio of 1:4.6, this lens is also
excellent for close-up photography.
For more information, visit www
.sigmaphoto.com.
To: Kent
From: NAPP Help Desk
The Creative Cloud is a subscription ser-
vice to one or more products of what was
formerly the Adobe Master Collection.
For a set monthly fee, you have access
to all of Adobes creative programs. The
annual fee for the entire Creative Cloud
set of programs is $49.99 per month,
billed monthly, with an annual subscrip-
tion. Upgrading from any Creative Suite 3
or later edition or individual product
knocks off $20 per month for the frst
year. (Theres also a more expensive sub-
scription plan that doesnt have an annual
commitment, but at $74.99 per month
its only for folks with a specifc product
cycle or project in mind.)
Adobe is also offering a limited time
Photoshop/Lightroom/Bridge package
for $9.99 per month. The package also
includes access to the Behance site for
sharing and displaying images, and 20 GB of
cloud storage. To qualify for this offer, you
must have a valid Photoshop CS3 or later
serial number. Adobe will keep the $9.99/
month price indefnitely, with an annual
commitment (and monthly billing). If this
package suits your needs, act quicklythe
offer expires on December 31, 2013.
Keep in mind that this offer is totally
separate from the free, year-long full Cre-
ative Cloud subscription that Photoshop
World attendees received in Las Vegas
this past September. If the only programs
youll use regularly down the road are
Photoshop, Lightroom, and Bridge, you
should take advantage of the $9.99
offer before it expires and think of the
free Photoshop World membership as an
added bonus that temporarily gives you
access to the 20 or so additional applica-
tions of the Creative Cloud. If youre
FROM THE HELP DESK
PETER BAUER
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Whats the real deal behind Adobes new Creative

Cloud program? How come I cant just purchase
a boxed set as an upgrade to my current Creative
Suite?KENT
already using some of the additional
programs as part of your regular workfow
and plan on continuing the full member-
ship after the free one-year subscription,
theres no need to also join the $9.99 deal.
So, what do you get for your money?
You have access to the programs of the
plan you selected, plus Behance and cloud
storage, of course. You also have regular
updates and new features available as
soon as theyre ready. No longer do you
need to wait a year (or more) for new
features to be introducedyou get them
as soon as theyre considered customer-
ready. (Since its release in mid-June, Photo-
shop CC has already added quite a few
new features, with more right around the
corner. And users didnt have to wait a
full year for the next version.)
Remember that all new Camera Raw
features are for CC only. While Camera
Raw updates for Photoshop CS6 will
include support for new cameras and lens
profles for some time, new capabilities
such as the interactive histogram, the Color
Smoothness slider in the Detail panel, and
improvements to the Spot Removal tool (B)
with the ability to Heal or Cloneare only
available when working with Camera Raw
through the Creative Cloud versions of
Photoshop and Bridge.
Keep in mind that should you at some
time decide to stop your subscription to the
Creative Cloud, all CS6 and earlier versions
of your programs remain fully functional,
but they wont get any of the new features
introduced in the future.
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napp member gallery

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DANNY
PORTNOY
Danny Portnoy, born in 1943 in Finland, developed his first roll
of film at age 7. Residing in Israel and Switzerland, Danny is
an engineer and IT professional turned fine-art photographer
who also likes street and travel photography. Using his creative
digital-darkroom techniques, Danny introduces a special mood
into his images.
www.dportnoy.com; danny@dportnoy.com
RICH
LEMONIE
Rich Lemonie is a New Jersey-based graphic designer, photogra-
pher, and newly added title iPhoneographer. iPhoneography has
integrated itself into Richs daily life over the past two years. Rich
uses his iPhone from start all the way to finish (snaps the photo
and uses a few key apps to edit, post, and even print directly from
his iPhone).
www.richlemonie.com; rich.lemonie@gmail.com
WHERE
MEMBERS
EXHIBIT
THEIR
WORK
NAPP
MEMBER
GALLERY
If youd like to have your work considered for publication in the NAPP Member Gallery, submit samples of your artwork to fnelson@kelbymediagroup.com.
PAULO
PACHECO
Paulo Pacheco is a Brazilian photographer who graduated
from Boston University and works in the area of commer-
cial and editorial photography. He is the winner of several
photography awards for various editorials and magazine
covers. In 2012, he was invited to become the National
Director of Photography of Miss Brazil USA, working with
the most beautiful Brazilian models in his photo shoots
for commercials.
www.LexusStudios.com; paulopacheco@mac.com
danny portnoy paulo pacheco

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ri ch lemoni e ri ch lemoni e danny portnoy
paulo pacheco danny portnoy
Drawing on the beauty of light
SP 24-70mm F/2.8 Di VC USD
The worlds first F/2.8 full frame standard zoom lens with image stabilization. Explore
the subtle aspects of beauty with Tamrons all new, high speed standard zoom that gives
you top in class optical quality while featuring VC anti shake mechanism, fast, accurate
and quiet USD AF system with full time manual focus, and rounded 9 blade diaphragm for
beautiful bokeh. Di design for use with full frame DSLR cameras for excellent format versatility.
For Canon, Nikon and Sony* mount.
*Sony mount without VC
Focal length: 70mm Exposure: F/8 1/125 sec ISO100

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li ve trai ni ng
THE WORLDS MOST
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THE SHOOT LIKE A
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The entire workshop is designed to have
you leaving from that day with a new set of
skills, a clear set of goals, and just what
you need to start taking the type of photos
youve always dreamed you could.
COMING TO:
SAN DIEGO, CA - DECEMBER 3
TORONTO, ON - DECEMBER 9
THE JOE MCNALLY
ONE FLASH, TWO
FLASH SEMINAR
Instructed by Joe Mcnally
This tour is all about creating great
lighting with just one, or two, flashes.
All day, lighting problems, solutions,
tactics and strategies will be demon-
strated, live using simple gear and small
flashes. Its about producing stunning
results that will thrill clients without
tugging an eighteen- wheeler full of gear
around with you. For over five hours, Joe
will be shooting onstage with every frame
shown immediately on screen. Hell mix
in short video clips of lighting lessons in
the field, all designed to show you how
to get great results every time, with a
minimum of gear.
COMING SOON TO A CITY NEAR YOU!
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This new tour was developed by the
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one-day seminar covers so much more
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COMING TO:
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ADOBE PHOTOSHOP
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Instructed by Ben Willmore
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in 2013 with a brand new tour packed
with only the hottest tips and tricks, and
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Marc TerBeek is a practicing attorney in Oakland, California. He
focuses most of his attention on the little guy, helping renters,
workers, and others deal with people with more power who might
be trying to rip them off.
His practice is evolving, but his website hasnt kept pace. My
real estate focus is broader than it was, and its not limited to the
tenant side of the equation. And I dont do foreclosure matters any
more, Marc says. Ive branched out into cannabis business law
and consulting. TerBeek recently spent time in the California state
capital advising lawmakers on proposed changes in the states laws
dealing with medical marijuana.
He also has to reassure potential clients that theyve come to
the right place. His site is at terbeeklaw.net, but theres still a site at
terbeeklaw.com, his old URL. That address now leads to a Spanish-
language website advertising a different variety of legal services.
I got scammed by a Yellow Pages rip-off a couple of years ago
that stole the domain name terbeeklaw.com, he recalls.
Two years ago, a friend designed his current site, the one at ter-
beeklaw.net. Its an all-Flash site, with stirring orchestral music that
starts playing right away. I like the general look a little, and I like
the theme music, he says, but I dont like that theres not much
content to it. Despite the fact that theres not a lot of content, the
text is small and spindly; combined with being set in a light color
on a dark background, its not that easy to read.
In looking for a new site, Marc says, The image I would want is
of professionalism and dedication. It should suggest the unique prob-
lem solving of seemingly intractable matters. We asked three design-
ers to step up to the bar and provide him proper representation.
MAKEOVER SUBMISSIONS
WERE LOOKING FOR PRODUCT PACKAGING OR LABELS, PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MAR-
KETPLACE FOR FUTURE DESIGN MAKEOVERS. SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOUD LIKE US TO CONSIDER MAKING OVER, OR
IF YOURE A DESIGNER AND YOUD LIKE TO BE CONSIDERED FOR A FUTURE DESIGN MAKEOVER, SEND US AN EMAIL AT LETTERS@PHOTOSHOPUSER.COM.
(NOTE: THIS IS PURELY A DESIGN EXERCISE AND THE DESIGNERS DO NOT WORK DIRECTLY WITH THE CLIENT, CREATE FUNCTIONING WEBSITES, ETC.)
DESIGNMAKEOVER
column
JAKE WIDMAN
CLIENT
The Law Ofces of Marc L. TerBeek
http://terbeeklaw.net

HIS PRACTICE IS
EVOLVING, BUT HIS
WEBSITE HASNT
KEPT PACE.

laying down the law

BEFORE

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DAN SIMON
In 2003, after nearly acquiring two other Associates degrees in Illustration and Sequential Art, Dan Simon completed an Associates degree
in Graphic Design from Lansing Community College in Lansing, Michigan. As part of the requirements for said degree, he did an internship
at Marvel Comics in New York City. Upon leaving the comics world in 2007, he began to focus on a more lucrative career in Web design,
working for many freelance clients, e-Commerce brands, and marketing agencies.
Focusing on design, HTML and CSS (where he is self-taught), typography, and UI/UX, the transplant from Michigan is the senior designer
and art director for a small startup in Princeton, New Jersey. Coincidentally, his rms main clientele are doctors and lawyers looking to get
top placement in Google and Bing, provide strong usability for their users, and above all, increase the number of cases theyre receiving.
APPLICATION USED: Adobe Photoshop CS5
The client said that he was happy with the existing look and feel of
his site, so I chose to keep a similar color scheme. I did, however,
decide to give him a more stylized and up-to-date logo using the
ever-popular and seemingly trendy Trajan Pro. (Ive noticed a resur-
gence of this font on everything from billboards to TV and movie
titles.) For me, it incorporates a very modern feel with a touch of
elegance and formality.
The current Flash interface limits the pages readability and
results in ugly and unnecessary scroll bars, unintuitive content win-
dows, and an overall UI stuck in the days of ActionScripting. Instead,
I went with the standard 960 Grid System to give the content more
of a presence. With bigger fonts plus better user elements like slid-
ers, accordions, and videos, I created areas of interest with teaser
copy and good calls to action. They entice the user to learn more
about particular areas of the practice while ignoring areas that dont
help with information gathering, and ultimately start a conversion by
calling the number in the header or lling out the form presented.
Finally, SEO is a prime consideration for attorneys who want their
phones to ring, and therefore it was a paramount consideration in
my redesign. Given how much competition there is for a narrow
term like Real Estate Attorney, San Francisco Bay Area, this site
needed the H1 treatments I used (multiple practice areas), footer
geographic search terms, a Google+ link, a map, and relevant
navigation in the footer. The full build would incorporate perfect
usability by way of custom sidebar navigation, siloed youts in the
top navigation, close attention to detail in the meta information
on a page level and, of course, the ever-evolving consideration of
device-responsive grids.
ABOUT THE DESIGNER
desi gn makeover
SIGNER
Dan Simon
www.dansimondesign.com
AFTER

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We approached the redesign of the TerBeek Law website with two
goals in mind: To strengthen their message (Fighting for Main
Street, not for Wall Street) and to create a responsive website so
that its viewable and easy to use on multiple platforms (phone,
tablet, and desktop).
The use of dark and bold color tones makes the page feel more
inviting and also emphasizes the content. We used large, full-bleed
background images to alleviate the visitors need to scan through
multiple, distracting, and unnecessary graphics. We placed the con-
tent on a single long page so that prospective clients would have
the chance to view all the content easily.
We decided to use a sans-serif fontMark Simonsons Proxima
Novaand settled on a fxed size and leading to make it easier to
read. Proxima Nova, a modern sans serif, ties into the new design of
the site, which is more modern and minimalistic.
When it came to the practice areas, we decided that instead of
listing all the practices, it would be best to let users scroll through the
different areas of expertise of the frm, so that theyre only presented
with information theyre interested in. We also added photos of the
members of the law frm because images evoke a quick and powerful
emotional response in a way that written words cant.
We added a Google map that visitors can click on to get to
a page for directions to the frm. The redesign makes everything
more cohesive, simple, and useable. It brings the site to a more
modern user base, while still letting it communicate its original
goal and message of providing information about the frm and the
different ways it can help.
GRISWOLD
Griswold is an interactive design studio based in New York and Los Angeles. Formed in 2011 by founder and creative director Johnnie Hamn,
Griswolds focus is to design and develop engaging experiences for interactive, mobile, and social applications. They work with clients ranging from
large powerful brands to agile young startups and everything in between. Some of their clients include Rockstar Games, Adult Swim, Nordstrom,
Voltron, Disney, and Whole Foods Market.
Before forming Griswold, Hamn worked for various interactive agencies in Austin, Texas, and New York City as an art director and designer.
Griswolds design team includes lead art director Matt Bordey and interactive designer Dominic Saraum. Matt has more than 12 years of
interactive experience and has won various awards for his design work. Dominic is a talented multidisciplinary designer with fve years of interactive
design experience on both Web and mobile.
We believe in creating great work, and were passionate about doing things better, says Hamn.
APPLICATION USED: Adobe Photoshop CC
desi gn makeover
Griswold
www.hellogriswold.com
DESIGNER
ABOUT THE DESIGNER
AFTER

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desi gn makeover
For this project, I wanted to take away the intimidating and disorga-
nized look and feel of the existing website and make it much more
inviting. I also wanted to eliminate the Flash gimmicks and dramatic
music that make the current site look dated and feel unprofessional.
I decided that the best way to convey the message would be to use
strong dynamic photography with clean, organized type.
The client wanted his website to embody professionalism,
dedication, and unique problem solving. To achieve this, I kept the
brown color to ground the layout, and added texture for a more
sophisticated, organic look. Complementary touches of blue help
transform the website into a more inviting space.
I chose a dynamic detail image of a gavel to represent profession-
alism and dedication, accompanied by the clients tagline Integrity,
Experience, & Knowledge: Fighting for Main Street, not Wall Street.
I believe this image and copy convey a strong message of dedication
for the client with high-impact visual elements.
I felt the type on the clients original website was muddled and too
smalland because of the color palettes that were chosen, too hard
to read. Within my design, I chose to stick with white for the majority
of the copy, and blue for the deck. To get more content on the land-
ing pagea desire of Mr. TerBeeksI reduced the space devoted to
images. Just having a banner freed me up to organize four columns
of intro text describing the four practices that Mr. TerBeek represents,
along with an intro paragraph that introduces his law frm.
I used two font families to accomplish the layout: Univers and
Memphis. I believe these two fonts convey a clean, clear message
while retaining a professionally organized, modern feel.
ABOUT THE DESIGNER
CHARLES DAPRIX
Charles owns and operates DaPrixCreative, a small creative studio in Dallas, Texas, that focuses on advertising, print and Web design,
publication design, and commercial photography. Charles prides himself on beautiful, clean layout and typography, and attention to detail.
With nearly fve years experience in print, Web, and publication design, he has been able to grow a diverse list of clients and work in
many different media within the creative profession. He continues to learn, grow, and explore as a creative to stay innovative and dynamic.
Charles is forever grateful for all the support he receives from his wife and kids. They are the inspiration that drives his passion. When
hes not working, he enjoys spending time with his family and friends, playing pool, and watching movies. He also has an unhealthy
addiction to hand lettering and typography. He can be reached at charles@daprixcreative.com.
APPLICATION USED: Adobe Photoshop CS6
AFTER
SIGNER
Charles DAprix
www.facebook.com/daprixcreative
STEP ONE: Create a new 17x12.75", 300-ppi document.
Click on the Foreground color swatch near the bottom of the
Toolbox to open the Color Picker, choose gray as the color
(R:52, G:57, B:65), and click OK. Press Option-Delete (PC: Alt-
Backspace) to fll the entire Background with gray. Press D then
X to set the Foreground color to white. Choose the Type tool (T)
from the Toolbox, click on the center of the document, and
enter your text (we used the font Pieces of Eight at 305 pt but
you can use any font you like).
STEP TWO: Open an image of a
rusty or worn piece of metal. Using
the Move tool (V), click-and-drag the
image into your original document
(this will create a new layer, Layer 1),
and reposition it over the P and H.
Press Enter to place the texture.
[NAPP members may download
the texture used in this tutorial at
http://members.photoshopuser.com/
magazine/issue/december-2013. All fles are for personal
use only.]
STEP THREE: Command-click (PC: Ctrl-click) on the Layer 1
thumbnail in the Layers panel to make it a selection. Press
Command-Option-T (PC: Ctrl-Alt-T) to duplicate the selection
and bring up the Free Transform bounding box. Right-click in
the bounding box and choose Flip Horizontal. Now, move the
bounding box toward the right until the edges of the original
texture and the copied texture align (see example). Press Enter
to apply the transformation. Repeat until the entire word is
covered by the texture.
STEP FOUR: With Layer 1 active, Command-click (PC: Ctrl-
click) on the type layer thumbnail to make the type a selection.
Click on the Add Layer Mask icon (circle in a square) at the
bottom of the Layers panel. Click on the Eye icon next to the
type layer to hide it from view. Click on the layer thumbnail
for Layer 1 so the mask isn't active, and then press D to reset
the Foreground color to black.
I wanted to create a type efect to go along with the pirate theme for Photoshop World 2014. While fnding a
swashbuckler-looking font was pretty easy, I also wanted the type to have a very textured, rusty appearance,
as if it were a piece of iron or steel that had been exposed to the elements of the high seas for an extended
period of time.
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how-to

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Pitted, Rusty Type Efect
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STEP FIVE: Click on the Add a Layer Style icon (x) at the
bottom of the Layers panel and choose Inner Glow. Select Mul-
tiply for the Blend Mode, and lower the Opacity to 50%. Click
on the yellow color swatch, choose black, and click OK to close
the Color Picker. Enter 5 px for Size. Choose Gradient Overlay
from the Styles list on the left side of the Layer Style dialog.
Choose Multiply as the Blend Mode, and lower the Opacity to
75%. Click on the Gradient thumbnail, and choose the Fore-
ground to Transparent preset in the Gradient Editor. Click-and-
drag the right opacity stop above the gradient ramp toward the
center (see example), and click OK to close the Gradient Editor.
Enter 90 for Angle. Dont click OK yet.
STEP SIX: Choose Outer Glow
from the Styles list. Choose Mul-
tiply for the Blend Mode, and
enter 25% for Opacity. Click on
the yellow color swatch, choose
black for the color, and click OK
to close the Color Picker. Enter
10 px for Size and click OK to
apply the layer styles.
STEP SEVEN: Duplicate Layer 1
(Layer 1 copy) by dragging it into
the Create a New Layer icon at the
bottom of the Layers panel. Click
directly on the layer mask thumb-
nail next to Layer 1 copy to make
it active. Now, Command-click (PC:
Ctrl-click) on the layer mask thumb-
nail to load it as a selection. Go to
Select>Modify>Contract. Enter 20
pixels and click OK. Press Command-Shift-I (PC: Ctrl-Shift-I) to
inverse the selection. Finally, press Command-Delete (PC: Ctrl-
Backspace) to fll the selection with black. Deselect.
STEP EIGHT: Double-click on the words Inner Glow under
Layer 1 copy to open the Layer Style dialog. Enter 75% for
Opacity, click on the black color swatch, choose a light-brown
color (R:147, G:139, B:118), and click OK to close the Color
Picker. Enter 15 px for Size. Choose Color Overlay from the
Styles list. Choose Overlay for the Blend Mode, click on the red
color swatch, choose a bluish-gray color (R:114, G:141, B:148),
and click OK to close the Color Picker. Now, choose Outer Glow
from the Styles list. Choose Multiply for the Blend Mode, and
set the Opacity to 75%. Click on the color swatch, choose the
same light-brown color used for the Inner Glow, and click OK
to close the Color Picker. Enter 25 px for Size and click OK.

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Showing the painted areas on Layer 4 only
STEP NINE: Click on Layer 1 to
make it the active layer. Duplicate
Layer 1 again (Layer 1 copy 2) and
move it below Layer 1 in the layers list.
Click-and-drag the word Effects
under Layer 1 copy 2 into the Trash
icon at the bottom of the Layers panel
to remove the layer style. Click directly
on the layer mask thumbnail next to
Layer 1 copy 2. Now, Command-click
(PC: Ctrl-click) on the layer mask thumbnail to load it as a selec-
tion. Go to Select>Modify>Expand. Enter 20 pixels and click
OK. Press Option-Delete (PC: Alt-Backspace) to fll with white,
revealing more of the rusty texture around the edges of the text.
STEP TEN: Add a new layer (Layer 2). Press Option-Delete
(PC: Alt-Backspace) to fll the layer with black. Change the layer
blend mode to Overlay near the top left of the Layers panel, and
lower the Fill opacity to 0%. Click on the Add a Layer Style icon
and choose Bevel & Emboss. Enter 1000% for Depth, 10 px for
Size, uncheck the Use Global Light box, and enter 24 for
Angle and 37 for Altitude. Click on the down-facing arrow
next to the Gloss Contour thumbnail and choose Ring Double.
Lower the Highlight Mode Opacity to 35% and the Shadow
Mode Opacity to 45%. Click OK.
STEP ELEVEN: Add another new layer (Layer 3) and move
it to the top of the layers stack. Change the layer blend mode
to Overlay. Click on the Foreground color swatch near the bot-
tom of the Toolbox. Choose a blue-gray color (R:106, G:117,
B:118), and click OK. Press Option-Delete (PC: Alt-Backspace)
to fll the selection.
STEP TWELVE: Add another new layer (Layer 4). Change
the Foreground color to a light blue (R:149, G:182, B:182).
Choose the Brush tool (B) from the Toolbox. Using a large,
soft-edged brush, start painting in some rusty areas (see
example). The blue color wont look much like rust, but it will
add some discolored areas to the texture that will help enhance
the worn, rusty look.

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STEP THIRTEEN: Change the Foreground color to an
olive green (R:148, G:128, B:78). Paint in more discolored
areas (see example).
STEP FOURTEEN: Change the Foreground color to a
burnt-orange color (R:184, G:127, B:78). Now, paint in your
rust areas (see example). Once youre fnished, change the
layer blend mode to Overlay to complete the effect.
We used the same technique on the word World. Heres
how the textured type ft into the rest of the logo.
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STEP ONE: Press D then X to make the Background color
black, then choose File>New to create a new 6x4", 212-ppi
document with the Background Contents set to Background
Color. Click on the Foreground color swatch at the bottom
of the Toolbox, choose gray as the color (R:100, G:100,
B:100), and click OK. Click on the Create a New Layer icon at
the bottom of the Layers panel to add a new layer (Layer 1).
Choose the Rectangular Marquee tool (M) from the Toolbox.
Make a rectangular selection in the upper-left portion of
the document.
STEP TWO: Choose the Gradient tool (G) from the Toolbox.
Click on the Gradient thumbnail in the Options Bar to open
the Gradient Editor, choose Foreground to Background, and
click OK. Hold the Shift key and click-and-drag a linear gradi-
ent from the bottom toward the top of the selection. Press
Command-D (PC: Ctrl-D) to deselect.
STEP THREE: Click the Add a Layer Style icon (x) at
the bottom of the Layers panel, and choose Stroke. Enter
1 px for Size, choose Inside for Position, and lower the
Opacity to 75%. Choose Gradient as the Fill Type, enter 90
for Angle, and 100% for Scale. Now, choose Inner Shadow
from the Styles list on the left side of the Layer Style dialog.
Uncheck Use Global Light, enter 90 for Angle, 0 px for Dis-
tance, and 20 px for Size. Click OK to apply the layer styles.
STEP FOUR: Create a new layer (Layer 2) and move it
below Layer 1 in the Layers panel. Click on Layer 1 to make it
the active layer, then press Command-E (PC: Ctrl-E) to Merge
Down (it will merge with Layer 2).
I saw this technique used as a headline type treatment for an advertisement in a recent issue of SkyMall
magazine. Whats nice about this technique is its simplicity and fexibility. You can have as many or as
few tiles as needed, and you can change the font color or messaging very easily. Its one of those simple
but efective techniques that works perfectly as an additional design element.
FELIX NELSON
how-to

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Flip Fonts
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STEP FIVE: Command-click (PC: Ctrl-click) on the Layer 2
thumbnail to load it as a selection. Press Command-Option-T
(PC: Ctrl-Alt-T) to duplicate the square in Layer 2 and bring
up the Free Transform bounding box. Now, Right-click in the
center of the bounding box and choose Flip Vertical. Using
the Down Arrow key, move the duplicated square below the
original square. Press Enter to apply the transformation.
STEP SIX: Create another new layer (Layer 3). Choose the
Rounded Rectangle tool (nested under the Rectangle tool [U]).
In the Options Bar, set the drop-down menu on the left to Path,
and enter 10 px for Radius. Create a small, vertical, rounded
rectangle on the left side of the two squares (see example). Go
to the Paths panel (Window>Paths) and Command-click (PC:
Ctrl-click) on the Work Path thumbnail you just created to load
it as a selection.
STEP SEVEN: Choose the Gradi-
ent tool, click the Gradient thumbnail
in the Options Bar, choose Copper as
the gradient (its one of the default
gradients), and click OK. Click-and-
drag a gradient from the top toward
the bottom of the selection. Press
Com mand-Shift-U (PC: Ctrl-Shift-U)
to desaturate the color. Now, while
holding down the Command-Option-Shift (PC: Ctrl-Alt-Shift)
keys, click-and-drag a duplicate shape to the right side of the
squares (see example).
STEP EIGHT: Command-click (PC:
Ctrl-click) on Layer 3 to load it as a se-
lection. Go to Select>Modify>Expand.
Enter 3 pixels and click OK. Click on Layer 2, press Delete
(PC: Backspace). Click back on Layer 3 and press Command-E
(PC: Ctrl-E) to Merge Down.

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STEP NINE: Now that all the elements are on one layer,
Command-click (PC: Ctrl-click) the Layer 2 thumbnail to load it
as a selection. Choose the Move tool, press-and-hold Com-
mand-Option-Shift (PC: Ctrl-Alt-Shift), and click-and-drag
to duplicate it (on the same layer) as many times as needed,
depending on the number of characters youll need for your
messaging. Our example calls for three rows with seven char-
acters in each row.
STEP TEN: Choose the Type tool (T) from the Toolbox,
and set the Foreground color to a lighter gray. Choose your
typeface (were using Helvetica Bold Condensed) and enter
your frst line of text (each line of type will have to be created
independently on separate layers). Make your text the appro-
priate size, and then position the frst letter over the frst set of
squares. Place the cursor between the frst two letters, hold the
Option (PC: Alt) key, and press the Right Arrow key on your
keyboard to kern the second letter until its centered over the
second set of squares. Youll have to kern each character indi-
vidually so they line up over the center of each set of squares.
STEP ELEVEN: Click on the Add a Layer Style icon at the
bottom of the Layers panel and choose Gradient Overlay.
Choose Overlay as the Blend Mode and click OK. Command-
click (PC: Ctrl-click) on the Layer 2 thumbnail to load it as a
selection. Click on the Add Layer Mask icon (circle in a square)
at the bottom of the Layers panel.
STEP TWELVE: Repeat Steps Ten and Eleven for any ad-
ditional lines of type to complete the effect.

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.,,, e.,
Made in the U
Sold Exclusively at ReallyRightStu.com
805.528.6321 | 888.777.5557

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STEP ONE: The frst thing we need to do for this example is
to process the HDR backdrop. I have fve exposures of a brick
wall I shot while at a workshop in California. To start, we need
to go to the File menu and select Automate>Merge to HDR Pro.
[NAPP members may download the fles used in this tuto-
rial at http://members.photoshopuser.com/magazine/issue/
december-2013. All fles are for personal use only.]
STEP TWO: When the Merge to HDR Pro dialog appears,
click on the Use drop-down menu and choose Files. Click the
Browse button to the right, locate and select your fles, and click
Open. When the flenames show up in the Merge to HDR Pro
dialog, make sure the Attempt to Automatically Align Source
Images option is checked on, and then click OK.
STEP THREE: Depending on the speed of your system, this
part may take a moment to process. Once its done, youll see
the full Merge to HDR Pro dialog appear with a large preview of
the image, along with the individual exposures along the bot-
tom. On the right side are the settings. (Note: If you dont see
any settings, youre probably in 32-bit mode. Click the Mode
drop-down menu and choose 16 Bit.) I usually start by pushing
up the Detail quite a bit in the Tone and Detail section. This will
give the image a grungy effect.
STEP FOUR: Adjusting the Detail will often make the image
brighter, so you may need to drop the Exposure a bit. I bumped
up the Gamma, as well. All these settings are based on how
this particular image looks. The effects are live, so I can see
exactly how it will look in the main preview.
STEP FIVE: Move up to the Edge Glow section and check on
Edge Smoothness. Now its just a matter of adjusting the Radius
and Strength sliders until the image looks the way you like. Ive
discovered that its best to keep the Radius set higher than the
Strength. Go ahead and move the sliders around and watch
what happens so you know exactly what theyre doing to the
image. When done, click OK.
Since HDR is such a big thing these days, I thought Id show you how I use it. A lot of people use third-
party applications to process HDR images, but when compositing images, I fnd that using only Photo-
shop works just fne. And with the HDR Toning feature, you can incorporate regular images into your
HDR images.
Step Five
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COREY BARKER
how-to
HDR Compositing
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STEP SIX: The fully processed HDR backdrop looks pretty
good but it could use a little extra punch. Make a duplicate of
the Background layer by pressing Command-J (PC: Ctrl-J). Then,
change the layer blend mode near the top left of the Layers
panel to Soft Light. This will enhance the color and contrast.
STEP SEVEN: Next, throw on a quick Filter>Sharpen>
Unsharp Mask to help bring out the detail a little bit more.
Click OK.
STEP EIGHT: Here we have a subject to add to the scene;
however, we only have a single exposure of this image. We
want to place him in the HDR backdrop but we also want him
to look like HDR, as well. HDR Toning to the rescue!
STEP NINE: First, make sure your document is flat be-
cause HDR Toning wont work on a layered fle. Then, go to
Image>Adjustments>HDR Toning. Youll pretty much see the
same settings you saw earlier in the Merge to HDR Pro panel.
STEP TEN: As before, start in the Tone and Detail section
and bump up the Detail quite a bit. This change already has a
cool effect. Remember to drop the Exposure to compensate for
the Detail increase. I left the Gamma alone this time. Up in the
Edge Glow section, check on Smooth Edges and then adjust the
Radius and Strength sliders. Remember to keep the Strength
setting pretty low and set the Radius just a little higher. Once
the subject looks similar to the background, click OK.
STEP ELEVEN: We need to extract the subject from the
background in order to place him on the HDR backdrop. Since
the background is a solid white, grab the Magic Wand tool
(nested under the Quick Selection tool [W] in the Toolbox) and
click on the background. Be sure to include any areas that were
missed, like between his arm and leg, by holding down the Shift
key and clicking in those areas. Then, go to Select>Inverse. This
fips the selection around from the background to the subject.
STEP TWELVE: Click on the Refne Edge button in the
Options Bar. While Im sure I have clean selection, its not a
bad idea to check with Refne Edge. Change the View to a
background where its easy to see any mistakes. Even though
this looks fne, Im going to nudge the Edge Detection Radius
slider just a bit to take care of any tiny imperfections I may not
see. Will anyone else see them? No, but I know theyre there!
Set the Output To drop-down menu to New Layer with Layer
Mask, and click OK.
STEP THIRTEEN: Using the Move tool (V), drag this
extracted layer into the HDR backdrop fle and position the
subject in the middle of the composition. Select the subject by
Step Seven Step Six
Step Ten Step Twelve
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Step Eight
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holding down the Command (PC: Ctrl) key and clicking on the
layer mask thumbnail in the Layers panel. It will load the shape
of the mask as an active selection. If more of the image is
selected, simply switch to the Lasso tool (L), hold the Option
(PC: Alt) key down, and drag around the unwanted areas to
remove them from the selection.
STEP FOURTEEN: With the selection active, click the Create
a New Layer icon at the bottom of the Layers panel, press D to
set the Foreground color to black, and press Option-Delete (PC:
Alt-Backspace) to fll the selection with black, creating a silhou-
ette of the subject. Press Command-D (PC: Ctrl-D) to deselect.
STEP FIFTEEN: Press Command-T (PC: Ctrl-T) to activate
Free Transform. Move the object down to the sidewalk,
grab the top-middle control handle, and then drag it down
to squash the shadow as you see here. Drop the Opacity
in the Layers panel to 40%. You can also run a very subtle
Filter>Blur>Gaussian Blur to soften the shadow.
STEP SIXTEEN: Finally, as a fnishing touch, I added a glow
to the subject for added pizzazz! Not necessary, but still pretty
cool. Click on the main subject layer to make it active, click on
the Add a Layer Style icon (x) at the bottom of the Layers panel,
and choose Outer Glow. Click on the color swatch, change the
color to white, and click OK to close the Color Picker. Set the
Blend Mode to Overlay and the Opacity to around 80%. In the
Step Fifteen
Step Sixteen
Elements section, increase the Size to 250 px, and click OK.
Against this particular backdrop, the glow works really well but
that wont be the case with every image.
In the end, we have a rather nice blend of regular HDR
and fake HDR with a few added layer tricks all right here
in Photoshop.
DOWN & DIRTY TRICKS
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Illustrations: iStock Layout Design: Taffy Clifford

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1: Stocking Stuffers (You can
also use these as actual
holiday gifts if youre not
that crazy about the person.)
2: Great Value Gear (Stuff thats
a really good deal for not a lot
of money, but he or she will
totally dig it.)
3: Ch a-ching! (Stuff you buy for
the doctor/lawyer/rap mogul
on your holiday gift list. This
is the stuff that makes them
burst into spontaneous tears
of joy. Well, at least I would.)
W
elcome to my 8th Annual Gonzo Holiday Gear
Guide. If youve been a faithful reader of this Gear
Guide for the past seven years, this years name probably
sounds familiar, and thats because it is. Its the original
name for this Gear Guide, and Im bringing it back with a
vengeance (Im not really sure how to make a Gear Guide
vengeful but Im working on it), with all of its original Gon-
zoness (yes, thats a word, Im pretty sure). This is replacing
last years Awesome Gear Guide name (awesome is way
overusedmostly by me), and now here you are, reading
it right now. How in the moment is that, right? Okay, this
year, Im breaking things into three distinct categories (see
box to the right).
Anyway, the Awesome is out, the Gonzo is back, and
this years Gear Guide is packed with some really cool stuf
that we dont need, but we really, really, really want because
getting (ahemI mean giving) is what its really all about. At
least, thats what I read in a Christmas card once.
G nzo Holiday
G ar Guide
Scott Kelbys 8
th
Annual

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20x24" Rosco CTO
Gel Sheet
If the photographer on your gift list has a fash, this is a perfect gift because
its something he needs but probably doesnt have, and its cheap as anything.
Get him a big sheet of thin orange gel. He tapes it over his fash head and it
warms up the color of the fash, creating a more fattering color for portraits.
Get the Rosco CTO (Color Temperature Orange) 1/4 sheets for just $6.49 a sheet
at B&H. Do you want to really splurge on him? Throw in the 1/2-cut and full-cut
sheets, as well. If he doesnt like cutting, get the Rosco precut Strobist pack for
just $7.95 with gels in all sorts of colors. A fantastic deal.
www.rosco.com Price: Starting at $6.49
Stocking Stuffers
THE RULES:
These are my self-imposed guidelines for which products make
it into the guide. Its just two rules, actually. To be listed here the
products have to be ones that I use myself, that I absolutely love,
and now cant live without (well, I could live without them, but
I just wouldnt want to). And if a product makes the guide, it has
to be one I would recommend to a close friend without hesita-
tion, especially if my friend were a rich doctor (kidding).
Also, to make things easy, we put up a webpage (www.scott-
kelby.com/13gearguide) with direct links to all the products I
picked so you dont have to wonder if youre getting the exact
right one. Okay, folks, hang on to your Fruchtsaftgetrnke, here
we go!
Roll of Gaffers Tape
If he already has some gels, get him a roll over Gafers tape. This is the
handiest stuf on earth for photographers (I even give away a few rolls at
my seminarIm not making this up). It looks like black duct tape, but it
comes of clean with no residue or pulling of any paint. It rocks. $6.50 a
roll. Buy two (and keep one for yourself ).
www.bhphotovideo.com Price: Starting around $6.50/roll
Lightroom Magazine
Does the photographer on your gift list use Light
Of course she does! So get her a few issues of
Magazine. (I love this magazine becausebecause, w
the publisher, but its an awesome, awesome magazine
is a case where using the term awesome, and using it
is perfectly acceptable.) You can fnd it on the App St
iTunes for $4.99 an issue. Cheap. If you really want to go all
out, go ahead and buy her all the back issues.
https://itunes.apple.com Price: $4.99 per
30" Westcott 5-in-1
Collapsible
Refector/Diffuser
He probably already has a refector, but thats okay
what you want is the difuser inside the refector (you
zip it open and there it is). You use this outdoors to
turn harsh, direct sun into beautiful, soft, fattering
light (just put it between the sun and your subject).
Around $30. Plus, you could keep the refectors and
just give him the difuser. Im just sayin.
http://fwestcott.com Price: $35.90

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Some Cool Books
Your photographer will love Zack Ariass Photography Q&A book (only $21.66 on Amazon). Or how about the recent refresh of The Digital
Photography Book, Part 2 by Scott Kelby (I love everything he writes) for $18.23 on Amazon (weird price; cool book)? If hes into sports,
get Peter Read Miller on Sports Photography ($31.86 on Amazon), or if you want to splurge a little, get Frank Doorhofs Mastering the Model
Shoot for around $28.45 (I worked on this book with Frankhe totally rocked it!). Note: Prices on Amazon.com change frequently. Pricing
is correct as of this printing.
www.amazon.com Price: Starting at $18.23
DxO FilmPack 4
This is probably the best plug-in for Photoshop or Lightroom out
there for faithfully reproducing classic flm efects, and it totally nails
these efects. It has a great interface with a smart design, and you
cant argue with the realistic looks it efortlessly creates, but you can
still tweak each look big time. Plus, it does everything from contrast
efects to borders and custom frames. I dont use a whole bunch of
plug-ins, but when I want a realistic flm look, this is the only plug-in
I reach for (and by reach, I mean I just go under a menu).
www.dxo.com Price: $79 for the Essential Edition;
$129 for the Expert Edition
Great Value Gear
Imagenomics
Portraiture Skin
Retouching Plug-in
The incredible Frank Doorhof turned me on to this plug-in when I
asked him how he was retouching skin in his portraits, because his
stuf was really looking good. I had to pry it out of him a bit (LOL!),
but as soon as he told me, I went straight to Imagenomics site and
picked up a copy. Pretty darn amazing; pretty darn fast. Its $199.95,
which aint cheap, but the wedding or portrait photographer on
your list will hug you and not let go for a good long while.
http://imagenomic.com Price: $199.95
Westcotts Rapid
Box 20" Octa Mini
and Defector Plate
This is, hands-down, the best beauty dish for hot-shoe fash Ive ever seen.
Plus, it pops up and youre ready to go, so it fts with the whole run-and-
gun portability behind hot-shoe fashes. Very well made and thought out.
I use the 20" Octa Mini ($169.90), but youll need the Rapid Box Defector
Plate for another $19.90 (thats what gives you the beauty dish look). She
will be super-diggin this.
http://fwestcott.com Price: $169.90 for the 20" Octa Mini;
$19.90 for the Defector Plate
Vanguard Quovio
49T Rolling Bag
If you want a rolling camera bag with Think Tank Photo quality, but cant
quite swing it, then check out the Vanguard Quovio 49T. It holds a lot of gear
(and your laptop), and it holds it all well. Ive taken it on a few trips now and
I really like how its made and its usability. Lots of clever little features and
great overall design.
www.vanguardworld.com Price: $249.99

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Kata LPS-216 DL
Laptop Backpack
I generally dont like backpacks (I use rolling bags instead), but what I love about this one
is that its not big and bulky, yet it still holds a lot of gear and my laptop. Plus, the interior
is bright yellow, so you can actually fnd stuf. Its really well made and only $109.99,
which makes it my favorite photo gear backpack ever!
www.kata-bags.us Price: $109.99
Squarespace.com
Every photographer, designer, and illustrator needs a portfolio, and
Squarespace.com has a killer deal on them with very slick professional
templates. With Squarespace, you can have a very cool-looking online
portfolio up and running in about 15 minutes with absolutely no
Web design experience necessary. I use Squarespace for my sports
photography portfolio and absolutely love them! They start at around
$10 a month (but youll get your photographer a full year for $96). Youll
be a hero.
www.squarespace.com
Price: Starting at $8 a month with an annual subscription
Lexar Professional
Workfow HR1 (Four-
Bay USB 3 Reader Hub)
You know what photographers hate? They hate waiting for their
cards to download to their computer. Thats why this baby was born.
Well that, and the fact that a lot of cameras these days have more
than one memory card slot, and often those are two diferent types
(like an SD card and a CompactFlash, or a CompactFlash and an XQD
card). With this, you buy the docking bay ($99.99) and then up to four
readers that pop right in, in any format you want (SD, CF, or XQD)
starting at $36.99 each. I love this. Big time.
www.lexar.com Price: HR1 Hub: $99.99; SD reader:
$36.99; CompactFlash reader:
$36.99; XQD reader: $44.99

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FP-1 Floor Plate for
Using Remote Cameras
If youve ever thought about using a remote camera (like a camera set up behind the bride or on the balcony, or for sports), this foor
plate is fantastic! I use these for sports and absolutely love em. Theyre very strong, yet surprisingly lightweight, and theyre designed
to work with just about any ballhead and PocketWizard remote. Incredibly handy for only $65.
http://fplate.net Price: $65
Yongnuo YN560-III
Hot-Shoe Flash
If you want her to think you spent a bundle, which will lead to you getting Most
Favored Friendstatus for all of 2014, get her a Yongnuo hot-shoe fash. Its only $70
but looks like it cost $600. It creates a bright fash of light (just like every other fash),
but without the high price of about every other fash.
www.hkyongnuo.com Price: $70.95

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B&H Gift Cards
Not sure exactly what to get her? Yes you do. Get her a B&H Gift Card. I dont know anyone who doesnt want something from the
greatest photo store on earth, plus this way she can get whatever she wants (within the limit of how much you put on the card,
of course). You can order them direct from the B&H site. They send a card and a catalog so it looks pretty substantial.
www.bhphotovideo.com Price: Starting at $20
PocketWizard PlusX
Wireless Transceiver
PocketWizard has always been the gold standard in wireless triggers for fash or even
for fring remote cameras, but the best is always expensive. But this year, they came
out with a new budget-priced model for only $99 each (you need twoone for your
camera and one for your fash), called the PlusX, and it has the ruggedness, range,
and quality without the high price. Theyre simple and they work. If you cant swing
the $198, try Cactus triggers instead (two for $60). Not the same quality, build, design,
or range, but its not the same price either.
www.pocketwizard.com Price: $99

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Canon Close-up
Lens Filter (for
Canon or NIKKOR)
Get him this screw-on lens flter that turns most any Canon or
NIKKOR lens into a Macro lens for close-up photography. Its small
(only about 1" thick), screws on just like a flter, and viol, you have
a macro lens that you can toss into any camera bag (perfect for
wedding photographers). They start at around $72 and go up to
around $150, based on how wide his lens is (in millimeters).
www.bhphotovideo.com Price: Starting at $71.95
Impact Quickbox Softbox Kit
B&H Photo put this kit together and for the money, I dont know how you can beat it. Its a 24x24" collapsible pop-up softbox,
a tilt-swivel bracket, a bracket that holds your fash and the softbox, and a 8' light stand, all for $149. Its hero time.
www.bhphotovideo.com Price: $149.06

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Canon EOS 70D
I got a chance to use the Canon EOS 70D on a few studio shoots and events, and I have to say this camera body may be the best deal of
anything on the list, value-wise (well, maybe beside the $6.49 sheets of Rosco gel). It has features way beyond its price, and if the photographer
on your gift list has any ideas about shooting DSLR video, hell lose his mind over this puppy! Did I mention it has a touchscreen, and that
you can pinch to zoom and fick to scroll through your photos, and its responsive like a smartphone touchscreen. I remember when Nikon
released the D700 a few years back and we all thought, What was Nikon thinking? Its too good a deal. I feel the same way about the 70D.
Pro-quality images with many pro features, but they pretend its for consumers.
www.usa.canon.com Price: $1,199
Westcott SkyLux LED
Whats the next big wave in lighting? LED continuous lighting (its
not a fash, so what you see is what you get). Video creatives have
long-embraced LEDs but now theyre fnally (fnally!) making their
way to still photography. Westcotts SkyLux is really fantastic, and
even though its here in Cha-ching Landat around $1,200, its one
of the cheapest LED solutions out there. Plus, Westcott makes a
ton of softboxes that ft right on it. This is where lighting is going.
You can take someone special there now, this holiday season, and
he will love you like a puppy without all the yipping (well, some
yipping but it ends after a few weeks).
http://fwestcott.com Price: $1,199.90
CHA-CHING!

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AF-S NIKKOR 28300mm f/3.55.6G ED VR
or Tamron 28300mm f/3.56.3 XR Di VC
The AF-S NIKKOR 28300mm f/3.55.6G ED VR is my all-time favorite travel photography lens because its one lens that
does it allfrom wide-angle to portrait lengths to a tight zoom. Plus, this particular lens is amazingly sharp, lightweight,
and very well built. Its not cheap at $1,049.95, but its worth it. Give her this as a holiday gift and you may not be able
to get rid of her. A perfect gift for someone youre stalking.
If the photographer on your list is a Canon shooter, unfortunately Canon doesnt make a compact 28300mm like
this Nikon model. (The Canon version is full size, quite heavy, and expensive at an MSRP of $2,689.) Tamron makes a
28300mm f/3.56.3 XR Di VC that will do the trick. Its not as sharp as the Nikon 28300mm or the Canon for that matter,
but its not nearly as expensive either at around $630.
www.nikonusa.com Price: $1,049.95
www.tamron-usa.com Price: $629
PrioLite MBX500 500 W/s Monolight
This is a serious studio strobe that lets you use studio strobes on location. Thats not new; there are a bunch of strobes that you
can take out in the feld using a battery pack that slings over your shoulder. The diference here is that theres no battery pack to
sling over your shoulder. The pack is built right into the strobe itself. Theres no cable. Theres no battery pack. Its just the light. Its
awesome! But it aint cheap. Theyre $1,479 each. Defnitely for pros or for the Wall Street crony on your holiday gift list.
www.priolite.com Price: $1,479

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STEP ONE: The Spot Healing Brush tool (J) is great for repair-
ing small- to medium-sized areas with surrounding pixels;
those that Photoshop automatically picks. Create a new layer
by pressing Shift-Command-N (PC: Shift-Ctrl-N), name it spot
healing brush, and click OK. Position this layer above the layer
youre fxing.
[NAPP members may download the fles used in this tuto-
rial at http://members.photoshopuser.com/magazine/issue/
december-2013. All fles are for personal use only.]
STEP TWO: Grab the Spot Healing Brush from the Toolbox.
(Tip: Pressing Shift-J repeatedly cycles through all tools in that
toolset.) In the Options Bar, set the Type to Proximity Match
(uses pixels immediately outside the brush cursor) or Content-
Aware (analyzes a larger area of nearby pixels); youll get slightly
different results with each Type. Turn on the Sample All Layers
checkbox to make Photoshop look through the active empty
layer to pixels on layers below.
STEP THREE: Mouse over to the image and make your brush
cursor slightly bigger than the area youre fxing. Click or click-
and-drag to remove a few snow and water droplets from this
girls face. If you dont like the results, press Command-Z (PC:
Ctrl-Z) to undo and either change brush size or switch modes
(from Proximity Match to Content-Aware, or vice versa) and try
again. Tip: Press the Left Bracket key ([) to decrease brush size
and the Right Bracket key (]) to increase it. Zoom in and out of
your image by pressing Command-+ or Command- (PC: Ctrl-+
or Ctrl-), respectively.
STEP FOUR: The Healing Brush tool is great for fxing small-
to medium-sized areas with pixels from another area in your
image that you pick by setting a sample point. Create a new
layer as described in Step One, name it healing brush, and
position it at the top of your layer stack.
Step Three
Step One
LESA SNIDER
Safe Healing and Cloning
BEGINNERS WORKSHOP
When it comes to retouching, the Spot Healing Brush and Healing Brush tools are perfect for repairing or removing
items and then blending surrounding pixels so your changes look real. The Clone Stamp tool, on the other hand,
copies one area of an image to another. Today, youll learn to use those tools safely to clean up a snowy portrait.
how-to
Step Two
Step Four
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Step Six
begi nners workshop
STEP FIVE: Activate the Healing Brush tool (nested below the
Spot Healing Brush tool), and in the Options Bar, set the Sample
menu to Current & Below.
STEP SIX: To reduce the dark area beneath eyes, set a
sample point by Option-clicking (PC: Alt-clicking) the spot you
want Photoshop to use for the fx, such as the cheek area
shown here. Try to use a nearby or adjacent area to match
tone and texture.
STEP SEVEN: Mouse over to the problem area and adjust
the brush size to be a little bigger than what youre fxing. Next,
click or, in this case, click-and-drag across the area. Tiny cross-
hairs mark the sample point as you drag, and a preview of the
sampled area appears inside your cursor. Repeat this process on
the other eye. If youre fxing a small area, youre probably okay
with setting one sample point; for larger areas, you may need
to set a new sample point every few brushstrokes. Tip: If you
accidentally introduce a repeating pattern, either set another
sample point and paint the error away, or switch to the Spot
Healing Brush tool to fx it.
STEP EIGHT: Reduce the Opacity of the healing brush layer
so your changes look realistic (40% was used here).
STEP NINE: The Clone Stamp tool (S) copies one area of your
image to another, making it great for duplicating objects or
removing stray hairs. Create a new layer as described in Step
One, name it clone stamp, and position it at the top of your
layer stack.
STEP TEN: Activate the Clone Stamp tool and, in the Options
Bar, set the Sample menu to Current & Below.
Step Eight
Step Seven
Step Nine
Step Ten
Step Five

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begi nners workshop
STEP ELEVEN: Repeat Steps Six and Seven to remove strands
of hair on her teeth and chin. (Tip: Use a small brush to re-
move or duplicate small items and a larger brush for bigger stuff.)
STEP TWELVE: Heres the before
and after version of the image, along
with the fnal Layers panel.
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Step Eleven
Step Twelve
Step Thirteen
STEP THIRTEEN: As mentioned earlier, you can use the
Clone Stamp tool to duplicate items. In this image, were going
to duplicate a snowball. Create a new layer, name it clone
stamp, and set a sample point atop an existing snowball.
Mouse over to an empty bit of sky and then click-and-drag to
create another snowball. If you introduce any repeating ele-
ments, set another sample point and click to fx it, or switch to
the Spot Healing Brush or Healing Brush tools to fx it.
STEP FOURTEEN: Be sure to choose File>Save As and pick
Photoshop as the Format so you can edit each layer later. You can
undo edits by activating that layer and using the Eraser tool (E) or
by using a layer mask.
Next issue, well discuss using the Patch tool and the Content-
Aware Fill command to remove items from your photos. Until
next time, may the creative force be with you all!

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STEP ONE: Find a good cloud image. What makes a good
cloud image? Look for a singular cloud that has a bit of sky all
the way around it. This will make selecting it much easier. You
can purchase stock clouds at places such as Fotolia.com, but
I prefer to have my camera or iPhone ready whenever I see
good clouds, and I keep a library of shots from which to
choose. (Since its going to become a brush, the resolution
of your camera phone will probably work just fne.) I like this
cloud image because I can actually create several different-sized
and -shaped clouds from one image.
STEP TWO: When creating a brush from an image, anything
thats black or shades of gray will be the part of the brush that
leaves a mark, and anything thats white is transparent. So we
want to convert the photo so that the cloud is not white but
black and shades of gray. (This will make sense in a minute.)
There are several ways to do this, but I prefer to add an
adjustment layer. Click the Create New Adjustment Layer icon
(half-black, half-white circle) at the bottom of the Layers panel
and choose Black & White from the menu. The Properties panel
will appear with a bunch of sliders and the colorful sky will be
a shade of gray. Move the Blues slider to the left and the gray
should darken. Dont go overboard. You want it close to black,
but if you go too far the cloud will start to get clumpy and not
that attractive. Now move the Cyans slider a little to fne-tune
the cloud since it will probably have some of that color in the
sky, as well. When youre done tweaking the sliders, your image
should look like a white cloud on a black or near-black sky.
STEP THREE: When youre satisfed with the look of the
cloud and sky, select the adjustment layer and press Command-E
(PC: Ctrl-E) to Merge Down. Now youll have only one layer to
work with.
PETE COLLINS
Get Your Head in the Clouds
One of the brushes that I keep going back to is the cloud brush. It can be used to add an extra cloud to an
already dynamic skyline, or you can add many clouds to crank up the drama. Once you learn how to make
them, youll fnd they also come in handy for creating anything from fog and smoke to unique textures.
CLASSIC EFFECTS
how-to
Step One
Step Two
Step Three

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STEP FOUR: Remember that black and gray are the colors
that do the painting when you create a brush? As things are
right now, if we made a brush from this image, it would paint a
big box with a cloud-shaped hole in the center. We need to fip
things around. Press Command-I (PC: Ctrl-I) to invert the image.
Now the cloud should be black and the sky white. Perfect! Use
the Lasso tool (L) to just select the cloud you want to make a
brush from and copy it to its own layer by pressing Command-J
(PC: Ctrl-J). At this point, I usually add a plain white layer
between the bottom cloud layer and the new single cloud so
I can easily see what Im doing. Click the bottom layer to make
it active, click the Create a New Layer icon at the bottom of the
Layers panel, press Shift-Delete (PC: Ctrl-Backspace) to bring up
the Fill dialog, choose White from the Use menu, and click OK.
The edges of the cloud may be a little sharp, or you may have a
few stray white areas that need addressing.
STEP FIVE: Heres a neat trick that I stole from Corey Barker.
Press D then X to set your Foreground color to white. Choose the
Gradient tool (G) from the Toolbox, click the Gradient thumbnail
in the Options Bar, choose the Foreground to Transparent preset,
and click OK. Back in the Options Bar, click the Linear Gradient
icon and set the blend Mode to Screen. Now, select your cloud
layer in the Layers panel, place your cursor outside of the cloud,
and click-and-drag a gradient toward the center. Youll see the
edges of that side of the cloud soften. It may take a little playing
around with this to get the hang of it, but when you do, you can
go around the entire cloud and soften it.
STEP SIX: With your cloud edges looking fuffy, make a selec-
tion around that cloud with your selection tool of choice (we used
the Rectangular Marquee tool [M]), then go to Edit>Defne Brush
Preset. In the Brush Name dialog that appears, name the brush
(notice the size of the brush below the thumbnail), and click OK.
Step Five
CLASSIC EFFECTS
Step Four
Step Six

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STEP SEVEN: Press Command-D (PC: Ctrl-D) to deselect,
then press B to choose the Brush tool. The newly created brush
will be the last one in Brush Presets panel (Window>Brush
Presets). Choose the brush and make sure your brush color is set
to white because we want happy clouds. Open an image with
a bland sky. Click the Create a New Layer icon, use the Left and
Right Bracket keys to adjust the size of your brush, and click in
your image to place a cloud. If you fnd the cloud too opaque,
you can lower the Opacity in the Layers panel and even add a
layer mask to hide parts of the cloud if its behind an object in
your scene.
STEP EIGHT: Now you can go back and make more cloud
brushes and use them to make lots of cloud layers that can be
rearranged to make the best compositional impact. Now all you
need is a catchy title and a semiobscure PBS reference to take
your designs to new heights!
That last pun was pretty bad, I admit, but being able to create
your own cloud brushes is pretty awesome. Ive used cloud
brushes to add crusty mud to a rhino illustration, and if you look
closely, you can see I used it to add the paint and splotches to
the paintbrush in the fnal image. So take a little time to play in
the clouds and youll see that Im not full of hot air.
Step Eight
ALL IMAGES BY PETE COLLINS EXCEPT WHERE NOTED
Step Seven
CLASSIC EFFECTS
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CREATING THE TAG
STEP ONE: Start by creating a new fle (File>New) thats
12x9" at 72 ppi. Click on the Foreground color swatch near the
bottom of the Toolbox, pick a medium-gray color in the Color
Picker (R:128, G:128, B:128), and click OK.
STEP TWO: Option-click (PC: Alt-click) the Create a New Layer
icon at the bottom of the Layers panel, name it plate in the
New Layer dialog, and click OK. Using the Rounded Rectangle
tool (nested under the Rectangle tool [U] in the Toolbox) set
to Pixels in the Options Bar, create a rectangle like the one
here, which is roughly 5x3". Note: The Radius of the corners
is controlled in the Options Bar for the tool (we used 30 px in
this example). Make the rectangle a selection by clicking on its
preview thumbnail in the Layers panel while pressing the
Command (PC: Ctrl) key.
STEP THREE: Create another new layer and name it rim.
Choose Edit>Stroke. Enter a Width that will give you a rim
bordering the edge of the tag (we used 12 px in this example
you may need to use a higher Width depending on the size
and resolution of your image). The Color should already be set
to the same medium-gray color that you set for your Fore-
ground color earlier. Set the stroke to Center and click OK.
Press Command-D (PC: Ctrl-D) to deselect.
STEP FOUR: With the rim layer active, click on the Add
a Layer Style icon (x) at the bottom of the Layers panel and
select Bevel & Emboss. Alter the settings to give you a nice
highlight and shadow along the edges. Click OK, then hold
the Option (PC: Alt) key and click-and-drag the words Bevel &
Emboss that appear below the rim layer in the Layers panel
to the plate layer. This will copy the layer style to the plate layer.
Note: The layer style will not show on the faceplate of the tag
until the next step.
STEP FIVE: In the plate layer, switch to the Elliptical Marquee
tool (nested under the Rectangular Marquee tool [M] in the
Toolbox), hold the Shift key, and draw a small circular selection
to represent the hole where the chain is going to go through.
Press Delete (PC: Backspace) to cut out the hole, and deselect.
The layer style will make the hole appear three-dimensional.
Drawing Dog Tags
In this issues tutorial, well create a metallic dog tag complete with a chain. As Ive said many times, its not
what youre doing in Photoshop but how youre doing itwhats important are the steps used. A slight modif-
cation here and there and these techniques can be used in many other situations.
key concepts: Pen tool
Step Four
BERT MONROY
FROM BERTS STUDIO
Step Two

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FROM BERTS STUDIO
STEP SIX: Create a new layer above the plate layer, and call
it sheen. Switch to the Brush tool (B), and press D then X to
set the Foreground color to white. Right-click in the document
and choose the Soft Round brush in the Brush Preset Picker.
Use your Left and Right Bracket keys to adjust the size of the
brush, and paint some different-sized strokes to represent
highlights on the metal surface. Clip the sheen layer with the
plate layer by clicking between the two layers in the Layers
panel while pressing the Option (PC: Alt) key. Lower the
Opacity of the sheen layer to around 40%.
ADDING THE TEXT
STEP SEVEN: Select a color thats slightly lighter than the
gray you selected earlier. Switch to the Type tool (T), and in the
Options Bar, set the size to around 50 pt and select the Left
Align Text option. Type in the message you want to appear on
the dog tag. Note: Using the Type tool will automatically place
the text into its own layer. Choose any font you wish. Courier
is the closest to what you usually fnd on dog tags. Select all
of the text with the Type tool, hold the Option (PC: Alt) key,
and press the Left or Right Arrow keys to control the tracking
(space between characters), and the Up and Down Arrow keys
to control leading (space between lines).
STEP EIGHT: Give the text a layer style of Bevel & Emboss.
Set the Style to Outer Bevel, and increase the Depth and Size
settings. In the Shading section of the Layer Style dialog, turn
off Use Global Light and set the Angle to the opposite of
the current direction. This will make the letters appear to be
punched into the surface of the plate. Click OK.
STEP NINE: Turn off the Eye icon for the Background layer
to hide it. Making sure you have the topmost layer active in the
Layers panel, press the Option (PC: Alt) key and choose Merge
Visible from the panels fyout menu. This will make a new
layer containing a merged copy of all the layers while leaving
all the original layers intact. This is useful if, say, you wish to
make multiple tags with different names. Note: Not pressing
the Option (PC: Alt) key will merge the layersloosing the
ability to make changes or repurpose sections for other images.
STEP TEN: Double-click the name of the merged layer and
rename it tag. For the sake of organization, click the Create
a New Group icon (folder) at the bottom of the Layers panel,
drag all the original layers into the group folder, and name it
pieces. Turn off the Eye icon for the folder containing the
original layers so you no longer see them, and drag it below
the tag layer. Turn the Eye icon back on for the Background.
Step Six
Step Eight
Step Five

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FROM BERTS STUDIO
ALL IMAGES BY BERT MONROY
Step Twelve
Step Thirteen
Step Sixteen
STEP ELEVEN: Make the tag layer active, press Command-T
(PC: Ctrl-T) for Free Transform, and click-and-drag outside the
bounding box to alter the angle of the dog tag in any way you
wish. Press Enter to commit the transformation. Give the tag
layer a layer style of Drop Shadow, and click OK to apply the
default settings.
CREATING THE CHAIN
STEP TWELVE: Create a new layer above the tag layer and
call it chain. Using the Pen tool (P), draw a shape you want
the chain to follow. Choose the Brush tool with a small brush
sizesmall enough to represent the thin wire that runs through
the chains found in dog tags (6 px in this example). In the Brush
panel (Window>Brush), turn off any default settings. Set the
Hardness to 100%, and reduce the Spacing to the lowest value
of 1%. Make sure youre still in the Brush tool, and stroke the
path by clicking on the Stroke Path with Brush icon at the bot-
tom of the Paths panel (Window>Paths).
STEP THIRTEEN: Create a new layer above the chain layer
and call it balls. Choose a larger brush Size to represent
the tiny balls of the chain (20 px in this example). In the Brush
panel, increase the Spacing until the preview at the bottom of
the Brush panel looks like individual balls. Once again stroke
the path for the chain.
STEP FOURTEEN: Give the balls layer a layer style of Bevel &
Emboss. Leave the Style set to Inner Bevel, and adjust the
Depth, Size, and Soften settings to make the chain appear
realistic. You can also try raising the Opacity of the Highlight
Mode in the Shading section. Click the checkbox next to Drop
Shadow in the list of Styles on the left side of the Layer Style
dialog to apply the default settings. Click on Blending Options
in the list of Styles, turn on Layer Mask Hides Effects, and click
OK. Copy these layer styles to the chain layer.
THREADING THE CHAIN
STEP FIFTEEN: Make the balls layer active, and click the Add
Layer Mask icon (circle in a square) at the bottom of the Layers
panel. Make the tag layer a selection by Command-clicking
(PC: Ctrl-clicking) on its preview thumbnail in the Layers panel.
Using the Brush tool with a soft, round tip set to black, paint
inside the selected area to hide the parts of the balls that are
running under the tag.
STEP SIXTEEN: To duplicate the mask over to the layer
with the chain, in the Layers panel, Option-click-and-drag
(PC: Alt-click-and-drag) the mask preview thumbnail from the
balls layer over to the chain layer to apply it there, as well. This
image shows the mask and how the chain and tiny balls are
being hidden by it.
The fnal result is a realistic-looking dog tag and chain.

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UnderstandingPresets
Presets have been in Lightroom since before version1. During that phase (without blowing my own
trumpet too much), many of us were exploring what was happening in Lightroom independent of the
information provided in the beta forum on Adobe Labs. Unfortunately, those posts were all lost when
Lightroom 1 came out, but it was then when I found out that preset fles are merely text fles. Back then
there were no tools to show where these fles were stored, so we had to fgure all that out. Because
they were text fles, we shared them by simply cuting-and-pasting the text contained within them. Had
there been a way to atach fles, we wouldve done that instead! A fellow tester, Richard Earney, solved
the issue of sharing actual fles by creating a site called Inside Lightroom (htp://insidelightroom.com).
WHAT ARE PRESETS EXACTLY, AND HOW DID PEOPLE START SHARING THEM? A PRESET IS A SAVED
COPY OF YOUR CURRENT SETTINGS IN THE DEVELOP MODULE. YOU CAN CHOOSE TO HAVE ALL
THE SETTINGS IN THE PRESET, OR JUST SOME OF THEM. IN FACT, THIS ABILITY TO CHOOSE WHAT
GOES INTO A PRESET GIVES YOU A REALLY POWERFUL METHOD OF MANAGING YOUR PRESETS
AND HOW THEY INTERACT.

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CREATE A CUSTOM PRESET
We had established that a preset le is a text le, but what is its function? Lets create a preset and then take a look inside it. When Scott
Kelby visited London, one great takeaway I got from the seminar was about black-and-white photographs. It wasnt even a Lightroom
seminar, but the information still applied. What makes for a quick, but good black-and-white? Simply desaturate a photo, and bump
up the contrast. You can do that in Lightroom by simply by lowering the Saturation to 100 and raising the Contrast in the Basic panel.
By Sean McCormack
Now, well save the preset via the New Preset command in the Develop
menu. You can also use the shortcut Shift-Command-N (PC: Shift-Ctrl-N),
or click the Create New Preset icon (+) on the Presets panel header. Any of
these methods will open the New Develop Preset dialog.
Because weve only changed the Saturation and Contrast, we can click the
Check None button to deselect all, then tick the Contrast and Saturation boxes,
as well as the Process Version. Why? Basically, were telling Lightroom to only
change these settings and leave everything else alone. Unless you specically
need a preset to make changes to the whole Basic panel, its better to leave
unused settings out. For instance, if we set an Exposure value in a preset, it will
wipe out any existing Exposure value. If youve gone to the trouble of xing the
exposure in a photo, best not have it wiped out by a preset. As to the Process
Version being added, Contrast in PV2012 is different to PV2010, so we need
to tell the preset to apply the Process Version, too, or this wont work properly.
Name your preset Easy B&W, and
click the Create button.
In the case of our preset, we can
now quickly apply it to other images.
Using Grid view (G) in the Library
module, we can select photos to
convert to black and white, then
select our new Easy B&W preset to
apply it to those photos. You can
select the preset through the Saved
Preset drop-down menu in the Quick
Develop panel. Notice that all other
aspects of the photo remain the
same: Exposure, Shadows, High-
lights, etc.
GOING DEEP
Lets take a look at whats going on in-
side the preset. In the Presets panel in
the Develop module, go to the Users
Presets folder, Right-click on the Easy
B&W preset, and choose Show in Find-
er (PC: Explorer).
Open the Easy B&W.lrtemplate
le in a text editor (not a document
editor such as Word). Ive used Text-
Wrangler, a free Mac text editor. The
important lines here are lines 711.

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There are four key lines here.Three of these are lines that match
our ticked boxes: Contrast (called Contrast2012 to distinguish it
from the older PV2010 Contrast) is at +29, Saturation is at 100,
and the Process Version is 6.7 (from Camera Raw 6.7). The nal
item is ConvertToGrayscale = false. This is an internal value let-
ting Lightroom know that the Black & White option hasnt been
selected. Of course, our image is black and white, but not through
normal Lightroom channels.

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073
TIME FOR ANOTHER PRESET
This time well go a little fashion retro. Up until Lightroom 4, you
could only get retro looks through the Split Toning panel. Now
we have the Red, Green, and Blue channels in the Tone Curve
panel. First up, well use a trick that Matt Kloskowski showed
recently in Lightroom Magazine. Well fade the image using the
RGB Tone Curve. If you see sliders in the Tone Curve panel, click
the small icon at the bottom right to open the Point Curve (see
top right). This gives us a far more powerful version of Curves.
First, make sure the Channel drop-down menu is set to RGB,
and then drag the bottom-left point up. A good starting point is
around 1015%, but its really up to you what you like. Next, in
the Channel drop-down menu, change RGB to Red. Pushing the
curve up adds red, while pulling down adds the opposite color,
cyan. Lets add cyan to the shadows. Click a point near the middle
of the curve to x the highlights in place, then drag a second point
down in the left of the curve. Were not going to play with the
Green curve here, but its worth mentioning that pushing up in
the green adds green, and pull-
ing down adds magenta. Next,
go to the Blue channel. Again,
pushing up adds blue, while pull-
ing down adds yellow. Lets add
yellow to the highlights. Click a
point in the middle to hold the
shadows, then drag down in the
right part of the curve.
Now lets save the preset and
call it Faded Retro. This time,
only select Tone Curve and Pro-
cess Version in the New Develop
Preset dialog.
If we look at this preset in a text editor, well see quite a differ-
ence from the Easy B&W preset. First, its a lot longer, and second,
it has completely different settings. The rst part of the settings
(from line 7) is the parametric curve. We didnt use this, so all the
settings are at their defaults. In the ToneCurvePV2012 section we
see lines of numbers: 0, 28, 255, and 255. These tell the curve that
0 has been moved to 28, and that 255 remains at 255. This is our
fade. For the other curves, each pair of numbers is the input point
and the corresponding output value. Where the numbers match,
the point doesnt change.
PRESET WORKFLOW
By only including the things youre changing for a particular look,
you can build up new looks by applying these partial presets
on top of each other. Because they only affect particular panels
in the Develop module, they wont overwrite each other. Using
Preset Folders, you can have a folder of presets for each panel in
the Develop module: Basic, Tone Curve, B&W, Split Toning, etc..
You can create folders by selecting New Folder in the Folder drop-
down menu in the New Develop Preset dialog. By hovering over
the preset name in the Presets panel, you can see the affect it will
have on the current photo. If youre really happy with a look from
applying multiple presets, save these settings as a new preset to a
Looks folder where you know it will overwrite far more.
DOWNLOAD AND INSTALL
Both the Easy B&W and Faded Retro presets can be downloaded from
http://members.photoshopuser.com/magazine/issue/december-2013.
To install them, Right-click on any preset in the Develop module, and
choose Import. Go to where you unzipped the download, and
choose the Easy B&W.lrtemplate or Faded Retro.lrtemplate le to
add them to the Develop module.

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074
Picture this: Youre in a stunning and historic church in beautiful Sorrento, Italy. You have the
entire place to yourself except for a few locals who are sitting quietly with their thoughts
and prayers. Youre standing all the way in the back of the church, trying to capture all of the
ornate details of the wide interior.
HDR and Panoramics
UNDER THE HOOD
Brian Matiash
You know that youre going to have to shoot some brack-
ets to tone map an HDR image, but your lens isnt wide
enough to capture everything in one frame (or set of brack-
ets). This is where the beauty of shooting panorama panels
comes into play, and it even works well if youre creating an
HDR image.
CAPTURING THE PHOTOS
The scenario I described above is exactly what I experienced
several years ago when I visited Italy. I simply couldnt get a
wide enough frame, even though I had my Canon 17mm
Tilt-Shift (TS) lens on a full-frame Canon EOS 5D Mark II.
Thats when the idea of panos popped into my head. If I took
a set of brackets covering the left, middle, and right portions
of the church, I should be able to tone map and stitch every-
thing together to get a beautifully wide, ultra high-resolution
HDR pano. And thats exactly what I ended up doing. I simply
shifted my TS lens to three sectionsfrom far left, middle,
and far rightand took a series of bracketed images at each
section. Dont worry if you dont have a TS lens. The same
general workfow below will apply even if you simply swivel
your tripod head to capture the pano panels. You are using
a tripod, right?
STEP ONE: Typically, whenever I begin editing a series of
brackets for HDR, the only edit I make before tone mapping
is white balance correction. In the case of these images, the
white balance was off because of the light inside the church.
So, in Lightroom, I simply pressed W to choose the White
Balance Selection tool, and selected a portion of the image
that I wanted to use as the base for my new custom white
balance. Next, I selected all of the remaining bracketed imag-
es in the Filmstrip and clicked the Sync button to synchronize
the white balance and ensure consistency. Now, when you
look at three of the sample brackets in Survey view (N), youll
see a more accurate color representation.
STEP TWO: There are actually two ways you can proceed
from here. Some photographers prefer to stitch each set of
. . . .
adobe photoshop l i ght room sect i on

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brackets into their own pano image fles before tone-map-
ping, but I fnd that process to be more time-consuming and
convoluted. I prefer to frst create my three tone-mapped
HDR fles and then stitch those into a single pano. To begin,
Im going to send my frst set of nine bracketed images to
Photomatix for tone mapping. Now, you dont have to use
Photomatix; you should use whatever tone-mapping product
youre most comfortable with.
In Lightroom, I selected the Photomatix export action
that I created, which launches the Photomatix dialog. You
can also select the photos and choose Photo>Edit In>Edit
in Photomatix Pro, or whatever application youre using if
youve set it up as an external editor in the Lightroom (PC:
Edit)>Preferences. Because there was motion from some of
the churchgoers in my bracketed images, I made sure the
Remove Ghosts checkbox was turned on and selected the
With Selective Deghosting Tool radio button.
STEP THREE: Next, I drew selections around the people
who were moving through the frames and chose the brack-
eted image I wanted to use as the source. When the ele-
ments are looking good, I proceed to tone map the image
accordingly. When Im done and return back to Lightroom,
Ill have the frst of three tone-mapped panels ready to go.
For the sake of keeping my library tidy, I always stack the
tone-mapped image along with the bracketed source images.
under t he hood

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ALL IMAGES BY BRIAN MATIASH
STEP FOUR: The next steps are actually pretty automated.
Because I want to ensure that my three tone-mapped HDR
images blend evenly during the pano stitching process, all
I do is select the next set of brackets, send them to Photo-
matix, and apply the tone mapping without touching any
sliders. One thing to note is that you want to make sure
that whatever tone-mapping software you use has sticky
settings, which essentially remember the state of the sliders
from your last session. Because Photomatix supports sticky
settings, all I need to do is click one button to proceed with
the exact same settings as before. Repeat this process for
each panel that you want to tone map and subsequently
stitch together. With the tone mapping complete, I can see
the three source panels that Im going to stitch together to
create my pano image.
STEP FIVE: While there are many apps out there that
will stitch multiple fles together to create a pano image, Ive
been really happy with how Photoshop CC handles this task,
and because I already have it installed on my computer, there
are no extra apps to buy or install. To start, select the three
source panel images in Lightroom, Right-click on one of the
photos, and choose Edit In>Merge to Panorama in Photo-
shop. In the Photomerge dialog that appears, youll have a
variety of options for how the fles are analyzed, edited, and
stitched together. I almost always use Auto then click OK.
STEP SIX: When Photoshop is done analyzing and stitch-
ing, the result is a beautifully wide photo that accurately
conveys all of the details, architecture, and craftsmanship
of this gorgeous church. There isnt much to do at this
point other than choose the Crop tool (C), crop the pano,
and then save the fle to fnish things in Lightroom.
under t he hood
STEP SEVEN: Because I prefer to create my initial tone-mapped HDR images to be rather fat, the fnal pano image
could stand to have a few mild edits applied. This image is truly beautiful and stands on its own, and for that reason,
I dont want to apply any heavy-handed changes, such as cross-processing, so I stick with some basic adjustments like
cooling off the color temperature, adding a contrast boost via the Tone Curve panel, and applying some sharpen-
ing. Now Im left with a truly accurate and beautiful representation of what it felt like to stand in this church, and it
couldnt have been possible without combining two fantastic tools with HDR and pano stitching.
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adobe photoshop l i ght room sect i on
. . . .
The Web galleries that come with Lightroom can provide an okay starting point for building
your online presence, but to take the Web modules capabilities to the next level, youll want
to explore some exciting third-party Web galleries.
Rob Sylvan
Expanding Web Gallery Options
UNDER THE LOUPE
A lot of people check out the Web module, click through
the different Web galleries found in the Layout Style
panel, shrug, and never come back again. This is too
bad because theres a lot of power in that module thats
waiting to be tapped into, and luckily there are some
independent Web gallery creators that have been doing
just that. Whether youre interested in new options for
standalone galleries or wanting to run a full-fedged web-
site right from Lightroom, there may be a gallery that fts
your needs (and budget) waiting to be found.
Lets start with a look at the Web galleries that come
bundled with Lightroom. From the Web module, expand
the Layout Style panel and youll fnd fve different styles
from which to choose. These are the same fve styles that
have been in Lightroom for several versions now. Four
of the fve styles are Flash based, which may limit your
search engine optimization efforts (SEO) and support on
iOS mobile devices. Theres only one HTML gallery, and
while it can be customized to an extent, its actually pretty
limited for todays Web needs.
What are these other options? Well, your frst thought
might be to click the Find More Galleries Online button
at the bottom of the Layout Style panel. Clicking that
button will take you to the online Adobe Exchange for
Lightroom, where you can fnd a number of Web gallery
options and other plug-ins for Lightroom. The only prob-
lem with that option is that (as of this writing) its sadly
outdated. It seems that theres some snafu on the back
end thats impeding third-party developers from updat-
ing and adding new content. If you do fnd something
of interest on the Lightroom Exchange website, I highly
recommend you seek out the website of the developer
responsible for that item to see if theres a more up-to-
date product available.
SOME RECOMMENDATIONS
My two favorite places to start looking are Photographers
Toolbox (www.photographers-toolbox.com) and The Turn-
ing Gate (www.theturninggate.net). Photographers Tool-
box provides a number of very strong gallery options from
Sean McCormack and Timothy Armes, along with a wide
range of other Lightroom plug-ins from other developers.
The Turning Gate (TTG) is the work of Matthew Campagna,
who is (to my knowledge) the only person working full
time on developing Lightroom Web galleries, and this really
shows in the level of integration and sophistication of his
offerings. All of the galleries Ive mentioned do cost a small
fee to use, but this is a reasonable expense for the increased
functionality they provide, and Im happy to help support
fellow photographers who are behind all of these efforts.
DETERMINE YOUR NEEDS
Ive had a WordPress blog running for some time on my
sylvanworks.com domain and Ive been wanting to fnd a
way to leverage it to support my new stock photography
endeavor on Stocksy United. I wanted to create a standalone
gallery that would integrate well with my existing WordPress
blog, but could also tie back to my work on Stocksyalong
with allowing integration with social media sharing (Google+,
Facebook, Pinterest, etc.)and be fexible enough to display
well on mobile devices. I was also curious to see if I could fnd
a way to also tie into a platform for print sales. After doing
a bit of research, I settled on trying two products from The
Turning Gate: CE3 Theme for WordPress and CE3 Gallery.
The CE3 Theme for WordPress allows me to update my exist-
ing WordPress theme and provide a unifed look across my
existing pages, as well as provide a consistent feel on the new
gallery page. The CE3 Gallery plug-in is the engine for creat-
ing a new HTML photo gallery with a host of SEO-friendly
features, a slick slide show feature, social media integration,
and even tie into print sales via Fotomoto (recently acquired
by Bay Photo). This is just what I was looking for.
Installing a third-party Web gallery is very simple and
the process is the same no matter where you get the gal-
lery. Heres how:
STEP ONE: Download the ZIP fle from the developer, and
unzip this to a folder on your desktop to make it easy to fnd.

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under t he l oupe
The Web gallery fle itself has a .lrwebengine fle extension.
STEP TWO: Copy that .lrwebengine fle to the follow-
ing location:
Mac:
Users/[username]/Library/Application Support/Adobe/
Lightroom/Web Galleries
Windows:
Users\[username]\AppData\Roaming\Adobe\Lightroom\
Web Galleries
Note: If youre running Mac OS X 10.7 or later, youll need
to open a new Finder window, click the Go menu, and
press-and-hold the Option key to show the Library. Click
Library to get started on the right path. On Windows, the
AppData folder is hidden by default, so youll need to open
Windows Explorer, go to Tools>Folder Options>View, and
check the box to Show Hidden Files, Folders, and Drives. On
both operating systems, youll need to create the Web Gal-
leries folder in the Lightroom folder, if its not there already.
STEP THREE: Restart Lightroom. When Lightroom
opens, you should see the new Web galleries listed in the
Layout Styles panel. Thats all there is to installation.
With each of these third-party galleries, youll have a wide
range of new options to explore and test. In my experi-
ence, these plug-ins are very well documented (check the
website of the developer) and the developers have proven
to be very responsive to questions. Keep in mind that youll
fnd entirely new options in these galleries that dont exist
in the default galleries, which is exactly what youre look-
ing for, so take your time in becoming familiar with these
new offerings before pushing them live onto your website.
I dont have the space to detail every step I took to cus-
tomize the new options available in these galleries, but
I want to highlight some of the most compelling options
and some of the things I learned along the way. First, dont
rely on the built-in FTP capabilities of the Web module
because it isnt that robust. Instead, try out a dedicated FTP
program. You may already have a favorite, but Ive been
using Cyberduck on my Mac and FileZilla on my Windows
machine happily for years. Youll get a much more power-
ful program for managing your website and youll have no
problems uploading.
When your gallery is ready to upload, click the Export
button (instead of Upload) to save all of the related gal-
lery fles to a folder of your choosing on your hard drive,
which youll upload to your Web server using your FTP
program. Youll obviously need a Web domain and Web
host that allows for FTP transfer, which is pretty standard.
Use collections as a starting point for creating your gal-
leries, and then save your gallery settings with your photos
by clicking the Create Saved Web Gallery button. This will
create a new collection of those same photos with your
Web gallery settings saved together.
SETTING UP YOUR SITE
With your collection loaded and new Web gallery selected,
the frst panel to dig into will be the Site Info panel. The
contents of this panel will vary widely with each gallery,
but this will probably contain the most important elements
affecting the look of your gallery. One of the simplest (and
most welcome) features of The Turning Gate galleries are
the felds pertaining to SEO and Google Analytics; these
are webpage development 101 things, but also completely
lacking in the built-in galleries. Another nice feature is being
able to integrate all of my social media links in a consistent
manner across all of my websites pages. From there, con-
tinue to work your way down through the settings in each
panel until youre done. The preview in Lightroom is okay
for basic confguration, but youll want to test in a real Web
browser as you go by clicking the Preview in Browser button,
and then fnally testing it live on your site.
You can test drive my website, where the theme is
entirely generated from the TTG WordPress plug-in (you
dont blog from Lightroom, you just use it to generate the
fles that make up the theme) and my growing gallery using
TTG Galleries, by going to www.sylvanworks.com. Drop me
a line if you have any questions.

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THE WHITE BALANCE
SELECTOR TOOL
The White Balance Selector
tool is the primary way for
setting a custom white bal-
ance in an image. You can
activate it from either the
Library or the Develop mod-
ules by pressing W on the
keyboard. Pressing W again
docks the eyedropper back
in the Basic panel. To use it,
simply click on something in
the image that should be a neutral tone, such as gray or a white
with tonal detail (more on that below).
USING GRAY TARGETS TO SET
WHITE BALANCE
Placing a gray or color target in the scene and taking a few
well-exposed test shots will give you an accurate reference that
can be used to set white balance when you process your shots.
This image shows the SpyderCUBE by Datacolor. In addition to
neutral gray areas for measuring white balance and midtone
repsonse, the SpyderCUBE also has a chrome ball for refective
specular highlights, white and black sides for highlights and
shadows with detail, and a black trap to set absolute black.
Once in Lightroom, you can use the White Balance Selector
tool to click on the gray area of your target to set a correct
white balance for the shot.
CORRECTING WHITE BALANCE WITHOUT
A GRAY TARGET
Even though many gray targets are small and easy to carry in
a pocket or camera bag, there will be times when theyre not
available for a shot. If theres any area in the scene that should
be a neutral, or close to it (e.g., the gray in a cloud, the whites
of the eyes, gray metal, gray cement, a white shirt), you can
use these with the White Balance Selector tool to get started.
If youre clicking on a refective metallic object, zoom in and
make sure youre not inadvertently clicking on a refection that
has color in it. I refer to these areas as neutral guides because
they help me determine a neu-
tral color balance for the image.
Of course, elements you fnd
as part of the scene may not
be strictly neutral in terms of
setting a correct white balance,
but it will get you much closer
to the mark and you can then
fine-tune with the Temp and
Tint sliders, if needed.
SYNCING WHITE BALANCE ACROSS
MULTIPLE FILES
Once you have corrected the white balance in one shot, you
can apply the same setting to multiple fles that need the same
correction. With the corrected shot still selected in the Develop
module Filmstrip, select the other shots. If theyre in a contigu-
ous row adjacent to the frst shot, simply Shift-click on the last
shot to select the entire row. If you need to select noncontigu-
ous shots, Command-click (PC: Ctrl-click) on the thumbnails
you want to select. Then click the Sync button in the lower
right. In the Synchronize Settings dialog, click Check None,
then click the checkbox for White Balance at the top left, and
click Synchronize to apply the white balance from the source
shot to all the selected fles.
SAVE A CUSTOM WHITE BALANCE PRESET
If you routinely fnd yourself in the same location and lighting
conditions for a specifc and recurring job, consider saving a
custom white balance preset that can be applied to images as
theyre imported. To do this, follow the steps above for using
a gray target to set white balance. Then click the Create New
Preset icon (+) in the Presets panel header. In the New Develop
Preset dialog, click Check None, and then select White Balance
and Process Version (the latter will ensure predictable results in
future versions of Lightroom). When you import fles, you can
access the custom preset in the Apply During Import panel on
the right side of the Import dialog. Open the Develop Settings
menu and fnd your white balance preset for that location and
lighting conditions.
ALL IMAGES BY SEN DUGGAN
Sen Duggan
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FIGURE IN THE LANDSCAPE
Combining landscape photography with figure studies
expresses a sense of place, light, and scale. Working in a
beautiful environment with talented and trusting models
allows for collaboration to create successful images. Success-
ful landscape and fgure images are often built on the classic
rule of thirds composition, in which the fgure falls on the
intersection of three lines that both balance the scene
and create an interesting visual tension. Placing the fgure
in the direct center of the frame can feel unbalanced, as
the landscape around the fgure teeter-totters around the
centered fgure.
KATRIN EISMANN
CREATIVE POINT OF VIEW
In photographic history, the primary genres include landscape, portrait, and still life, and more recently abstrac-
tion. Combining these categories by exploring the fgure in the landscape and the portrait enriched with still-life
elements adds depth and can enrich your photographic voice.
Still-Life Portraits
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Playing with a sense of scale, allowing the fgure to be
smaller in the frame gives the scene a feeling of grandeur,
which is created by using a wider-angle lens. Using a lon-
ger lens compresses the background-to-fgure relationship
and brings the background closer to the subject, creating a
stronger relationship with the environment in this example,
the stormy Pacifc Ocean and the silhouetted fgure.
PORTRAITS AS STILL LIFES
The intersection of portraiture and still-life photography
is a fascinating area to explore and express symbolism
of emotion, history, and perception. In my opinion, the
simpler the inanimate object, the richer the fnal portrait
can be. With a person in the image, theres no reason to
be heavy-handed or clich, as we are naturally fascinated
by pictures of people. Photography allows us to gaze at
a person, and the addition of the object encourages our
minds to create new combinations of meaning. An egg
is among the most symbolic objects with great religious
and cultural meaning for life, hope, and fertility. Con-
trasting the egg against the strong face and intense eye
contact of model Jean-Pierre Vertus glorifes the positive
symbolism and importance of the egg. The photograph
was lit with a large soft bank to camera right and a black
fag on the left side to subtract light to contrast the egg
more effectively.
CREATIVE POINT OF VIEW

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Creating a successful single image is often
the motivation for me to continue exploring an
idea. In this instance, the opportunity to work
with Jean-Pierre Vertus at a Gorman Photography
Workshop for a week allowed me to continue
exploring the still-life portraits. As the locations
changed, I found props onsite that ft to the scene
and light. Contrasting deer antlers with his face
created the opposite of the egg image, as the
antlers are masculine and sharp that cast graphi-
cal shadows over his face. To show a softer side,
I placed garlic from the gardens where we were
into his protective shadow to symbolize the hid-
den aspect of growth and regeneration. I prefer
to fnd props on location, but of course bringing
props or clothing can also be very successful.
BUILD COLLABORATION
Finding beautiful locations with privacy often requires
favors and friendship. Never take that for granted
a bottle of wine and some good prints will open
more doors than money. Always leave the location
in the same or better shape than when you arrived:
pick up trash; dont trample fower beds; stay out of
private areas of the home; dont assume you can use
the bathroom facilities; arrive and leave on time; and
of course, return all props to their original location.
Working with professional models, dancers, or
actors will allow you to concentrate on your photog-
raphy. Professional models understand how to pose,
have confdence, and very importantly will under-
stand that you need to take a lot of pictures to get
just what you want. Make sure to give them breaks
with privacy, warm or cool beverages, and warm
clothing as needed. One last note: If you, the photog-
rapher, are uncomfortable (as in being cold, hungry,
or tired), then your models will be, too. If anyone on
your team is uncomfortable, no one will be able to
concentrate on his or her work. Be the team leader
and take care of everyone by being positive and, for
example, paying for breakfast after an early morning
shoot. Little things count and are remembered longer
than a paycheck.
TAKE A LEAP
We all have habits and photographic subjects that
were comfortable with. Take a workshop, fnd a
muse, and mix things up. With these images I had
the good fortune of working with professional mod-
els in beautiful locations, and now I feel empowered
to push the contrast of the portrait and still life in
new directions.
ALL IMAGES BY KATRIN EISMANN
creati ve poi nt of vi ew

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Since this technique relies on smart object stack modes, you must have an Extendedversionof Photoshop
or Photoshop CC. It also requires that you create Adobe Camera Raw (ACR) smart objects. In order to
do this, open your RAWfle and click on the blue link at the bottom of the ACR window. This will
open the Workfow Options dialog where you check Open in Photoshop As Smart Objects. After
you click OK to close the Workfow Options dialog, youll notice that the Open Image button has
changed to Open Object.
With this option checked, a two-way street is established between ACR and Photoshop. That
means that after applying the ACR settings to a fle andopeningit inPhotoshop, youcancontinue
to edit the fle back in ACR simply by double-clicking on the smart object in the Layers panel. Thats
a key aspect of being able to blend together two exposures.
In this example, well use a single shot that was captured in an attempt to get abit of alens fare
from the sun while preserving the blueskyandseeingdetail in the tree branches. Its close to the efect
I wanted but needs a little tweaking.
Were going to need to make two ver-
sions of the same photo using ACR, so in
the frst step you adjust either for one chal-
lenge or the other: in this case, the blue sky
or the backlit branches.
DYNAMIC RANGE
Images: iStock Layout Design: Taffy Clifford
TWO ONE
FROM
Creating and Blending Multiple Exposures from a Single Image
In many situations you can take
advantage of a tripod, bracketing
shots, and using HDR techniques
to merge together diferent expo-
sures. But what do you do if you
only have one shot, or the situation
doesnt lend itself to HDR (such as
portraits)? This method involves
automatically combining multiple
exposures from a single image
with no masking required.
By Dave Cross

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STEP ONE: Open a RAW fle and make your
initial adjustmentswell start with the branch-
es. We adjusted the settings to make the details
in the branches more visible. Dont worry about
what this does to other parts of your image (in
this case, the sky). Click Open Object.
STEP TWO: We need to make a copy of
the ACR smart object that can be edited inde-
pendently of the original. Right-click in the Lay-
ers panel beside the smart object thumbnail and
choose New Smart Object via Copy.
STEP THREE: Double-click on the new
smart object layer thumbnail to jump back
to ACR. This time well adjust the settings,
focusing our attention on the sky. Click OK.
STEP FOUR: Shift-click the original
smart object layer in the Layers panel so that
both layers are selected. Right-click on one
of the selected layers and choose Convert to
Smart Object.
STEP FIVE: From the Layer menu, choose Smart Objects>Stack Mode>Median. This will mathematically combine
the two ACR smart objects, resulting in a new exposure.

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Although you may be happy with the result from this stack mode, the
beauty of the technique is its editability: we can still accessand editthe
ACR settings for both of the layers that have been combined. Heres how:
STEP ONE: Double-click on the smart object thumbnail to open a second
window with the contents of the smart object (in this case, two ACR smart objects).
STEP TWO:
STEP THREE:
SMART OBJECTS
Here are some other examples of the kind of additional experiments you
can try with automatic updates (thanks to the stack modes):
1. If you drastically lighten an image using the Shadows or Blacks sliders,
use the Detail tab to add some Noise Reduction.
2. Change one of the two ACR smart objects to grayscale: use the fourth
tab (HSL / Grayscale) to Convert to Grayscale.
3. Add another version of the ACR fle by using New Smart Object via
Copy and edit it. Try increasing the Clarity or Vibrance. Once again,
when you save the contents of the smart object, the stack mode will
update to refect the change in contents.
Although this technique can be applied to a variety of challenging images,
theres one thing to consider, and thats the order in which you do things. Its
great to be able to continue to edit the two ACR smart objects, but remember
that some things do not update; for example, lets take a look at this image
that we created using the same technique weve been discussing.
ORDERED

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STEP ONE:
STEP TWO:
STEP THREE:
STEP FOUR:
STEP FIVE:
STEP SIX:
Now we have a sharpened image, with the option of digging down
through the smart objects to access the adjustment layers and the original ACR smart
objectsand the only masking we had to do was some basic painting on the adjust-
ment layers.
ALL PHOTOS BY DAVE CROSS EXCEPT WHERE NOTED
PHOTOSHOP CC CAMERA RAW FILTER
SMART OBJECTS

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The Power of Layer Comps
Step One
Anyone versed in using the amazingly powerful layers in Photo-
shop can do all of these things. Its time-consuming; its also cum-
bersome, at best. Why isnt there an easier way? There is. The
little-known panel named Layer Comps. To learn more, download
the fle 2788-Nebulas.psd from the NAPP member website and
follow along.
Which one is better? This, or this? No, this isnt an eye exam. It represents the decisions made every day
between differing versions of a final photograph. Turning certain layers on then off to show changes
requires remembering the diferences, and what if the client wants to see the versions side by side?
[NAPP members may download the fle used in this tuto-
rial at http://members.photoshopuser.com/magazine/issue/
december-2013. All fles are for personal use only.]
KEVIN AMES
DIGITAL PHOTOGRAPHERS
NOTEBOOK
how-to

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Step Two
the 5 key to set the layers Opacity to 50%. Click-and-drag
the Red Nebula layer until its center is aligned with the Blue
Nebulas center.
STEP FOUR: Next, press Command-T (PC: Ctrl-T) for Free
Transform. Right-click inside the bounding box, then choose
Distort from the contextual menu. Drag the center point of the
bounding box over the middle of the two nebulas (its a little
hard to see, but its there). Grab the right handle and drag it
until the edge aligns with the edge of the Blue Nebula. Repeat
for the top-center handle. The center moves a bit. Compensate
by dragging the middle handle on the left side and the bottom
handle until the centers once again align. Click the Commit
checkmark icon in the Options Bar. Press 0 to put the layers
Opacity back to 100%. Finally, press Shift-Option-B (PC: Shift-
Alt-B) to set the blend mode of the layer to Color Burn.
STEP ONE: Open the fle 2788-Nebulas.psd. From the menu
bar, choose Window>Layer Comps. The panel opens with
some layer comps already in place. The active layer comp is All
Layers > No Layer Mask. All of the Eye icons in the Layers panel
are showing, while all of the layer masks have red Xs, indicat-
ing theyre disabled.
STEP TWO: Now, in the Layer Comps panel, click on the
empty box to the left of the layer comp Blue Nebula > With
Layer Masks. The red goes away and some of the bright fares
in the corners are gone.
STEP THREE: Lets make a new layer comp. Go to the
Layers panel and turn on the layer Red Nebula (click where
the Eye icon used to be). Its not centered in the Blue Nebula
below it, so switch to the Move tool by pressing V, and press
di gi tal photographer s notebook

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ALL IMAGES BY KEVIN AMES
Step Five
Step Seven
Step Eight
STEP FIVE: Click the Create New Layer Comp
icon at the bottom of the Layer Comps panel.
Name the layer comp Red Nebula > Center >
Transform > Color Burn. I know its tempting to
use the suggested naming of Layer Comp 1, 2,
etc. Dont! Youll never remember what you did
to get the result. Next, and this is super impor-
tant, under Apply to Layers, make certain that the
Position and Appearance boxes are checked. Click
OK. The new layer comp appears under the sup-
plied one Red Nebula > With Layer Masks.
STEP SIX: Click the layer comp named Red
Nebula > With Layer Masks. This is exciting.
Even though the Red Nebula layer was moved,
transformed, and had its blend mode changed
in the previous steps, its now in its original (off-
center) state! Click ahead to the next layer comp
to return to the version from Step Four. Save
your work.
LAYER COMPS TO FILES
At this point, variations can be viewed by selecting
different layer comps. What about comparing the
versions side by side? You could duplicate the fle
four timesone for each layer compfatten, then
save them with different names, but thats a lot of
work. Or
STEP SEVEN: Choose File>Scripts>Layer Comps
to Files. Click the Browse button to choose the des-
tination for the new fles. You can add a prefx if
youd like. I leave it blank. If you only want certain
layer comps made into fles, select them frst in
the Layer Comps panel, then check Selected Layer
Comps Only. Next, choose the type of fle you
want from the drop-down menu. Finally, click Run.
STEP EIGHT: Navigate to the destination folder
in Bridge. All four versions are there as JPEGs (my
choice for this example), complete with a numeri-
cal prefx, followed by the layer comp description
so its easy to know which version came from
which comp. By the way, these photographs are
the holiday lights at the Atlanta Botanical Gardens.
I rotated the camera on the tripod to get the
nebula effect.
Theres more to layer comps than theres space to
cover here. Theres a video on the Tutorials section
of the NAPP site with this tutorial step by step, plus
even more info about using layer comps. Until next
issue, keep shooting!
di gi tal photographer s notebook
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PREVIEW SELECTIONS (PS, ID & IL)
All three apps let you scroll through your font list to see a
live preview applied to selected text. It works like this: Select
some text in your document. Click on the name of the font
in the Character panel, Options Bar, or Control Panel. Press
the Up or Down Arrow keys on your keyboard and watch
as your selected text takes on the appearance of the next
font above or below your current font in your font list. You
can now do the same thing in InDesign and Illustrator CC by
clicking on the downward-pointing triangle to the right of
the font name, which displays your list of fonts. Pressing the
Arrow keys will scroll up and down through the fonts and
update the selected text in the document to the currently
highlighted font in the list.
FONT FAMILIES GROUPED AND INDENTED (ID & IL)
In InDesign and Illustrator CC, font family members (styles)
such as Light, Bold, Italic, and Condensed are now hidden
and grouped under the main name of the font family in the
drop-down list of
fonts. To see them,
click the downward-
pointing triangle to
the right of the font
family name to see a list of your fonts.
When you click the disclosure triangle
to the left of a font family name, the
font family members appear indented
under the family name. Click the tri-
angle again to hide them. Note that you can still choose font
family members from the drop-down menu next to the font
name in the Control panels for both InDesign and Illustrator.
FIND PARTS OF FONT NAMES (ID & IL)
In previous versions of InDesign and Illustrator, you could type
the beginning of a font name in the Font feld of the Control
or Character panels to see only the fonts whose name begins
with those letters. However, many font names begin with the
font foundry (Adobe, ITC, P22, etc.) instead of the font family
name (Garamond, Franklin Gothic, etc.), so finding all the
Garamonds at once was impossible. InDesign and Illustrator CC
now have a search option that fnds all the fonts whose name
contains those characters, even if they appear in the middle of
the name.
To use it, click the magnifying glass icon to the left of the
font name in the Control or Character panel (oddly, this option
isnt available from the Type>Font
menu). Then choose either Search
Entire Font Name or Search First
Word Onlythe default is Search
Entire Font Name.
When you type in some characters, the font list will shrink
to display only the fonts whose name contains those char-
acters. A search for Garamond Bold It collects fonts from
multiple foundries.
FAVORITE FONTS (ID)
InDesign still groups recently used fonts at the top of its
font lists, and you can control how many fonts it remem-
bersand whether theyre listed alphabetically or in order
of most recently usedin the Type preferences. To sort your
recently used fonts alphabetically, choose InDesign (PC:
Edit)>Preferences>Type, and check the Sort Recent Fonts
List Alphabetically box. But InDesign CC adds a new organi-
zational twist: Favorite Fonts. To add a font to your personal
list of Favorites, click the star to the left of its font name. To
view your Favorites, click the downward-pointing triangle at
the right of the current font name, and tick the checkbox
labeled Show Favorite Fonts Only.
As with the Search feature mentioned above, the Favorite
Fonts feature is available in the Control and Character panels,
but not in the main Type>Font menu.
TYPEKIT (PS, ID & IL)
In the November 2013 issue of Photoshop User, this column
focused on Adobes integration of Typekit into Creative
Cloud apps. The short version is that Adobe has made hun-
dreds of fonts available to every Creative Cloud subscriber.
To get yours, go to the Creative Cloud app, click on the
JAY NELSON
THE ADOBE CREATIVE CLOUD
New and Hidden Font Features in Adobe Creative Cloud
With all the new features added to the Creative Cloud versions of Photoshop, InDesign, and Illustrator, its easy
to miss some that are the most useful. Each time Adobe revises these applications, they improve the way you
interact with fonts. Strangely, diferent improvements are given to each application.
column

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Fonts tab, and click the button labeled Browse Fonts on
Typekit. That will take you to the Typekit website where you
can explore and select fonts. Some are in a format that can
only be used on websites, while others include both Web
and desktop versions. The Web fonts remain on Adobes
servers and are served up when people visit websites that
specify them in their design. The desktop fonts you choose
will be automatically downloaded to a hidden location on
your computer and activated for use in any application.
When your subscription to Creative Cloud ends, the Web
fonts discontinue being served and the desktop fonts are
removed from your computer. Note that the Package fea-
ture in InDesign and Illustrator will not collect Typekit fonts,
so everyone who opens your document needs to already
own the fonts or have access to Typekit.
ADVANCED OPENTYPE FEATURES (PS, ID & IL)
Adobe has done a remarkable job of hiding the most creative
features available in advanced OpenType fonts. An advanced
OpenType font usually has Pro in its name, and includes a
remarkable amount of intelligence. For example, some have
multiple alternate glyphs (letterforms) for various letters, which
you can use to give a unique appearance to your name or other
important words in titles, captions, postcards, and so forth.
Others choose variants of glyphs for you when they appear next
to other specifc characters (e.g., fractions or special ligatures
such as , f , T, or s). Some even provide increasing levels of
swashiness in a script font. For example, Adios Script Pros
lowercase h has 43 variants and the entire font has a stag-
gering 1,470 glyphs.
To access all this intelligence, first be sure youre using
an OpenType Pro font. Select some text and begin explor-
ing the OpenType areas of the
Character panel, Control panel,
and Glyphs panel. Amazingly,
Photoshop CC provides easier
access to OpenType features
than either InDesign or Illustra-
tor. Note the OpenType options
that appear near the bottom of
the Character panel in Photo-
shop. With some text selected,
click on any of the bottom row of icons. If theyre grayed
out, the font doesnt support that OpenType feature. Hover
your mouse over any of them to see their names.
Illustrator has a dedicated OpenType panel with similar
controls. Choose Window> Type>OpenType.
To access the OpenType
features in InDesign, you
need to jump through a
few hoops. After applying
an OpenType Pro font to
your selected text, choose
OpenType from the either the Character or Control panel fyout
menu. Be sure to explore the Stylistic Sets, which are combi-
nations of that fonts special features as chosen by the font
designer. If an option has brackets around it, that feature isnt
available in the current font.
Both InDesign and Illustrator have a fantastically useful
Glyphs panel that shows every glyph (character) in your cur-
rently selected font. For both InDesign and Illustrator, go to
Type>Glyphs. The Show menu can whittle down the grid to
show only the punctuation, fractions, ligatures, ornaments,
alternates, and so forth. If a glyph has a little triangle in the
bottom-right corner of its
square, it has alternate ver-
sions. Choose an alternate
by clicking-and-holding on
the glyph until they appear,
then mousing over to the
one you want. It even keeps
track of your most recently
used glyphs so you can eas-
ily fnd them later!
Exploring the Advanced OpenType features is similar to explor-
ing Filters in Photoshop: you may want to pour a favorite
beverage and dedicate an evening to getting lost in the cre-
ative possibilities.
THE ADOBE CREATIVE CLOUD

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STEP ONE: In part 1 of this series, well set up the animation
project by preparing its assets. All of the source images in this
project are courtesy of NASA. Open EarthTopography.jpg. To
convert this 2D map into a texture-mapped 3D sphere, choose
3D>New Mesh from Layer>Mesh Preset>Sphere. If your work-
space doesnt automatically switch to 3D, choose 3D from the
Workspace drop-down menu on the right of the Options Bar.
In the 3D panel, select Infnite Light 1. In the Properties panel,
uncheck Shadow and increase Intensity to 140% to brighten
the spheres texture map.
[NAPP members may download the fles used in this tuto-
rial at http://members.photoshopuser.com/magazine/issue/
december-2013. The download also includes the series com-
pleted animation. All fles are for personal use only.]
STEP TWO: Press V to select the Move tool and click the Ro-
tate the 3D Object icon in the Options Bar (frst icon in the 3D
Mode section). Click-and-drag the Infnite Light 1 until its source
(circled) is in the upper-right corner of the document. Rotate
it forward slightly so that Southeast Asia is illuminated. If you
need to change the orientation of the Earth, click on Sphere in
the 3D panel, and then click-and-drag in the document.
STEP THREE: Youll make the Earth more realistic by add-
ing a bump map simulating 3D topography. In the 3D panel,
expand the Sphere node (if it isnt already), and select the
Sphere_Material. In the Properties panel, click the folder icon for
the Bump slider and select Load Texture. Select EarthBump.jpg
from the download fles, click Open, and drag the Bump slider
to 7% to reduce the strength of the effect slightly.
STEP FOUR: Press Command-R (Ctrl-R) to show the rulers (if
theyre not already showing). Right-click the top ruler and select
Inches from the menu. Select the Move tool, then click the Slide
the 3D Object icon in the Options Bar (fourth icon). Click-and-
drag upward in the document to effectively slide the camera
backward in space. Continue dragging until the Earth measures
approximately 1" in diameter, centering it in the document win-
dow. In the Layers panel, double-click the Background 3D layer
and rename it Earth. Save the document as Animation1.psd.
In the course of this three-part series youll learn many animation skills that you can apply to images and 3D
models. Youll keyframe everything from layer positions, transforms, and efects to 3D scenes, meshes, lights,
and cameras. Develop out-of-this-world skills in Photoshop CS6 Extended and Photoshop CC.
Out of This World Animation, Part 1
Step Two
Step Three
Step One
SCOTT ONSTOTT
BEYOND PHOTOSHOP
how-to

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STEP FIVE: Open LunarLandscape.jpg. Select the Magic
Wand tool (nested under the Quick Selection tool [W]) and
in the Options Bar, set Tolerance to 25, and check Anti-Alias
and Contiguous. Click anywhere in the blackness of space to
select everything but the Moon. Open the Layers panel and
double-click the Background layer to unlock it. Type Moon
in the New Layer dialog and click OK. Press Delete (PC: Back-
space) to clear the selection and Command-D (PC: Ctrl-D) to
deselect all. Right-click layer Moon and choose Convert to
Smart Object from the menu.
STEP SIX: Choose Window>Arrange>Float All in Windows.
Shift-click-and-drag the Moon layer thumbnail from the
Layers panel into the Animation1.psd document window.
Right-click the ruler and choose Percent. Press V to select the
Move tool and Shift-click-and-drag the Moon layer down so
that the highest part of its surface is approximately 75% of
the way down from the top. This establishes the perspective
of the viewer on the Moon.
STEP SEVEN: Choose Layer>New>Layer, type Starfeld
in the New Layer dialog, and click OK. Press D to select the
default Foreground and Background colors, and then press
Option-Delete (PC: Alt-Backspace) to fll the layer with the
Foreground color (black). Choose Filter>Noise>Add Noise.
Set Amount to 50%, Distribution to Gaussian, check Mono-
chromatic, and click OK.
STEP EIGHT: Press Command-L (PC: Ctrl-L) to open the
Levels dialog. Drag the shadow Input Levels slider on the left
all the way to the right to reduce the number of stars. Drag
the highlight Output Levels slider on the right to the middle
of the range to reduce their intensity, and click OK. Drag the
Starfeld layer to the bottom of the stack in the Layers panel.
STEP NINE: Open Sun.jpg, double-click the Background
layer, rename it to Sun, and click OK. Select the Ellipse tool
(nested under the Rectangle tool [U]), and choose Path from
the drop-down in the Options Bar. Dragging from the center
of the Sun, press-and-hold Option-Shift (PC: Alt-shift) and
drag a circular path approximately the diameter of the Sun.
Select the Path Selection tool (A), click the circular path, and
nudge it with the Arrow keys to center it. Command-Option-
click (PC: Ctrl-Alt-click) the Add Layer Mask icon at the
bottom of the Layers panel to add a vector mask. Right-click
layer Sun and choose Convert to Smart Object. Shift-drag this
smart objects thumbnail into the project document.
Step Seven
Step Nine
Step Six
Step Eight
BEYOND PHOTOSHOP

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Step Ten
Step Twelve
BEYOND PHOTOSHOP
STEP TEN: Select the Sun smart object, click the Add a Layer
Style icon (x) at the bottom of the Layers panel, and select
Outer Glow. Click the Gradient radio button in the Structure
group, and click the gradient swatch to open the Gradient
Editor. Change Gradient Type to Noise, set Roughness to 33%,
and click the Randomize button until you get a gradient that
has oranges and reds in it. Drag the R, G, and B sliders to rene
the color range until the gradient has similar colors to the Sun
layer, and click OK. In the Layer Style dialog, set Spread to 22%,
Size to 250 px, Range to 100%, and Jitter to 3%. Click OK.
STEP ELEVEN: Open Venus.jpg, double-click the Back-
ground layer, and rename it Venus. Press U to select the Ellipse
tool, press-and-hold Option-Shift (PC: Alt-Shift), and click-and-
drag a circular path somewhat smaller than the diameter of
Venus. Choose the Path Selection tool, click the circular path,
and nudge it with the Arrow keys to center it. Command-
Option-click (PC: Ctrl-Alt-click) the Add Layer Mask icon. Right-
click layer Venus, choose Convert to Smart Object, and Shift-
click-and-drag it into the project document.
STEP TWELVE: Press Command-T (PC: Ctrl-T) to enter Free
Transform, click the Maintain Aspect Ratio icon (link) in the
Options Bar, type 15% in the Width eld, and click the Commit
icon (checkmark) to reduce the size of Venus. Drag the Venus
layer to the top of the stack in the Layers panel. Open the
Timeline panel (Window>Timeline) and click the Create Video
ALL IMAGES COURTESY NASA
Timeline button. Toggle off the Venus and Sun layers in the Lay-
ers panel, and save your work as Animation2.psd.
Next issue, well animate both the Moon and Earth to make
it look like the viewer is taking off from the Moon and ying
toward Earth.
LARRY BECKER
Chances are that youre reading this column because youre
wondering if theres something that can help you with your
business. Maybe you didnt go so far as to self-analyze and think
hard about your motivation to fip to this particular page, and
focus your attention on these specifc words; but somewhere
in your feeting thoughts youre probably reading this to fnd
some answers to questions you have about being successful and
effective in business.
INTENTIONALLY ANALYZE AND QUESTION
In business, its always good practice to intentionally ques-
tion things, yet so many of us get so caught up in our normal
workflow that we dont stop to analyze. With respect to
general productivity, some obvious questions you can ask to
analyze if youre being effective might include: Is this project
going to increase my income? Will this reduce my workload?
Is this the most effcient way to do it? Is this customer really
worth the trouble?
While you should use most of these questions from time to
time to analyze your workfow and the effectiveness of various
processes in your business, that last one might make you smile
a little because it sounds like a question wed mutter quietly
when putting up with a demanding customer. In one of my
columns last year, in fact, I even covered the 80/20 rule that
says specifcally 80% of your income comes from 20% of your
customers, so if you can trim the less-productive customers
from your roster and fnd more that are like your best 20%,
you can grow your business.
Beyond these tried-and-true self questions, there are some
questions (listed below) that can help improve your place in the
market, and the relationship you have with your customers.
These questions are a two-way street: Giving you information
you can use to help your business; and reaching your customers
in even more effective ways than your best marketing messages.
HOW WOULD CUSTOMERS PREFER TO REVIEW
THEIR IMAGES PRIOR TO BUYING THEM?
As working professionals, we have an idea about how we want
to get images we create to our customers. Maybe weve been
delivering prints in a specifc way for years, but there might be
a better way to do things. Last year, I reported on a young lady
who was an incredible success at wedding photography, and
she was doing things in ways completely opposite from conven-
tional wisdom, and opposite from the way she was taught.
She had learned the stereotypical, conventional approach of
building a storybook wedding album and not letting the bride
see anything until the album was done; but she realized that her
audience was made up of young brides who grew up with the
Internet, fipping through online images their whole lives. So,
she changed her business model to uploading every single shot
from each wedding as soon as possibleusually within 24 hours.
She realized quickly that the young brides were logging onto
her website, feverishly clicking checkboxes by each image they
likedand they were doing it on their honeymoon! The result
was that brides were building wedding albums far larger and
more expensive than any prebuilt album the photographer had
ever done before.
Sure, she can still provide the traditional album-building ser-
vice for those who want it; but most of her customers dont. The
way it is now, her brides do a big part of the work for her, and
they buy lots of images.
Theres another sales method thats popular these days among
photographers across the country: using a big projector. Presenta-
tions consist of clients on a comfortable couch, reviewing their
images in a slide show run by the photographer, or by an expert
salesperson from his or her staff.
This method defnitely has benefts and can be especially
impressive when presented properly, for example: If you were
hired to take portraits or family photos, you might also take some
reference shots of the familys livingroom (because you had asked
about the intent of the images youd be shooting before you took
them). Then you could use Photoshop to render what the fnished
images would look like on a large canvas on the livingroom wall.
Seeing the fnished prints as theyll look when hanging on the wall
is a powerful selling tool, and it invariably pushes people to buy
larger prints.
But this really works well only when you ask questions up front
about the fnal use of the images.
DO YOUR CUSTOMERS WANT DIGITAL VERSIONS
OF IMAGES?
When asked about digital fles, the knee-jerk reaction most
photographers have is that they have zero interest in providing
them. When using flm, they never gave out the old negatives,
column
THE SMALL BUSINESS
AND FREELANCE COACH
Question Everything
Asking questions can help you better understand your business, open new markets, have happier customers, and
be more successful. Some questions will prompt you to say, Yeah, I should probably do that. There are also ques-
tioning strategies you can apply to a specifc business efort that will breathe new life into everything you do.

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the small busi ness and freelance coach
THIS REALLY WORKS WELL ONLY WHEN
YOU ASK QUESTIONS UP FRONT ABOUT
THE FINAL USE OF THE IMAGES.
so why would they now provide digital fles? Not only is that
closed-minded, theres no valid reason to withhold digital fles.
If someone wants to reproduce an image you shot and sold or
delivered, it can easily be done. Scanners are available almost
everywhere, and any halfway decent, 12-megapixel, point-and-
shoot camera can capture a printworthy shot of a photo hang-
ing on any wall. The only thing youll do by holding back digital
fles from your customers is annoy them.
The key here is to frst ask your customers if they want digital
fles from you. If youre providing them, you can charge for
themmaybe not a lot, but something. Heres an example: Last
year my son had school pictures taken and 5x7 prints were less
than $20, but a digital JPEG with reprint rights from the photog-
rapher was $79. We bought a few prints of different poses in a
package, and we bought our favorite pose as a digital fle. Our
son was then able to use the digital fle in his Facebook profle.
Think about this: Would your customers like to have a rather
small digital version of your image(s) for their social media use?
Would it be worth giving this away for free as a part of any pur-
chased package, just to help promote yourself. You could give
away a Facebook-friendly shot as long as it has your companys
Web address on it (in a very tasteful, subtle way). We call that
free advertising.
SURVEY YOUR CUSTOMERS
Besides these strategic questions for specifc circumstances, there
are groups of questions that can do even more. When was the
last time you surveyed your customers? By asking current (or for-
mer) customers for a little help in understanding why they chose
you for their photography, design project, etc., you get in front of
them with a soft sales pitch.
Your survey should include things such as, Which service
is XYZ Photography best at delivering? Then list your primary
services, leaving space for Other. This tells every survey taker
about all the services you provide, and invariably cause some
customers to discover a product or service they didnt even know
you provided.
Then ask what they think you should talk about in your mar-
keting. If you regularly get feedback that, Your photo sessions
were really fun and you made me laugh, but you emphasize
quick delivery, maybe you need to change things.
Drop in a survey question that states, The additional product
I wish XYZ sold is ________ because Id buy that right away!
The cool thing about this answer is that sometimes you actually
do have that product or service available and you can make a
quick sale. Otherwise, you might add the product or service to
your offerings and open new markets to existing clients.
Besides sending a message that you care what your custom-
ers think and value their opinions, you also open the door for yet
another reason to go back to those customers (even the ones
who didnt bother responding to the survey) with a follow-up
email that might say something like this: Wow! Thanks! We
learned so much from our customers and were thrilled to offer
the brand-new products and services that you asked for. Then
tell everyone about all the cool new things you sell. It will make
you seem responsive and engaged, while giving you yet another
chance to get in front of customers with a selling opportunity.
GETTING SERIOUS SURVEY PARTICIPATION
There are dozens of survey companies and online forms, some of
which are free and others cost a little. But heres an easy way to
motivate people to complete a short survey: Offer a free session
valued at $1,000, and $500 worth of prints, to one random survey
respondent. In addition, every survey respondent receives a $50
coupon toward any of your companys services. The coupon has
a $50 value for them; however, you can easily make that back by
simply getting that customer to walk through your doors again.
ANALYZING THE RESULTS
Once you get feedback from your survey, start looking at deliver-
ing products or services that customers say they want, and change
your business offerings to refect their demands. Asking questions
can help you to see where you arent communicating well about
existing services; understand how your customers see you and why
they value you so you can push that in your marketing; and it can
reveal holes in your offerings that you can easily fll.
One last thing that you may not want to hear from customers
are things they dont want. You may be all excited about some-
thing you produce or do that takes a lot of time and resources
such as a slide show with musical accompaniment on your site
so customers can review their images with music playingbut
your customers just dont care. So stop doing it!

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PRODUCT REVIEWS
Emulsion Emulator for Photoshop
Review by Daniel M. East
EXPOSURE 5
After thoroughly enjoying previous versions of Exposure (giving
version 4 a 5-star review), I had high hopes for Exposure 5 to take
emulsion emulation to places that actual flm types might not
have imagined. This incredible hybrid of past, present, and futur-
istic analog flm effects has come a long way from its frst release.
Most notably, insofar as new features are concerned, Alien Skin
has given its vintage-retro-loving plug-in a new, darker user inter-
face and preset browser. Navigating is faster, and performance
improvement isnt solely dependent on your hardware, making
this a noticeable upgrade for fans of previous versions. While
Exposure was always great at reproducing favorite flm emulsions
and effects, version 5 provides more control and precision to cre-
ate a richer, more dynamic look.
Another noticeable improvement is in the appearance of the
printed output, particularly when the plug-in is used for advertise-
ments or posters. Exposure 5 presents something that the trendy
effects seen in social media images will never achieve compared
to Alien Skins classic creative consistency with the best analog
flms in photographic history. This is comprehensive analog-flm
emulation for the professional photographer and graphic artist
that will appeal to independent designers or more advanced
consumers, as well.
No matter whether you want a retro look, grungy effects,
or just to re-create a vintage environment for your images,
Exposure 5 is professional-grade power that can help you work
less to achieve stunningly high-quality output. When a creative
plug-in starts with its prior versions having stellar reviews, the
bar is set fairly high for the next incarnation. In this case, Alien
Skins Exposure 5 clears the hurdle.
Company: Alien Skin Software Price: $149
Web: www.alienskin.com Rating:
Hot: New textures; new efects; better performance
Not:
Windows Solution for Multiple Displays
Review by Bruce Bicknell
ACTUAL MULTIPLE MONITORS
Flexibility and real estate are essential for my animation and
graphics workfow, and Ive always used multiple displays, but
the toolbars, menus, and other items that I needed on the sec-
ond monitor were a bit cumbersome. Ive tried many products
to solve this dilemma, but nothing ever really captured what
was neededuntil now.
The Actual Multiple Monitors name really does describe
what it is and what it does! As I dived into this review, I was
surprised to fnd many robust features. First, the program
offers the most-requested functionality of having a taskbar
on each monitor. This allows you to have your Start button,
toolbars, lists, and many other items available at your com-
mand. Next, I found the Window Location feature very helpful
as it lets you assign a monitor for each application. Now, I can
have my graphics programs open on my main monitor while
my Offce programs (email, Word, etc.) open on the second
monitorwhere I always drag them anyway! It doesnt sound
like much, but it sure helps my workfow (and frustration).
Another nice feature in Actual Multiple Monitors is a set
of custom Hotkeys to help professionals make their workfow
more effcient. As with anything new, these may take time to
get used to, but well worth it once you do. There are many
other noteworthy features, such as Window Snapping, Desk-
top Mirroring, and the Divider; but youll need to check those
out on your own, as I could go on for two pages and my editor
wont let me.
Actual Multiple Monitors is the program Ive been waiting
for to alleviate my frustrations when working with a dual-moni-
tor setup. The functionality is there, the price is right, and it will
improve your workfow.
Company: Actual Tools Price: $24.95
Web: www.actualtools.com Rating:
Hot: Commands on each screen; Hotkeys; Desktop Divider
Not:

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Unique and Effective Perspective Correction
Review by Erik Vlietinck
DXO VIEWPOINT 2
ViewPoint 2 uses the companys lens database to correct an
image. It installs as a standalone app or an Adobe Photoshop,
Lightroom, or Aperture plug-in. Lens distortion, which is the
frst panel in the sidebar, is corrected automatically, based on
DxOs database.
The Perspective tool corrects vertical, horizontal, 4-point,
and 8-point distortions. You can fnd the frst three in other
apps, as well (Capture One Pro 7, for example, has an identical
perspective-correction tool); however, the 8-point correction
feature in ViewPoint 2 is unique and offers dramatic improve-
ments in perspective correction.
The 8-point perspective correction allows you to place the
correction lines on different planes. This enables correction of
photos with complex vanishing points, or when the elements
that need fxing arent all at the same distance from where the
photo was shot.
The next feature on my list is Volume Deformation, which is
quite successful at correcting organic forms at the edge of the
frame. This tool can also correct distortions after a perspective fx.
ViewPoint 2 also comes with a Horizon Straightening tool
and a Crop tool. I found it best to leave the Crop tool in Auto
mode, which will do a good job of cropping only as much as
really needed. If you want to change aspect ratio, however,
you can crop manually.
DxO ViewPoint 2 fxes perspective problems, lens distortion,
tilted horizons, and deformed elements at the edges of the
frame. The most important reason to upgrade to the new ver-
sion, however, is the 8-point perspective repair option.
Company: DxO Labs Price: $79
Web: www.dxo.com Rating:
Hot: 8-point perspective correction; lens-distortion correction
Not:
Four Collections to Set You Free
Review by Michael Corsentino
BRIANNA GRAHAM ACTIONS
As a longtime admirer of acclaimed portrait photographer Brianna
Graham, Ive often marveled at her gorgeous postprocessing
styles and wished I knew what her Photoshop secret sauce was.
I even called her once and asked her straight out, Brianna, whats
the secret? Your postprocessing is insanely good! Any plans to sell
actions so the rest of us can try and look as good? She replied,
No dice. Alas, Id have to toil in Photoshop a bit longer without
Briannas help.
But fnally, my prayers and the prayers of countless other
Brianna Graham fans have been answered with the recent release
of four Brianna Graham Action Collections for Photoshop: Perfect
Workfow, Urban Collection, Artistic Collection, and Vintage Col-
lection. The four collections are sold separately or in bundles, and
each is designed to work together as a suiteproviding a com-
plete workfow solutionor separately as standalone compo-
nents. They dont disappoint!
Perfect Workfow is the foundation of the collection and
quickly tackles with ease all of the important, time-consuming
postprocessing tasks, such as retouching, color correcting, warm-
ing, and sharpening.
Once the housekeeping is done, the real fun begins with the
Urban, Artistic, and Vintage Collections. Whether its toning,
textures, vintage looks, or a vast array of completely editable,
layer mask-based styles, enhancements, and effects, these three
collections give users endless creative options.
Briannas step-by-step video tutorials, available free online,
offer a valuable resource for instruction and inspiration. They
clearly demonstrate how fexible, easy, fast, and powerful these
creative tools are.
Company: Brianna Graham Actions Price: Starting at $99
Web: http://briannagraham.com/actionswp Rating:
Hot: Speed; fexibility; layer mask based; create unique looks
Not:

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revi ews
Photoshop Actions
Review by Michael Corsentino
Retouching Actions for Photoshop
Review by Daniel M. East
FLORABELLA COLLECTION
SMOOTH SKINS 2
When it comes to investing in Photoshop actions, I have three
criteria: First, they have to do something substantially different
than actions I already use; second, they need to allow me
to customize their looks; and third, the actions should work
synergistically, building on one another as part of a complete
workfow solution.
The Florabella Collection meets each of these demands,
and then some. In this collection, Tennessee-based photogra-
pher Shana Rae Rosengarten has created a family of Photo-
shop action sets covering each aspect of the photographic
postprocess: workfow, retouching, black-and-white effects,
creative toning, textures, haze overlays, and more.
These actions are gorgeous, highly fexible, powerful, and
packed with options, yet theyre intuitive and easy to use, each
with a fully customizable layer stack. Consequently, theyve
gained a large and loyal user base (myself included). With eight
action collections to choose fromColor & Light, Colorplay,
Deluxe B/W, Classic Workfow, Retouch & Makeover, Spring
Collection, Luxe II, and Muse (the latest)theres something
Improving upon an already outstanding set of Photoshop actions
is a task that requires developers to somehow outdo themselves
for their customers; however, when they respond to their end
users, the results lead them to smooth sailing in the often rough
seas of the creative professional products. Once again, Digital
Heavens cruises past the competition with their effortless set of
skin-retouching action sets that take users on a gorgeous ride.
In the original version of Smooth Skins (reviewed in 2011),
the actions allowed even the grittiest of portraits to be refned.
It was done in such a way that your results could go from natu-
ral to supernatural to action-fgure skin surfaces with a wave of
your brush, but Smooth Skins 2 has a much broader group of
options. In this version, you can adjust environment simulations
that take your subject from the beach to studio to cartoon in
less time, and with more presets. There are now more textures,
facial feature-specifc enhancements (for eyes, teeth, and lips),
and skin tones from beach tans to glamour image. Of course,
theres no loss of incremental adjustment, and all of this is non-
destructive, so you can add as much or as little as you wish in
your image.
for everyone. One of my personal favorites is Classic Film from
the Classic Workfow Collectionbut thats just the tip of the
iceberg. Add to that Florabellas textures, overlays, papers,
frames, and templates, and you have all your bases covered.
Shana continues to release new collections on a regular
basis, each as good as the last, or better. In addition, Flora-
bellas bundles and frequent specials make it easy to build
your library over time. For those hungry for more knowledge,
Shanas free video tutorials guide users step by step through
the best practices and creative applications.
Like the previous version, its fun to try each of the presets
(again, because its nondestructive) to fnd and fne-tune the
look you want. If the subject is too smooth for you (or not
smooth enough), you can revert to your original, and keep
going forward. As always, Digital Heavens offers excellent
tutorial and example videos to help you set sail toward some
incredible-looking portraiture.
Company: Digital Heavens Price: 39.95
Web: www.digitalheavens.co.uk Rating:
Hot: Fast; photorealistic; nondestructive; 8-bit and 16-bit support (PC)
Not:
Company: Florabella Collection Price: Starting at $89
Web: www.forabellacollection.com Rating:
Hot: Flexible; intuitive; fully editable layer stack
Not:
Before After
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revi ews
Portable Power on the Go
Review by Michael Corsentino
Photoshop Plug-in for Photographic Effects
Review by Daniel M. East
PHOTOGENIC ION
TOPAZ RESTYLE
Battery power for on-location shooting just got a whole lot
lighter and less expensive with the recent introduction of
the Photogenic ION battery. No more gas generators; bulky,
old-fashioned inverters; or tons of extension cords! The IONs
lithium-ion pure sine wave inverter converts DC battery power
to AC power, and its been engineered from the ground up
to handle the demands of todays sophisticated, digital-fash
electronics on Photogenic Professional Lighting and many
other AC-based fash systems.
Weighing in at just 3.5 lbs, with a compact 7.5x4.4x3.3"
footprint, the ION is perfect for on-the-go lighting. With its
solid-built quality, the ION tackles the rigors of location shoot-
ing with ease. The dual, three-prong AC outlets on the ION
allow you to operate two studio fash units, or a strobe and
another piece of equipment, on location at the same time.
Another welcome feature is a standard USB port: Imagine how
great that will be for charging your cell phone so it isnt dead
after a long day of shooting. The IONs LED power indicator
provides valuable charge-level feedback and its quick-change
battery is easy to replace in seconds with a fully charged spare
(additional batteries are $145).
Digital photos offer rich, clear, and dynamic image quality;
however, the lighting, color, and clarity can make the differ-
ence between another nice landscape, skyline, or portrait and
one that can hang on a museum wall.
ReStyle from Topaz Labs makes its debut to fll that need
and set the scene for creating photos with compelling rich-
ness and quality. From the familiar interface that Topaz fans
know, ReStyle does what its name suggests: It allows the user
to introduce seemingly limitless combinations of tones and
visual styles. Between the creatively named presets and its
ability to mask/select specifc photo elements, ReStyle per-
forms well from just the presets, or it can really dig into the
role with blended, customized variations that look the part.
In other words, you can reproduce what your minds eye saw
when you shot the initial photo.
From dynamic-lighting effects to delicate tonal tweaking
with each well-labeled slider, this plug-in takes you from its
frst act to the fnale, leaving you wanting more. Download
the free trial version and see how many moving images you
When it comes to performance, the ION is no slouch either,
delivering quick recycle times and an impressive 1000+ fash
popsdepending on the make, model, and power output set-
ting of your lights. Its compatible with most monolights and
comes with a three-year warranty. All in all, the Photogenic
ION has an enviable feature set at a reasonable price point.
can create, but be warned: You may lose yourself in the role
as you see what you can do with your own images. This is
especially true when you remaster both newer and older
images. Without question, this ReStyle gets a standing ova-
tion at the curtain call.
Company: Photogenic Professional Lighting Price: $399
Web: www.photogenic.com Rating:
Hot: Lightweight; compact; portable; afordable
Not:
Company: Topaz Labs, LLC Price: $59.99
Web: www.topazlabs.com Rating:
Hot: Output quality; user-created preset options; tablet support
Not:
visit KelbyTraining.com/live for
more information or to register
BOOK REVIEWS peter bauer

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Primarily aimed at those looking to get started in wedding
photography, the author leads you through the entire process.
Youll fnd discussions of equipment selection and preparation,
basic photographic concepts, prewedding consultation with
the couple, planning ahead (well before the actual wedding
day), how to capture the emotion of the wedding day itself,
key images that must be captured, and various photographic
styles for weddings. In addition, the book covers: postwed-
ding image download, backup, and storage; basic culling and
editing of the images; and ways to deliver the fnal products to
the couple. Part IV: Building Your Portfolio and Business may
be just as important for a beginning wedding photographer
as the tips about the must-have photos, lighting, posing, and
putting together albums and DVDs. Theres not a lot of image
retouching info here, but this books cousin, my own Photo-
shop for Dummies, would be a fabulous companion volume.
The authors begin the discussion of how to pose a model by
breaking down the human body into specifc regions, and
explaining why certain parts of the body need to be displayed
in certain ways for the best effect. The second chapter looks
at basic rules of posing, including how to appropriately pin
clothing to emphasize not only the subjects fgure, but also to
ensure that the clothing itself hangs properly. Additional chap-
ters cover how to overcome specifc challenges when working
with seated models and models posing on the ground, as well
as camera angles, appropriate equipment (and how to travel
with that equipment), and when and how to break the basic
rules of posing. The fnal chapter presents how seven individual
images were staged and captured. While the information in
this book is directed toward fashion photographers, it can
also be valuable for those shooting seniors and producing
stock photos.
DYNAMIC POSING GUIDE:
Modern Techniques for Digital Photographers
DIGITAL WEDDING
PHOTOGRAPHY FOR DUMMIES
By Craig Stidham and Jeanne Harris By Amber Murphy
Publisher: John Wiley & Sons, Inc. Pages: 304
Website: www.wiley.com
Price: $29.99 Rating:
Publisher: John Wiley & Sons, Inc. Pages: 197
Website: www.wiley.com
Price: $34.99 Rating:
PHOTOGRAPHY & PHOTOSHOP

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Summer is offcially over and its fall. Its time to get into some
mean tips and tricks by the fre. Here are some tips that I rustled
up for you to make your cold evenings a bit warmer.
CLOSE MULTIPLE TABS
Sometimes it happens quickly, and sometimes it takes a while,
but eventually, it will happen to you: youll have a ton of
documents open in Photoshop that all need to be closed. You
could go through the process of clicking the little x icon at
the top of each of the tabs until theyre all closed, but thats
a lot of clicking! Try this: Option-click (PC: Alt-click) on one of
the x icons. All the tabs will now close one after the other.
If a document is unsaved, youll have the option to save or
disregard changes.
VIDEO QUALITY BUTTON
Photoshop CC has the ability to play back video with a surpris-
ing amount of effciency. There are times when the video is
too large to play back smoothly. You have the option to play
the video and allow it to load into RAM and then, when its
loaded, play it again for a smooth playback. Theres another
option, and that is to change the playback resolution to a
smaller amount. Click the Set Playback Options icon (gear) in
the Timeline panel and lower the Resolution. By doing this,
youre lowering the quality of the preview only and it allows a
smoother playback of the video frames. This doesnt change
the quality of the actual video that youre editing, as it will play
back perfectly when its rendered.
RAW TONE MAPPING
When working with 32-bit images (HDR), the process of com-
pressing the appearance of the photograph into a usable 16- or
8-bit fle is called tone mapping. This is where the photo gets
its favor. Perhaps you want a stylized-looking image, or maybe
you prefer a more realistic-looking photograph. Camera Raw
is an excellent tool for tone mapping because its supported in
Photoshop CC. Theres an option in Preferences that will auto-
matically choose Camera Raw for conversions instead of Merge
to HDR Pro. Choose Photoshop (PC: Edit)>Preferences>File
Handling and turn on Use Adobe Camera Raw to Convert
Documents from 32 Bit to 16/8 Bit. When you open your fle
and choose Image>Mode>8 or 16 Bits/Channel, Camera Raw
will be the tool of choice for making your conversions instead of
the HDR Toning dialog.
CONTROL-AWARE SCALE
Content-Aware Scale is an amazing tool that allows you to
scale an image vertically or horizontally. Whats different about
this tool is that important parts of the image can keep their
shape while other parts with unimportant detail get squished
or stretched. This is useful for things like changing the shape
of a photograph to fit within a spread of a page. Usually,
Photoshop does a good job of analyzing the photograph auto-
matically and squishing or stretching the right bits. By using an
alpha channel, you can tell Photoshop what parts to protect.
Press the Q key to enter Quick Mask mode. Choose the Brush
tool (B) and with a soft black brush, paint over the areas that
you want to keep. Press the Q key again to turn the mask into a
selection. Choose Select>Save Selection, give it a name, and click
OK. Press Command-D (PC: Ctrl-D) to deselect. Select the Move
tool (V) and choose Edit>Content Aware Scale (make sure youre
not working on the Background layer). In the Options Bar, click
the Protect drop-down menu and choose your alpha channel.
When you scale, youll see your area protected. If you see the
COLIN SMITH PHOTOSHOP TIPS
department

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ALL IMAGES BY COLIN SMITH
opposite behavior, open the Channels panel (Window>Channels)
and click on your alpha channel. Press Command-I (PC: Ctrl-I) to
invert the channel, then click on the RGB channel. Try the Content-
Aware Scale again and it will work as expected.
SAVING WORKSPACES
There are a lot of panels in Photoshop and they all do differ-
ent things; however, you may not want to do those things, or
not right now. You probably know that you can drag panels
around and organize them into different groups. You close the
ones you dont need and open the ones you do. This can get
time-consuming and cumbersome to do over and over again.
The best thing to do is to set up some custom workspaces that
you can reuse. The frst step is to set up your workspace the
way you like it. Choose Window>Workspace>New Workspace,
or choose it from the drop-down menu at the far right of the
Options Bar. Name your workspace, decide if you want to include
custom Keyboard Shortcuts and Menus, and click Save. Now, you
can recall this workspace whenever you need it from the tops of
the same menus you just used above.
LOTS OF LAYERS
If you use a lot of layers, theres a very useful tool for you to
fnd particular working layers quickly. Layer flters were intro-
duced in Photoshop CS6, and for some reason, not that many
people seem to be using them. The layer flters are a series of
fve icons at the top of the Layers panel. If you click an icon, it
will hide all the layers in the Layers panel, except for those that
match the criteria. The layers themselves arent hidden in the
image; only in the Layers panel. You can flter layers by Pixels,
Adjustment Layers, Type, Shape Layers, and Smart Objects. Of
course, you can have more than one criteria selected at a time.
This makes it fast to find the layers that youre looking for
without having to scroll endlessly. It also helps when you want
to group similar layers together. There are also more options
under the Kind drop-down menu. When youre done, click the
switch icon at the far right to toggle off the flter and show all
the layers again.
RESET YOUR TOOLS
Sometimes when you start getting down some deep Photoshop
rabbit holes, you can do some really weird things to your tool
settings. Heres a quick-and-easy way to reset your tools to their
default behavior. When a tool is selected, youll see its icon in the
top-left corner. If you Right-click the icon, youll see an option
to Reset Tool. Click it to reset that particular tool. If you want to
reset all your tools, choose the Reset All Tools option.
PANO WITH A GOPRO
Have you ever tried to merge photographs into a seamless
panorama? It works well most of the time. Where it gets tricky is
when youre using an extreme wide-angle lens, such as a fsheye
or a GoPro camera. The trick is to get rid of the lens distortion
frst. In this case, I have a fve-image panorama taken from a DJI
Phantom Quadcopter with a GoPro Hero 3 camera attached.
Open the images in Photoshop and choose Filter>Lens Correc-
tion. Under the Auto Correction Tab, choose your camera and
lens from the options in Search Criteria (GoPro is an option in
Photoshop CC and CS6). Once youve corrected the lens distor-
tion, save the corrected fles. Now you can easily merge the pho-
tographs together. Choose File>Automate>Photomerge, click the
Auto option in the Layout section, and click the Add Open Files
button. Photoshop will now merge the selected photographs into
a seamless panorama.
photoshop ti ps
I N D E X O F A D V E R T I S E R S
Photoshop
December 2013
For advertising information, please contact Kevin Agren, V.P. Sales, at 813-433-2370.
email: kagren@kelbymediagroup.com
While every attempt has beenmade tomake this listingas complete as possible, its accuracy cannot be guaranteed.

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Intel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC3
www.intel.com
Interft Photographic Limited. . . . . . . . . . . . . . . . . . 69
www.interftphotographic.com
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Kelby Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107, 109
http://kelbytraining.com
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Manfrotto Distribution . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
www.manfrottodistribution.us
Mpix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1415
www.mpix.com
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National Association of
Photoshop Professionals . . . . . . . . . . . . . . . . . . . . . . . . 105
http://photoshopuser.com/promos
[ O ]
onOne Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
www.ononesoftware.com
[ P ]
Peachpit Publishing Group . . . . . . . . . . . . . . . . . . . . . . . .13
www.peachpit.com
Photobacks, LLC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
www.photobacks.com
Photoshop World Conference & Expo . . . . . . . . . . . 117
http://photoshopworld.com
PhotoshopCAFE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
www.photoshopcafe.com
Professional Photographers of America (PPA) . . . 116
www.ppa.com
Professional Sports Photography Workfow. . . . . . . 114
http://kelbytraining.com
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Spider Holster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
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Squarespace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
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Tamron. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
www.tamron.com
[ V ]
Vanguard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
www.vanguardworld.com
[ W ]
Wacom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
www.wacom.com
Westcott. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
www.fwestcott.com
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www.xrite.com
[ Z ]
Zenfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
www.zenfolio.com
Zoo Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
www.zooprinting.com
1&1 Internet Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021
www.1and1.com
4 Over, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
www.4over.com
[ A ]
Adobe Photoshop Seminar Tours. . . . . . . . . . . . . . . . . .26
http://kelbytraininglive.com
Alien Skin Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BC
www.alienskin.com
Anthropics/Portrait Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . .19
www.anthropics.com
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[ C ]
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CAR-FRESHNER Corporation. . . . . . . . . . . . . . . . . . . . . . .61
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[ E ]
ExpoImaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
www.expoimaging.com
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Whats the difference between the Adaptive Wide Angle
and Lens Correction flters in Photoshop?
Lens Correction (found under the Filter menu) is a feature thats
built into Photoshop to correct common problems that you have
with lenses. Were talking about vignetting, distortion, chromatic
aberrationthings like that. It covers many types of lenses, wide
and small. When it encounters a wide-angle lens, something like a
1424mm lens, the flter will do some distortion correction but not
really straighten an image out completely.
Adaptive Wide Angle (also found under the Filter menu) focuses
on one thingreally wide angles. Not only does it read the lens
information to attempt to correct the distortion in your image, but
it also gives you a Constraint tool to draw a line along an area you
believe should be straight, and it then distorts the image to follow
that line. It doesnt focus on vignetting and chromatic aberration.
I see that theres a Remote Connections option under
the Edit menu. What is that used for?
In an effort to take the Photoshop experience further, Adobe
designed a set of tools that allows users to take control of the pro-
gram remotely using apps on tablets and smartphones. To do this,
youll need two things: access to a network connection to get to
Photoshop, and a secure way of doing so. When you select this
option, youll be taken to the Plug-Ins section of the Preferences
dialog. The Remote Connection settings let you name this connec-
tion and set up a password so that others wont be able to access
it maliciously. Two apps that were made to take advantage of this
technology were Adobe Nav and Adobe Color Lava, both can be
found on iTunes.
Im doing a lot of detail work on a graphic. Whats the best
way for me to quickly zoom in and out to see my progress?
I recommend two ways of doing this. First, with the document
open, go to Window>Arrange>New Window for [flename]. This
will create what looks like a duplicate document window. In fact,
this is the same document that can be zoomed to a completely
department
What are the Mac and Mac
LCD anti-aliasing options in
the Type menu used for?
There may be times when youre designing a project in Photo-
shop CC and youd like the type in the design to mimic what
it would look like if it appeared in a Web browser. Simply
choose either Mac or Mac LCD (PC: Windows or Windows
LCD) under Type>Anti-Alias. This will create semitransparent/
shaded pixels around the text that will give it a crisper look,
mimicking what youd see in the browser.
different size. Separate the two windows, and one can stay really
zoomed in while the other one shows the overall progress. (I made a
NAPP video showing this at the http://members.photoshopuser.com/
article/zooming-into-documents.)
The second option is to use the Birds Eye view in Photoshop.
Once youre zoomed into a document, press-and-hold the letter H
to temporarily activate the Hand tool. Click-and-hold anywhere on
the document, and it will immediately zoom out to a full view of the
image. A white rectangle will appear around your cursor. Move this
to a different area of the image and release the mouse button. It will
zoom into that area at the zoom percentage you were originally using.
The Color Picker is set to a weird color. What happened here?
Chances are you inadvertently clicked on one of the radio buttons in
the Color Picker. By default, the H (or Hue) radio button is selected.
When H is selected, the color ramp (the thin vertical bar in the middle
of the dialog) shows all of the hues that you can choose from, and
the big box to the left is dedicated to shade. If you click on any other
radio button, lets say the S (or Saturation) button, the ramp will
change. In the case of S, it will show shades of the currently selected
color, representing the saturation of that color, and the big box on
the left will look completely different. Just click on the H radio button
and it will go back to normal.
PHOTOSHOP Q&A RAFAEL RC CONCEPCION
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EVERYTHING YOU NEED TO CREATE
AN EXCEPTIONAL PHOTOGRAPHY WEBSITE
Exposure 5 brings you the rich set of creative tools of the lm world. Our careful research lets you reproduce the
subtle nuances that make analog photography beautiful. With Exposure, your photo will look like it was made
by a human, not a computer. The redesigned user interface helps you quickly nd just the right look. Exposure
can now work as a standalone application, or inside Lightroom, Photoshop, and now Aperture.
Visit alienskin.com to try Exposure for free.
2013 Alien Skin Software, LLC. All rights reserved. Exposure and Alien Skin Software are registered trademarks of Alien Skin Software, LLC.
Photo 2013 Nels Akerlund.
Exposure has always been in my digital toolbox.
It inspires and encourages me to look at my images
in a whole new way.Nels Akerlund www.nelsakerlund.com