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PHOTOSHOP

THE ADOBE PHOTOSHOP CC BOOK FOR DIGITAL PHOTOGRAPHERS

2017 RELEASE

The Adobe Photoshop CC Book for Digital Photographers Team

MANAGING EDITOR

Kim Doty

COPY EDITOR

Cindy Snyder

ART DIRECTOR

Jessica Maldonado

PHOTOGRAPHY BY Scott Kelby

Published by New Riders

©2017 by Scott Kelby

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the publisher, except for the inclusion of brief quotations in a review.

Composed in Avenir, Myriad Pro, and Helvetica by Kelby Media Group, Inc.

Trademarks

All terms mentioned in this book that are known to be trademarks or service marks have been appropriately capitalized. New Riders cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark or service mark.

Photoshop is a registered trademark of Adobe Systems, Inc. Macintosh is a registered trademark of Apple, Inc. Windows is a registered trademark of Microsoft Corp.

Warning and Disclaimer

This book is designed to provide information about Photoshop for digital photographers. Every effort has been made to make this book as complete and as accurate as possible, but no warranty of fitness is implied.

The information is provided on an as-is basis. The author and New Riders shall have neither the liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book or from the use of the discs, electronic files, or programs that may accompany it.

THIS PRODUCT IS NOT ENDORSED OR SPONSORED BY ADOBE SYSTEMS INCORPORATED, PUBLISHER OF ADOBE PHOTOSHOP.

ISBN 13: 978-0-134-54511-0

ISBN 10: 0-134-54511-7 9 8 7 6 5 4 3 2 1

http:// kel by one.com www.newriders.com

This book is dedicated to Jessica Maldonado, one of my favorite designers ever, and one of the most talented, dedicated, and hardworking people I’ve ever had the pleasure of working with.

ACKNOWLEDGMENTS

I’ve been writing books for 20 years now, and I still find that the thing that’s the hardest for me to write in any book is the acknowledgments. It also, hands down, takes me longer than any other pages in the book. For me, I think the reason I take these acknowledgments so seriously is because it’s when I get to put down on paper how truly grateful I am to be surrounded by such great friends, an incredible book team, and a family that truly makes my life a joy. That’s why it’s so hard. I also know why it takes so long—you type a lot slower with tears in your eyes.

To my remarkable wife, Kalebra: We’ve been married 27 years now, and you still continue to amaze me, and everyone around you. I’ve never met anyone more compassionate, more loving, more hilarious, and more genuinely beautiful, and I’m so blessed to be going through life with you, to have you as the mother of my children, my business partner, my private pilot, Chinese translator, and best friend. You truly are the type of woman love songs are written for, and as anyone who knows me will tell you, I am, without a doubt, the luckiest man alive to have you for my wife.

To my son, Jordan: It’s every dad’s dream to have a relationship with his son like I have with you, and I’m so proud of the bright, caring, creative man you’ve become. I can’t wait to see the amazing things life has in store for you, and I just want you to know that watching you grow into the person you are is one of my life’s greatest joys.

To my precious little girl, Kira: You have been blessed in a very special way, because you are a little clone of your mom, which is the most wonderful thing I could have possibly wished for you. I see all her gifts reflected in your eyes, and you’re now getting to the age where you’re starting to realize how blessed you are to have Kalebra as your mom. One day—just like Jordan—you will realize it on an entirely different level, and then you’ll know what an incredible gift God has blessed you with in her.

To my big brother Jeff, who has always been, and will always be, a hero to me. So much of who I am, and where I am, is because of your influence, guidance, caring, and love as I was growing up. Thank you for teaching me to always take the high road, for always knowing the right thing to say at the right time, and for having so much of our dad in you.

I’m incredibly fortunate to have the production of my books handled in-house by two extraordinary people, whose talent, passion, and work ethic are an inspiration to everyone around them—my lead editor Kim Doty and book designer Jessica Maldonado (to whom this book is dedicated). I don’t know how I’d ever get a book done without this dream team of creatives. They keep me on track, calm, and smiling with their 100% can-do attitude and the talent and drive to pull it off. I’m also very grateful to still have the wonderful Cindy Snyder working on my books, even though we don’t get to see her every day (but, we all miss seeing her—especially around birthdays [inside joke]). I feel so blessed to have this incredible team behind me, and I couldn’t be more proud of what you have accomplished, and what you continue to do every single day. Thank you.

A big thanks to my Executive Assistant Lynn Miller, who generally herds me like sheep to keep me focused and on track so I have time to write books, spend time with my family, and have a life outside of work.

Thanks to my awesome Editor/Publisher at Peachpit and New Riders, the marvelous Nancy Davis, who despite being a Michigan football fan, has been a joy to work with, and whose commitment to producing great books has done the brand proud. Oh yeah, one last thing. #rolltide! (Sorry, I couldn’t help myself.)

Thanks to my friends at Adobe: Winston Henderickson, Bryan O’Neil Hughes, Mala Sharma, Terry White, Julieanne Kost, Tom Hogarty, Scott Morris, Sharad Mangalick, Russell Preston Brown, Jeff Tranberry, Bryan Lamkin, and the amazing engineering team at Adobe (I don’t know how you all do it).

I owe a debt of gratitude and will never forget: Barbara Rice, Jill Nakashima, Nancy Aldrich-Ruenzel, Sara Jane Todd, Rye Livingston, Addy Roff, Jennifer Stern, Deb Whitman, Kevin Connor, John Nack, John Loiacono, Cari Gushiken, Jim Heiser, and Karen Gauthier.

I want to thank all the gifted photographers who’ve taught me so much over the years, including: Moose Peterson, Joe McNally, Anne Cahill, Vincent Versace, Cliff Mautner, Dave Black, Bill Fortney, David Ziser, Helene Glassman, Kevin Ames, and Jim DiVitale.

Thanks to my mentors, whose wisdom and whip-cracking have helped me immeasurably, including John Graden, Jack Lee, Dave Gales, Judy Farmer, and Douglas Poole.

Most importantly, I want to thank God, and His Son Jesus Christ, for leading me to the woman of my dreams, for blessing us with two amazing children, for allowing me to make a living doing something I truly love, for always being there when I need Him, for blessing me with a wonderful, fulfilling, and happy life, and such a warm, loving family to share it with.

OTHER BOOKS BY SCOTT

The Lightroom Mobile Book

Professional Portrait Retouching Techniques for Photographers Using Photoshop

The Digital Photography Book, parts 1, 2, 3, 4, and 5

The Best of The Digital Photography Book Series

Light It, Shoot It, Retouch It: Learn Step by Step How to Go from Empty Studio to Finished Image

It’s a Jesus Thing: The Book for Wanna Be-lievers

The Adobe Photoshop Lightroom Book for Digital Photographers

How Do I Do That in Lightroom?

Professional Sports Photography Workflow

Photoshop for Lightroom Users

ABOUT THE AUTHOR

Scott is Editor, Publisher, and co-founder of Photoshop User magazine, Editor of Lightroom Magazine, and co-host of the influential weekly photography talk show, The Grid. He is President of KelbyOne, the online education community for creative people.

Scott is a photographer, designer, and award-winning author of more than 80 books, including The Lightroom Book for Digital Photographers, Professional Portrait Retouching Techniques for Photographers Using Photoshop, How Do I Do That In Lightroom?, Light It, Shoot It, Retouch , and The Digital Photography Book, parts 1, 2, 3, 4, and 5. The first book in this series, The Digital Photography Book, part 1, has become the top-selling book on digital photography in history.

For six years straight, Scott has been honored with the distinction of being the world’s #1 bestselling author of photography technique books. His books have been translated into dozens of different languages, including Chinese, Russian, Spanish, Korean, Polish, Taiwanese, French, German, Italian, Japanese, Dutch, Swedish, Turkish, and Portuguese, among others.

He is a recipient of the prestigious ASP International Award, presented annually by the American Society of Photographers for “…contributions in a special or significant way to the ideals of Professional Photography as an art and a science,” and the 2015 HIPA Special Award for his worldwide contributions to photography education.

Scott is Training Director for the Adobe Photoshop Seminar Tour and Conference Technical Chair for the annual Photoshop World Conference. He’s featured in a series of Adobe Photoshop and Lightroom online courses at KelbyOne.com and has been training photographers and Adobe Photoshop users since 1993.

For more information on Scott, visit him at:

His daily blog: http://scottkelby.com

Instagram: @ scottkelby

Twitter: http://twitter.com/scottkelby

Facebook: www.facebook.com/skelby

www.kelbyone.com

The Adobe Photoshop CC Book for Digital Photographers
Scott Kelby

CONTENTS kelbyone.com

Seven Things You’ll Wish You Had Known Before Reading This Book

It’s really important to me that you get a lot out of reading this book, and one way I can help is to get you to read these seven quick things about the book that you’ll wish later you knew now. For example, it’s here that I tell you about where to download something important, and if you skip over this, eventually you’ll send me an email asking where it is, but by then you’ll be really aggravated, and well…it’s gonna get ugly. We can skip all that (and more) if you take two minutes now and read these seven quick things. I promise to make it worth your while.

(1) You don’t have to read this book in order. I designed this book so you can turn right to the technique you want to learn, and start there. I explain everything as I go, step-by-step, so if you want to learn how to remove dust spots from a RAW image, just turn to page 52, and in a couple of minutes, you’ll know. I did write the book in a logical order for learning Photoshop, but don’t let that tie your hands—jump right to whatever technique you want to learn—you can always go back, review, and try other stuff.

(2) Practice along with the same photos I used here in the book. As you’re going through the book, and you come to a technique like “Creating the Tone-Mapped HDR Look,” you might not have an HDR-bracketed set of shots hanging around, so in those cases, I usually made the images available for you to download so you can follow along with the book. You can find them at http: //kelbyone.com/books/cc17 (see, this is one of those things I was talking about that you’d miss if you skipped this and went right to Chapter 1).

(3) Photography is evolving, Photoshop is evolving, and this book has to, too.

The photographer’s workflow in Photoshop has evolved greatly over time and, in this edition of this book, you’ll wind up doing a lot of your processing and editing in Adobe Camera Raw (whether you shoot in RAW, JPEG, or TIFF—it works for all three). That’s because, for years now, Adobe has been adding most of Photoshop’s new features for photography directly into Camera Raw itself. Since today’s photography workflow in Photoshop is based around Camera Raw, nearly half of the book is on working in Camera Raw, and I wanted you to know that up front. (After all, you don’t want to buy an outdated Photoshop book that used a 2006 workflow—you want one for today’s workflow.) This affects other oldschool features like Photoshop’s Curves feature, which was actually in the original version of Photoshop 1.0 (released back in 1990 and has hardly changed much since). Today we really don’t use Curves very often, and if we do, we use the Tone Curve in Camera Raw instead (which I do cover here in the book). However, even though the old version of Curves isn’t covered here in the book, I did provide a color correction chapter that uses it on the book’s downloads page (ya know, just in case you want to go “old school”). You can find it at the web address just mentioned in #2.

(4) I included a chapter on my CC workflow, but don’t read it yet. At the end of this book, I included a special chapter detailing my own Photoshop CC workflow. But, please don’t read it until you’ve read the rest of the book, because it assumes that you’ve read the book already, and understand the basic concepts, so it doesn’t spell everything out (or it would be one really, really long drawn-out chapter).

(5) The intro pages at the beginning of each chapter are not what they seem.

The chapter introductions are designed to give you a quick mental break between chapters, and honestly, they have little to do with what’s in the chapter. In fact, they have little to do with anything, but writing these quirky chapter intros has become kind of a tradition of mine (I do this in all my books), so if you’re one of those really “serious” types, I’m begging you—skip them and just go right into the chapter because they’ll just get on your nerves. However, the short intros at the beginning of each individual project, up at the top of the page, are usually pretty important. If you skip over them, you might wind up missing stuff that isn’t mentioned in the project itself. So, if you find yourself working on a project, and you’re thinking to yourself, “Why are we doing this?” it’s probably because you skipped over that intro. So, just make sure you read it first, and then go to Step One. It’ll make a difference—I promise.

(6) There are things in Photoshop CC and in Camera Raw that do the exact same thing. For example, there’s a Lens Corrections panel in Camera Raw, and there’s a Lens Correction filter in Photoshop, and they are almost identical. In my own workflow, if I can do the exact same task in Camera Raw or Photoshop, I always choose to do it in Camera Raw, because (a) it’s faster (there are no progress bars in Camera Raw—everything happens in real time), (b)it’s non-destructive (so I can always change my mind later), and (c) if you shot in RAW, it applies the edits to the RAW 16bit image, which has a wider tonal range, and even heavy amounts of editing will do less visible damage to the image. So, if I’m showing you something in Camera Raw that can also be done in Photoshop, I’ll mention it, but I’ll only show it in Camera Raw (since that’s how I do it).

(7)Where’s the Adobe Bridge stuff? Adobe hasn’t really updated Bridge for years now. Well, I guess that’s not exactly true. They removed some stuff, and moved some stuff around, but outside of that—that’s pretty much it. I’m thinking the future of Bridge is not bright, and since it hasn’t really changed in years (and it’s slower than an asthmatic three-toed sloth covered in molasses, going uphill on a sand dune), I’m no longer including it here in the book, but if you’re brand new to Photoshop, you don’t use Lightroom, and you think you might need Bridge (please, rethink it), I did write two entire chapters just on Bridge and put them on the book’s download site for you to download for free. You’ll find these at http: //kelbyone.com/books/cc17, along with two other bonus chapters on printing and editing video (see, I care).

(8) Each chapter includes my “Photoshop Killer Tips”! Hey, I thought you said it was “Seven Things”? Well, consider this eighth a “bonus thing,” because it’s about another bonus I included in this edition of the book. At the end of every chapter is a section I call “Photoshop Killer Tips” (named after the book of the same name I did a number of years back). These are those time-saving, job-saving, “man, I wish I had known that sooner” type tips. The ones that make you smile, nod, and then want to call all your friends and “tune them up” with your new status as a Photoshop guru. These are in addition to all the other tips, which already appear throughout the chapters (you can never have enough tips, right? Remember: He who dies with the most tips, wins!). So, there you have it, seven (or so) things that you’re now probably glad you took a couple minutes to read. Okay, the easy part is over—turn the page and let’s get to work.

Model: Adriana | Exposure: 1/50 sec
Focal Length: 130mm
Aperture Value: ƒ/2.8

Raw and Un-Kutt the essentials of camera

Okay, just a friendly heads up: I wouldn’t even attempt to read this chapter intro until you read #5 of the “Seven Things You’ll Wish You Had Known...” a few pages back. If you skipped it (and we both know you did), jump back to page xvi, read it, then come right back. I’ll hold your place—go ahead (fingers gently tapping on desk). That was pretty quick. Did you just skim it? You did, didn’t you? Hey, this is imperceptibly important stuff, so please go back and read it again carefully. I’ll wait. (No worries, I’m still on hold with Verizon tech support.) Well, if you’re back here, you know what you’re in for, so now the onus is on you (ewwww, you have an onus!).

This chapter on the essentials of Camera Raw is named after the album Raw and Un-Kutt by rapper Kutt Calhoun. I wasn’t familiar with his work, so I played a preview of one of his tracks (I think it was called “Naked [Boom, Boom, Boom]”, which coincidentally was almost the name of this chapter before I even heard of that song). Anyway, whoa nelly! He certainly seems very upset about something. But I digress. Before we get too deep into this, I’m going to call Adobe out on something. You know that little knobby thing on the Camera Raw

sliders that you click on and drag? Some folks call it a “nub” or “knob” or whatever, but it has no official name, and personally, I feel this is a travesty. Everything, and I mean everything, in Photoshop has an official name that a group of perpendicular engineers literally argued to death blows over, except this one nebulous nubby thing. That’s when it hit me, this nubby thing’s name is up for grabs! Like an undiscovered planet or a new perfume (Splendifiquois, the new fragrance from L’Oréal). But I knew I would have to come up with a name that isn’t already used for anything, and that’s not as easy as it sounds, because a lot of things in life already have names. Then it hit me: there is one totally made-up word that has no actual meaning, yet is an important part of the American rock vernacular—pompitous. Check this out: “Click on the Highlights pompitous and drag it over to +0.25.” It sounds so legit! Yes, it shall be pompitous from now on. So let it be known; so let it be done. And remember, it was I, “Maurice,” who came up with this. (Well…”some people call me Maurice. ‘Cause I speak of the pompitous of love.”) Dang, this word works for anything! (Stop bragging, you sound so pompitous).

How to Open Different Types of Images in Camera Raw

Although Adobe Camera Raw was originally created to process photos taken in your camera’s RAW format, you can also use it to process your JPEG and TIFF photos. A big advantage of using Camera Raw that many people don’t realize is that it’s just plain easier and faster to make your images look good using Camera Raw than with any other method. Camera Raw’s controls are simple, they’re instantaneous, and they’re totally undoable, which makes it hard to beat. But first, you’ve got to open your images in Camera Raw for processing.

Opening RAW Images:

Since Camera Raw was designed to open RAW images, if you double-click on a RAW image (whether in Bridge or just in a folder on your computer), it will launch Photoshop and open that RAW image in Camera Raw (its full official name is Adobe Camera Raw, but here in the book, I’ll just be calling it “Camera Raw” for short, because…well…that’s what I call it). Note: If you double-click on what you know is a RAW image and it doesn’t open in Camera Raw, make sure you have the latest version of Camera Raw—images from newly released cameras need the latest versions of Camera Raw to recognize their RAW files.

Opening JPEG & TIFF Images from Bridge:

If you want to open a JPEG or TIFF image from Bridge, it’s easy: either click on an image and press Command-R (PC: Ctrl-R) or Right-click on it and, from the pop-up menu, choose Open in Camera Raw

Opening JPEG & TIFF Images from Your Computer:

If you want to open a JPEG or TIFF image from your computer, then here’s what you do: On a Mac, go under Photoshop’s File menu and choose Open When the Open dialog appears, click on your JPEG (or TIFF, but we’ll use a JPEG as our example) image, and in the Format pop-up menu, it will say JPEG. You need to click-and-hold on that menu, and then choose Camera Raw, as shown here. Now, click the Open button, and your JPEG image will open in Camera Raw. In Windows, just go under Photoshop’s File menu and choose Open As, then navigate your way to that JPEG or TIFF image, change the pop-up menu near the bottom right to Camera Raw, and click Open.

Opening Multiple Images:

You can open multiple RAW photos in Camera Raw by selecting them first (either in Bridge or in a folder on your computer), then just double-clicking on any one of them, and they’ll all open in Camera Raw and appear in a filmstrip along the left side of the Camera Raw window (as seen here). If the photos are JPEGs or TIFFs, in Bridge, select ’em first, then press Command-R (PC: Ctrl-R). You won’t be able to open multiple JPEGs or TIFFs from a Mac Finder or Windows Explorer window; you’ll need to use Bridge to open them (just use the Path Bar in Bridge to navigate to where those images are located).

Editing JPEG & TIFF Images in Camera Raw:

One thing about editing JPEGs and TIFFs in Camera Raw: When you make adjustments to a JPEG or TIFF and you click the Open Image button, it opens your image in Photoshop (as you’d expect). However, if you just want to save the changes you made in Camera Raw without opening the photo in Photoshop, then click the Done button instead (as shown here), and your changes will be saved. But there is a big distinction between editing JPEG or TIFF images and editing a RAW image. If you click the Done button, you’re actually affecting the real pixels of the original JPEG or TIFF, whereas, if this were a RAW image, you wouldn’t be (which is another big advantage of shooting in RAW). If you click the Open Image button, and open your JPEG or TIFF in Photoshop, you’re opening and editing the real image, as well. Just so you know.

The Two Camera Raws:

Here’s another thing you’ll need to know: there are actually two Camera Raws—one in Photoshop, and a separate one in Bridge. The advantage of having two Camera Raws comes into play when you’re processing (or saving) a lot of RAW photos—you can have them processing in Bridge’s version of Camera Raw, while you’re working on something else in Photoshop. If you find yourself using Bridge’s Camera Raw most often, then you’ll probably want to press Command-K (PC: Ctrl-K) to bring up Bridge’s Preferences, click on General on the left, and then turn on the checkbox for Double-Click Edits Camera Raw Settings in Bridge (as shown here). Now, double-clicking on a photo opens RAW photos in Bridge’s Camera Raw, rather than Photoshop’s.

Miss the JPEG Look? Try Applying a Camera Profile

If you’ve ever wondered why RAW images look good on your camera’s LCD, but look flat when you open them in Camera Raw, it’s because what you see on your LCD is a JPEG preview (even though you’re shooting in RAW), and your camera automatically adds color correction, sharpening, etc., to them. When you shoot in RAW, you’re telling the camera, “Turn all that color enhancement and sharpening off—just leave it untouched, and I’ll process it myself.” But, if you’d like that JPEG-processed look as a starting place for your RAW photo editing, camera profiles can get you close.

Step One:

Click on the Camera Calibration icon (the third icon from the right) near the top of the Panel area, and in the Camera Profile section, click-and-hold on the Name pop-up menu, and you’ll see a list of camera profiles available for your particular camera (it reads the embedded EXIF data, so it knows which brand of camera you use). For example, if you shoot Canon, you’ll see a list of the in-camera picture styles (shown here) you could have applied to your image if you had taken the shot in JPEG mode (if you shoot in RAW, Camera Raw ignores those in-camera profiles, as explained above). If you shoot Nikon, or another camera brand, you’ll see a slightly different list, but it does the same type of thing.

Step Two:

The default profile will be Adobe Standard. Now, ask yourself this: “Does the word ‘Standard’ ever mean ‘Kick Butt?’” Not usually, which is why I suggest you try out the different profiles in this list and see which ones you like. At the very least, I would change it to Camera Standard (as shown here), which I think usually gives you a better starting place.

Step Three:

Depending on the individual photo you’re editing, Camera Standard might not be the right choice, but as the photographer, this is a call you have to make (in other words, it’s up to you to choose which one looks best to you). I usually wind up using either Camera Standard or Camera Landscape for images taken with a Canon camera, because I think Landscape looks the most like the JPEGs I see on the back of my camera. But again, if you’re not shooting Canon, Landscape might not be one of the available choices (Canons and Nikons have five picture styles). If you don’t shoot Canon or Nikon, or one of a handful of other cameras, then you’ll only have Adobe Standard, and possibly Camera Standard, to choose from, but you can create your own custom profiles using Adobe’s free DNG Profile Editor utility, available from Adobe at http:// kel.by/dngprofile.

Step Four:

Here’s a before/after with only one thing done to this photo: I chose Camera Landscape (as shown in the pop-up menu in Step Three). Again, this is designed to replicate the color looks you could have chosen in the camera, so if you want to have Camera Raw give you a similar look as a starting point, give this a try. Also, since Camera Raw allows you to open more than one image at a time (in fact, you can open hundreds at a time), you could open a few hundred images, then click on the icon to the right of Filmstrip, at the top left, choose Select All, then change the camera profile for the first-selected image, and then all the other images will have that same profile automatically applied. Now, you can just click the Done button.

Before: Using the default Adobe Standard profile
After: Using the Camera Landscape profile

Using Camera Raw Like It’s a Filter

Okay, I’m starting off with this particular feature because the ability to reopen any currently open image in Camera Raw had been at the top of my Photoshop wish list for years. Before this was possible, if you had an image open in Photoshop and you wanted to re-edit it in Camera Raw, you had to save the image and close it. Then, you’d have to go to the Open dialog, find the image on your computer, change the Format to Camera Raw, and then open it. Now, it’s finally just a one-click process (like applying any other filter).

Step One:

When you have an image already open in Photoshop and want to edit it in Camera Raw, just go under the Filter menu and choose Camera Raw Filter (as shown here).

Step Two:

The Camera Raw window opens, and now you can make any changes you’d like. When you’re done, just click OK, and you’re back in Photoshop with your Camera Raw changes applied. Just a heads up: if your image is already open in Photoshop, even if it was shot in RAW format on your camera, it’s no longer a RAW photo at this point, so it doesn’t go back and reopen the RAW version— it takes the 8- or 16-bit photo you have already open in Photoshop and it opens that in Camera Raw. This isn’t a bad thing, and works as expected, but I just thought I’d address it in case you were wondering.

Setting the White Balance

If you’ve ever taken a photo indoors, chances are it came out with kind of a yellowish tint. Unless you took the shot in an office, and then it probably had a green tint. If you took a shot of somebody in the shade, the photo probably had a blue tint. Those are white balance problems, and if we properly set our white balance in the camera, we won’t see these color problems (the photos will just look normal), but since most of us shoot with our cameras set to Auto White Balance, we’re going to run into them. Luckily, we can fix them pretty easily.

Step One:

The white balance is usually the very first thing I adjust in my own Camera Raw work flow, because getting the white balance right will eliminate 99% of your color problems right off the bat. At the top of the Basic panel (on the right side of the Camera Raw window), are the White Balance controls. If you look to the right of the words “White Balance,” you’ll see a pop-up menu (shown circled here in red), and by default it shows you the “As Shot” white balance (you’re seeing the white balance you had set in your camera when you took the shot). I had been shooting indoors under regular indoor lighting, so my white balance had been set to Tungsten, but then I went into a room with natural light and didn’t change my white balance, so the first few shots came out with a bluish tint (as seen here—yeech!) and that’s why the white balance is way, way off.

Step Two:

There are three ways to change the white balance in your photo, and the first is to simply choose one of the built-in White Balance presets. Fairly often, that’s all you need to do to color correct your image. Just click on the White Balance pop-up menu, and you’ll see a list of white balance settings you could have chosen in the camera. Just choose the preset that most closely matches what the lighting situation was when you originally took the photo (for example, if you took the shot in the shade of a tree, you’d choose the Shade preset). Here, I tried each preset and Daylight seemed to look best—it removed the bluish tint. (Note: This is the one main area where the processing of RAW and JPEG or TIFF images differs. You’ll only get this full list of white balance presets with RAW images. With JPEGs or TIFFs, your only choices are As Shot or Auto white balance.)

Step Three:

The second method is to use the Temperature and Tint sliders (found right below the White Balance preset menu). The bars behind the sliders are color coded so you can see which way to drag to get which kind of color tint. What I like to do is use the built-in presets to get close (as a starting point), and then if my color is just a little too blue or too yellow, I drag in the opposite direction. So, in this example, the Daylight preset was close, but she was still a little too blue, so I dragged the Temperature slider a little bit toward yellow and the Tint slider a tiny bit toward green.

Step Four:

Just a couple of other quick things about manually setting your white balance using the Temperature and Tint sliders: If you move a slider and decide you didn’t want to move it after all, just double-click directly on the little slider “nub” itself, and it will reset to its previous location. By the way, I generally just adjust the Temperature slider, and rarely have to touch the Tint slider. Also, to reset the white balance to where it was when you opened the image, just choose As Shot from the White Balance pop-up menu (as shown here).

Step Five:

The third method is my personal favorite, and the method I use the most often, and that is setting the white balance using the White Balance tool (I). This is perhaps the most accurate because it takes a white balance reading from the photo itself. You just click on the White Balance tool in the toolbar at the top of the window (it’s circled in red here), and then click it on something in your photo that’s supposed to be a light gray (that’s right—you properly set the white balance by clicking on something that’s light gray). So, take the tool and click it once on the strap on her dress (as shown here) and it sets the white balance for you. If you don’t like how it looks, then just click on a different light gray area.

TIP: Quick White Balance Reset

To quickly reset your white balance to the As Shot setting, just double-click on the White Balance tool up in the toolbar.

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CHAPTER X

CAUGHT IN THE ACT

D great size, Koku was as light on his feet as a cat, and he made no sound as he followed in Tom’s footsteps. As silently as panthers they approached the fence.

Tom had slipped a revolver into his pocket as he left the office, as a matter of precaution, though he hardly thought he would have occasion to use it, and would only do so in the last extremity.

Ordinarily his sinewy arms and powerful fists were a sufficient reliance. But there was no telling whether he would have to face an individual or a gang, and it was well to be prepared for any emergency.

One thing was certain. Whoever was there had no right to be there and could only have come for some evil purpose.

They had caught one more glance of a flash of light, but only one. Now everything was in absolute darkness. There was no moon and the ordinary blackness of the night was deepened by heavy clouds that presaged a storm. Tom could scarcely see his hand before his face, and it was only by reaching out occasionally and touching Koku that he knew the latter was close on his heels.

Tom had a powerful flashlight with him, but it was unnecessary to use it just then, for he was so familiar with every foot of the yard that he could have gone to the fence blindfolded. Besides, it was essential that the prowler or prowlers be kept in ignorance that their unlawful visit had been discovered.

Soon they were near the fence, and Tom caught one of Koku’s hands and drew him to him.

“Now, Koku,” he whispered, “I’ll go around one side of the fence and you go round the other until we meet. If you come across any one, grab him and hold him fast. But don’t call out, as that may warn others who may be with him. Hold him till I come up to you. No rough stuff. Don’t hurt him. Just hang on to him.”

Koku nodded and started round one side while Tom went in the opposite direction. There was not a sound to break the stillness. If there was any one about, he was acting with extreme caution.

Before long they had together completed the circuit and met.

“Did you see any one, Koku?” queried Tom, in a whisper.

“No,” was the reply. “But there is ladder against fence. Come.” And, turning, the giant, followed by Tom, went back to where a ladder was propped against the wall of the enclosure.

As Tom’s eye ran along its length, a flare of light stabbed the air but was quickly extinguished. At first it seemed to him like a faint gleam of lightning, but there was no thunder, and he realized that it had probably come from a flashlight.

Motioning to Koku to remain where he was, Tom went up the ladder. When he reached the top, he slowly and cautiously raised his head above the fence.

At first he could see nothing except the bulky derrick, which stood out as a formless blot against the blackness. But while he listened intently, he heard the clink of metal as though a hand were fumbling among tools, and an instant later there came another flash that revealed the figure of a man bending down with his back toward him.

Like a ghost, Tom slipped down the ladder. Then he laid the ladder flat on the ground, and, telling Koku to follow, went rapidly around to the gate of the enclosure.

He inserted his key in the lock, opened the gate slowly so that no grinding of the hinges should betray his presence, and then like two shadows the pair moved toward the derrick.

Again the clink of metal guided them, and soon they were within a few feet of the intruder, whose form was dimly visible.

Tom drew his flashlight from his pocket and touched Koku as a signal to be in readiness.

“Now!” cried Tom, and flashed his powerful light full in the face of Hankinshaw.

With a startled exclamation the latter started back, while at the same time his hand reached toward his hip pocket. But in that instant the giant Koku had leaped upon him and pinioned his arms behind his back.

Hankinshaw was a heavily built man and he struggled violently to free himself. But in Koku’s hands he was as helpless as an infant.

“Hold him, Koku,” commanded Tom, and went to the derrick. He took a lantern off a peg, lighted it and returned. He set the lantern on the ground and pocketed his flashlight. Then he passed his hands lightly over Hankinshaw’s clothes and drew from the latter’s pocket a revolver, fully loaded. He broke the stock, took out the cartridges and threw the now useless weapon on the ground.

During this process, Hankinshaw fumed and frothed and burst out in imprecations, to all of which Tom paid not the slightest attention.

“Now put him down on the ground, Koku,” directed Tom.

The giant obeyed, and Hankinshaw found himself sitting on the ground with startling suddenness. He started to get up, but Koku’s hands on his shoulders put him back with a force that jarred him and made his teeth chatter.

“Better stay put,” warned Tom. “That man of mine doesn’t know how strong he really is, and if he grabs you again you’re apt to get hurt. It will be healthier for you to stay right where you are until I tell you to get up. Get me?”

Hankinshaw evidently did “get” him, and sat still, his face black with rage.

“This is an infernal outrage,” he shouted. “I’ll get even with you, and don’t you forget it. What do you mean by assaulting me in this way, you and your man? I’ll——”

A long string of threats and expletives followed. Tom let him rave, looking steadily at him the while until beneath the blistering contempt in his eyes Hankinshaw faltered, sputtered and tapered off into a confused and incoherent snarl.

“Are you through now?” asked Tom.

“Not through with you, by a long shot,” snarled Hankinshaw.

“Whether you are or not, you’re going to listen to me now,” said Tom. “Unless,” he added, as though by an afterthought, “you’d rather have the police and the district attorney do the talking?”

At the word “police” Hankinshaw’s face blanched and his bluster dropped away.

“Because, you know,” went on Tom, “this is a police matter I find you in the dead of night on my property after scaling a locked enclosure, handling my implements, and for all I know getting ready to carry them away. It’s as though I woke up in my room at night and found a burglar rifling my bureau drawers. The fact that he didn’t have time to get anything before I nabbed him wouldn’t prevent his being tried and convicted for burglary. I imagine that if I chose to hand you over they’d put you where the dogs couldn’t bite you for a while.”

Hankinshaw moistened his parched lips with his tongue.

“There’s no use talking that way,” he said, and there was unmistakable fear in his voice. “Why should I want to take anything away? And how could I if I did want to? They’re too heavy to handle. Do you think I’d walk off with your derrick?”

“Stop your stalling, Hankinshaw, and tell me the truth—that is, if you can,” commanded Tom sharply. “What were you doing in this enclosure at this time of night?”

“Why—why, I was restless and—and couldn’t sleep,” stammered Hankinshaw. “So I dressed and went out——”

“For a nice little moonlight stroll, I suppose,” interrupted Tom sarcastically, looking up at the lowering sky.

CHAPTER XI

A RASCAL FOILED

“I out,” continued Hankinshaw, affecting not to notice the unbelief in Tom’s voice, “for a walk——”

“Taking your revolver along,” suggested Tom.

“That’s a habit I got down in Texas. One never knows down in the oil fields when it is going to come in handy. As I was saying, I went out for a walk and found myself coming in this direction. I happened to catch sight of the derrick——”

“Where did you see it from?” asked Tom.

“From the road, of course,” answered Hankinshaw.

“You caught sight of the derrick from the road three hundred feet away on a night when you couldn’t see anything ten feet ahead of you?” exclaimed Tom. “But go ahead. You interest me strangely.”

“I don’t mean exactly that I saw it,” said Hankinshaw, in confusion. “But I’d seen it in the daytime, and being so near it I suppose the thought of it came into my mind. Just from curiosity, I thought I’d come over and see what it was like. I didn’t think any one would mind. Didn’t know there was anything especially secret about it.”

“Didn’t suspect that even when you found the gate was locked, eh?” queried Tom.

“No,” affirmed Hankinshaw brazenly. “I was turning away when I stumbled against a ladder that some workman had left in the grass. That put it into my mind that I could get a squint at the derrick after all, and on the impulse of the moment I put it up and climbed over the fence.”

“How lucky it was that you just happened to have a flashlight along,” said Tom. “I suppose carrying flashlights is another habit you got down in Texas.”

“Yes,” returned Hankinshaw. “You have to travel around a good deal at night there, and you never know when you may need one. But now I’ve told you the whole story. I suppose I was trespassing,

and I’m sorry now I did it, seeing the way you look at it. But you’re just making a mountain out of a molehill.”

“I imagine a burglar might say the same thing,” replied Tom, and his tone was so like steel that Hankinshaw visibly winced. “Now listen to me, Hankinshaw. I don’t believe a word of what you’ve been saying. It’s a falsehood from beginning to end. You deliberately committed a crime to-night, and you know as well as I do what chance you’d have if you told a fairy tale like this to a judge or jury. All I’d have to do would be to telephone to police headquarters and you’d be under lock and key in a hurry. But I’m not going to do that.”

An expression of immense relief came into the rascal’s face.

“Oh, it’s not out of any consideration for you,” Tom assured him. “It’s partly because I don’t want any scandal that would worry my father; in his present feeble state of health. Then, too, I’m too busy just now to take the time to prosecute you and send you where you belong. But don’t think for a moment that this ridiculous story of yours has imposed on me. You came to this plant to-night with one of two purposes in view.”

Hankinshaw started to protest, but Tom cut him short.

“Don’t add any more lies to those you’ve already told,” he said. “You may have had revenge in mind for what happened the other night down in the town. You may have thought that you’d be able to cripple the machinery here and put me to a lot of expense and trouble. That’s one possibility, and knowing you as I do I wouldn’t put it past you.

“On the other hand, you may have had it in mind to steal some invention I might be trying out here. You know that invention is my line, and you may have thought that I had discovered some improvement or new device to be used in oil digging that you could get hold of and turn to your profit. That would explain why you were so carefully handling and examining the tools here when we came upon you.

“One of these two things, perhaps both, was in your mind to-night when you stole in here like a thief. I don’t know which and I don’t care. But just let me tell you one thing, Hankinshaw. If I ever catch you hanging around this place again either by day or night, may heaven have mercy on you, for I won’t. There’ll be a guard here after

this during every one of the twenty-four hours. He’ll be armed, and he’ll have his orders what to do to any vermin that may be trying to worm its way into this enclosure.

“Now, that’ll be about all. Stand up and get out of here and get out quick. Koku, you go down with him till he reaches the road. Don’t hurt him, but keep close behind him. Now, Hankinshaw, pick up that revolver of yours and go. And don’t forget a single word of what I’ve said to you, for I mean every syllable.”

The baffled miscreant got up, muttering things that he was careful to say under his breath. Koku, menacing as fate, stood hovering over him. The giant had not understood much of what had been said, but he knew that this man was his master’s enemy and nothing would have given him greater pleasure than to wring the rascal’s neck. Hankinshaw was fully conscious of this, and he sullenly pocketed the now useless revolver and moved toward the gate, with Koku stalking close behind him. As he passed Tom, he favored him with a glance that was malignity itself. Then he passed out into the darkness.

“Him bad man—so bad man,” grunted the giant, as he came back to Tom’s side.

“I reckon you are right, Koku,” answered the young inventor. “But we caught him red-handed, didn’t we?”

“Him like snake in the grass.”

“So he is.”

“Him do harm to Massa Tom. Must watch out.”

“Then you think he is a bad egg, do you?”

“Him worse than many bad eggs!”

“Well, maybe, Koku. We’ll see.”

Tom extinguished the lantern, hung it in its place, locked the gate carefully and returned to the office. It was now long past midnight, but he was too wrought up to have any desire to sleep. He sat with his elbows on the desk and his head in his hands, immersed in thought.

What had been Hankinshaw’s real motive? On reflection, Tom dismissed the idea that he had intended to cripple the machinery. Much more probable it seemed to him that the fellow had heard in some way that he was busy on some new invention, that the machinery had been rigged up for the purpose of testing it, and that

he might make a fortune if he could steal the idea and have it patented before Tom himself should have time to do it.

But how could he have heard of it? Tom had been extremely careful to keep the matter in the circle of a few trusted friends. His father, Ned, Jackson and Mr. Damon were the only ones that knew of it. The first three would have been as silent as the grave concerning it. As for Mr. Damon, although he was impulsive and talkative, he was a keen business man and knew too well the importance of secrecy in a matter of this kind to speak of it to anybody, much less to a fellow like Hankinshaw, whom he disliked and distrusted.

There was but one conclusion. Hankinshaw had acted on a probability. He could not have been hanging around Shopton so long without having heard of the marvelous inventive genius of Tom, and he had jumped to the conclusion that this would have been turned in the direction of oil-well machinery while he was working to fulfill his contract. He had acted on the guess, and it was by the merest chance that he had been thwarted. If Koku had not happened to see that flash of light! Good old Koku!

One thing was certain. Hankinshaw, already an enemy, was now a deadly one. He would never forget or forgive the humiliation he had suffered that night. Tom must be on his guard.

CHAPTER XII

THE NEW DRILL

T not mention the matter of Hankinshaw’s behavior to his father the next day, because he did not want to worry him. He had also put Koku under a strict injunction not to speak of the events of the night. But to Ned, when he turned up at the office, he narrated the whole affair.

The latter was boiling over with indignation.

“It was a pity that you didn’t give him all that was coming to him,” he declared. “There isn’t a doubt but what you could have sent him to prison. Still, I suppose you were right in not giving the matter publicity. I tell you, Tom, we’re dealing with a shady crowd, and I wish we’d never taken the contract.”

“So do I,” agreed Tom. “And I’ll be heartily glad when the whole matter’s off our hands. Of course, this special thing was probably done by Hankinshaw without the knowledge of the others. He was playing a lone hand, and if he’d got hold of the invention he’d have got all the profit from it.”

“Maybe,” assented Ned. “But Thompson and Bragden, although more polished, are probably just as crooked at heart. It’s my opinion the whole gang are tarred with the same brush. All I want now is to see the last of them. When we’ve once delivered the last shipment and have got our money for it, I’ll feel like celebrating.”

“Well, we’ll only have to be patient for about two weeks more,” Tom consoled him. “Jackson agreed with me yesterday that it will take only that time to finish up the contract. By the way, how about that third check for five thousand? It’s due now, isn’t it?”

“Was due three days ago,” answered Ned. “Late, as usual. I’ve had to draw on them. Like pulling teeth to get anything out of them. We have to do our work twice over—once in actually doing it and the second time in getting our money for it. But we’ve got them on the hip now. They’ve paid so much that it will be more profitable for them now to pay the rest than to cheat us out of it.”

“There’s some silver lining to the cloud, anyway,” observed Tom more cheerfully. “If it hadn’t been for this contract I wouldn’t have been thinking about oil and wouldn’t have perfected this new idea of mine. We’ll forget all about this bother when the money comes rolling in from the patent rights. That is, if it does,” he added, with a return to his habitual caution.

“No modifications, you old gloom hound,” laughed Ned. “You gave yourself away that time. Own up, old boy, you know that you’ve got a good thing. Come now, don’t you?”

Tom grinned.

“On the level, Ned, I feel pretty sure of it,” he confessed. “Of course, ‘there’s many a slip between the cup and the lip,’ and I may be letting myself in for a disappointment. The next few days will tell. By day after to-morrow I’ll be all ready to put the new drill to a practical test. It won’t take long to know whether it’s going to work or not.”

The next two days were busy ones for Tom. He was, too, at high nervous tension, wondering whether his idea would “go over big” or fail. He had checked and re-checked on his figures, and could find no flaw in them. And figures did not lie. Still——

He saw nothing of Hankinshaw. Either the man had left town temporarily or he was keeping carefully under cover. Tom did not care which, as long as the rascal kept out of his way.

At last the momentous morning came when Tom was to try out his new drill. A few trusted workmen had been chosen to work the machinery. That was all they were concerned with, and they would be in no position to gauge the meaning of whatever results would be obtained. Jackson was there to help, and Ned and his father were also on hand.

The miniature well was started, and for a time nothing was heard but the creaking of the derrick and the chugging of the drill as it worked its way through the soil. Tom, of course, knew the ordinary rate of progress made in well digging with the usual type of drill. But by how much would he be able to beat it? Or would he beat it at all?

The morning passed with interest at fever heat. It seemed to Tom that he was making rapid progress. But the results of any one hour would not give him a sufficient basis to generalize from. Special

circumstances might make the results small or great. The work would have to be spread over several hours before he could reach an average from which he could draw safe and sound conclusions.

At noon the men stopped for lunch, but Tom was too much excited to eat. He spent that time in studying the character of the soil through which the drill had been biting its way and the depth that it had reached.

The results astounded him. He thought he must have made a mistake in his calculations and went over them again. But no. The figures were correct. Was he dreaming?

His father, who had been looking over his shoulder, was equally startled.

“Why, Tom!” he exclaimed, “do you realize what that means? That’s three times as much as you could have got with the ordinary drill.”

“I know,” said Tom, in a voice that he tried to keep calm. “I thought I must have miscalculated. Do you see any error in the figures?”

“None at all,” was the answer. “They’re perfectly correct. But it seems almost beyond belief.”

“Well,” said Tom, “one swallow doesn’t make a summer, and one test doesn’t prove that others will be just like it. Perhaps the soil was lighter and easier to penetrate than it really seems. The real test will come when we strike rock.”

They struck rock that afternoon, and the way the drill ground and scrunched its way through it was music to Tom’s ears. It ate its way with surprising rapidity, which was the more remarkable because the specimens brought up showed it to be of a remarkably hard quality. Here again the same comparative gain was made over the ordinary rate of rock penetration.

Still Tom refused to be rushed off his feet, and the work went on for two days more, days of steadily decreasing doubt, days of steadily increasing jubilation.

At the end of the third day, Tom knew that beyond the peradventure of a doubt he had “struck it.” He would have been delighted if his new drill had proved to be able to do half as much

again as the one commonly in use. He would have been astounded had it proved to be able to do twice as much.

But the result had far outrun his wildest expectations. The principle that he had embodied in his new drill had trebled its effectiveness. He had hit on something that was destined to revolutionize the oil industry.

Once more that inventive brain of Tom Swift’s would startle the world!

CHAPTER XIII

A NIGHT OF TRIUMPH

A close friends were with Tom in the office on the memorable night when his hopes became certainty. His father, Ned and Mr Damon had hung breathlessly on his final calculations, and when he at last looked up with the triumphant smile that could mean only one thing, they were almost as jubilant as he and overwhelmed him with congratulations.

“Bless my oil stocks!” cried Mr. Damon, slapping him on the shoulder. “Tom, my boy, you’re a wonder.”

“You’ve got all other inventors tied to the mast and screeching for help,” affirmed Ned, as he wrung his friend’s hand.

“I knew you would do it,” said his father quietly, as he wiped his glasses. And to Tom this calm, affectionate assurance was the sweetest praise of all.

“Are you sure that the patent has been attended to all right?” asked Mr. Damon anxiously.

“You can bet,” answered Tom. “We had a wire from Reid and Crawford, our Washington lawyers, to-day, and they tell us that everything is O. K. It doesn’t infringe on any previous patent, and the idea of the drill is entirely new. The lawyers themselves think it’s great.”

“The next thing, I suppose,” went on Mr. Damon, “will be to get in touch with some of the big companies, tell them what your drill can do, give them a demonstration and then lean back and let them bid against each other.”

“N-no,” replied Tom thoughtfully, “I don’t think that will be the next thing. I’m not quite ready for that.”

The whole company looked at him in surprise.

“Just what do you mean by that?” asked Ned, in a puzzled way.

“Why,” said Tom, “I’ve been thinking that I might go down to the oil fields and take a whirl myself at oil-well digging. What’s the

matter,” he added with a grin, “with becoming a magnate on my own account?”

There was a chorus of exclamations. None had had the slightest intimation that Tom had been thinking of anything of the kind.

“What’s put that idea into your head?” asked his father.

“I’ve been reading and thinking so much about oil lately that it’s sort of got a grip on me,” replied Tom. “I’m eager to see the thing at first hand. Then, too, I want to put the drill to work on a real honestto-goodness well. I’ll be much better qualified after that to talk business to any one who may want to buy the invention. Then, too, I may find that we can make more money by keeping the invention for ourselves than we can by selling it to somebody. Of course, it’s only an idea as yet, and I haven’t thought it through. My present impression, however, is that I’ll go down there.”

“When do you think of going?” asked Ned.

“Just as soon as we get this oil-well machinery contract off our hands,” was the answer. “Say, about a month from now. How would you like to go with me, Ned?”

“I’d like it above all things,” answered Ned. “I guess we could get things in shape so that the business would go on all right for the few weeks we’d be gone. And your father would be here to supervise things generally.”

“Bless my railroad ticket! I’ll go along too,” exclaimed their eccentric friend. “I always like to keep an eye on what Tom is doing. I’ve had a hankering, too, for a long time to see what an oil field is like. Count me in on this. That is, of course, if you want me.”

“You bet we want you,” said Tom cordially. “It wouldn’t seem natural if you weren’t somewhere within hail. My airplane will easily carry the three of us.”

“Bless my life insurance! No, no,” cried Mr. Damon. “You young fellows can go that way, but I’m a little too much under the weather just now for that. The railroad will be plenty good enough for me this time. But I’ll make the trip so that I’ll get there about the same time you do.”

“Why, Mr. Damon, are you really going to give up sky flying?” questioned Tom, in surprise.

“Only this time, Tom. Bless my wings! I can’t be with you always. Besides, I’ve got to stop off at Washington and maybe one or two other cities on business. But, as I said before, I’ll fix it so I’ll get down there about the same time you do.”

There was some further discussion of the matter, and when they separated, the trip had been practically decided upon, only the exact date remaining to be fixed later on.

The next night Tom ran up to make a call on Mary. He had been so engrossed of late with his invention that he had been able to see her but seldom, although there had not been a day when they had not talked together over the telephone. But feeling toward each other as Tom and Mary did, the telephone, they found, was a very inadequate substitute for a face-to-face talk.

To Mary, Tom had confided the fact that he was working on a new invention, but he had not laid much stress upon it, as he did not want to raise her expectations so high that she would feel keenly disappointed if it should amount to nothing.

Now, however, he had succeeded and was in high feather. He pictured to himself the delight on her face when he should tell her of the new invention and what he hoped from it. Her praise would be his greatest reward. His happiness in success would be doubled by her sharing in it.

He stopped on his way to buy some candy; and flowers, and, thus furnished, hurried along to Mary’s house and rang the bell.

Instead of a happy face it was a frightened one that Tom saw when Mary opened the door. But it lighted with infinite relief when she saw who it was.

“Oh, Tom, I’m so glad, so glad that you’ve come!” she exclaimed. “I never needed you so much.”

“What’s the matter?” asked Tom, in quick alarm. “Any one sick?”

“No,” said Mary. “It’s that horrid man—that Hankinshaw. He forced himself into the house on the pretext that he wanted to talk business with father. He’s been drinking. He——”

But Tom had already dropped his packages. Be went into the living room with a rush. Mrs. Nestor, pale-faced and agitated, was standing in a corner wringing her hands. Mr. Nestor, still far from

robust after his recent illness, was expostulating with Hankinshaw and trying to push him outside of the room.

Tom took it all in with a glance. The next instant he had grabbed Hankinshaw by the collar and whirled him around.

CHAPTER XIV

KICKED FOR A GOAL

A of fear came into the red mottled face of Hankinshaw when he saw who had hold of him.

“Leggo o’ me,” he said, in a thick voice. “Whazzer matter with you, anyhow? Regular Buttinski!”

Without saying a word, Tom, with one push of his sinewy arm, shoved the fellow out of the room. Without relinquishing his grasp on his collar he forced him through the hall. Mary shrank aside as she watched them coming.

“Hold the door open, Mary, please,” said Tom.

She did so and the two antagonists passed out.

“Now close it again, please,” called Tom, who did not want her to see what was going to happen.

The instant the door clicked Tom released his hold on Hankinshaw’s collar, measured the distance and gave him a tremendous kick that sent him forward as though he had been struck by a catapult. The man tried to keep his balance, but was unable to do so and went down to the sidewalk on his hands and knees. He scrambled snarling to his feet, to find himself facing Tom, whose face was blazing with wrath.

“Now take yourself off, you loafer,” commanded Tom. “That kick was only a sample of what I’ll do to you if you don’t. Get along now, or I’ll muss you up so that your best friends won’t know you.”

There was such deadly determination in the youth’s voice and the force of that kick had been so mighty that Hankinshaw, who had clenched his fists, thought better of it and, contenting himself with a string of coarse expressions, slouched on along the street. Tom watched him until he had disappeared and then returned to the door, which opened at his approach.

“I hope you didn’t get into a fight, Tom,” Mary said anxiously.

Tom’s eyes twinkled.

“Nothing like that,” he laughed. “Do I look it? Is my hair mussed? No, I simply had a little football practice. Hankinshaw was the football. I kicked him for a goal. I guess you won’t see any more of him. He’s due to get out of this town anyway in a few days more.”

Mary sighed happily.

“You’re our good angel, Tom,” she said. “You saved my father’s life once, and you always turn up when I need you most. I don’t know what we’d do without you.”

“You won’t have to do without me,” replied Tom. “In fact, you couldn’t lose me if you tried,” and he grinned broadly

Mary’s parents thanked Tom heartily for his opportune appearance and the way he had rid them of their obnoxious visitor, and then, because they were wise parents, they slipped away on different pretexts and left the young people to themselves.

Tom’s new invention and his projected trip to Texas were eagerly discussed by the pair. As regards the first, Mary was enthusiastic.

“It’s simply wonderful,” she said, after Tom had detailed to her as far as he could the plan of his drill, what it had already done and what he expected it to do. “I don’t see where on earth you get all those ideas of yours from. Think of all the men who have been studying along those lines for years without hitting on the thing that you’ve developed in a few weeks.”

“Oh, some one has to think of it first,” replied Tom. “Then, too, remember that I had the benefit of what others have already done. It’s like a band of pioneers going through a forest and taking turns cutting down the trees to make a trail. Some one of them gets the axe that cuts down the last tree. But he wouldn’t be there to cut it down if he hadn’t walked up to it along the paths that the other fellows have made first.”

“That’s just your modest way of putting it,” said Mary. “In this case the last tree was the toughest, and you cut it down in half the time any one else would. So there.”

“I’d like to have you on the jury if I were being tried for my life,” laughed Tom.

But concerning the trip to Texas, Mary was not by any means so enthusiastic. In fact, her pretty lips had a decided pout.

“It’s an awfully long way off,” she said, “and when you get down there with your old oil well you’ll forget all about poor little me.”

“Don’t worry, Mary,” he answered. “I’ll write every day.”

The next few days flew by as though on wings, for every waking hour was crowded. There were many details to be attended to in connection with the approaching trip. Tom had decided to take along with him the flying boat that he had used in his trip to Iceland. It was a bigger one than he ordinarily would have needed, but he wanted to carry along a good deal of material in addition to that which he would send by rail, so that he would lose no time in getting to work on the oil well he proposed to dig. The plane needed a good deal of overhauling to get it into perfect condition, and Tom often found himself wishing that he had a dozen hands instead of only two.

Ned, too, had troubles to adjust and was kept as busy, to use his expression, as a “one-armed paperhanger with the hives.” The contract with the Hankinshaw crowd had been completed and the material was ready for shipment. But the final check in payment was slow in coming. When at last it did come, Ned advised that they should not at once ship the machinery. He telegraphed the bank and found that there was not sufficient money on hand to meet the check when presented. The idea of the sharpers had been, of course, that in the ordinary course the check would not be presented for several days at the California bank. Then, if refused, several days more would elapse before the protested check would get back to Shopton. By that time they figured that the material would be far on its way to Texas and the Swift Construction Company could whistle for its money.

“But anybody that gets the best of Ned Newton in financial matters will have to get up pretty early in the morning, and the Hankinshaw crowd did not get up early enough,” laughed Tom.

Ned’s precautionary telegram thwarted the scheme, and the foiled conspirators, after lame explanations, were forced to pay in actual cash—no check this time—for the final payment. Then the stop order was lifted and the material was put on board the train for its long journey to the oil fields.

“And that’s that,” remarked Ned, with a sigh of relief after the last detail had been attended to. “Thank goodness, that’s off our hands.

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