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PERFECT PORTRAITS Learn to create beautiful portraits through the lens of a senior photographer
PLUS: How to design custom InDesign senior portrait templates
DISPLAY UNTIL JULY 12, 2011 THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM
ta b l e o f c o n t e n t s
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JUne 2011
FEATURE
52
IMAGEMAKING
HERNAN RODRIGUEZ
Just in time for the start of the senior photography season, Hernan Rodriguez shares some of his amazing portrait photography and takes us through his entire workflow. From tips and tricks on posing to using gels for creative lighting effects to processing the images in Lightroom to correcting skintones in Photoshop, Hernan covers it all and will have you creating your own fantastic portraits in no time. Hernan Rodriguez
REVIEWS
DEPARTMENTS From the Editor About Photoshop User Magazine Contributing Writers NAPP Member Community Guru Awards Designer Spotlight From the Help Desk Photoshop Tips Photoshop Q&A
6 10 14 16 24 30 92 122 134
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Nik Silver Efex Pro 2 OctoDome nxt: Extra Small Location Kit NIKKOR AF-S 85mm f/1.4G
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Perfect Resize 7 Professional Edition Toast 11 Titanium Edition for Mac
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NIKKOR AF-S 28–300mm f/3.5–5.6G ED VR TypeDNA 2
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Encrypt Stick 5 Porter Case PCi
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Photoshop Book Reviews
COLUMNS Design makeover Shooting Sars Down & Dirty tricks Kung Fu Text
Creepy Composite Instant Abs Beginners" worksHoP Dipping into Duotone Mode
34 62 38 64 44 48 66 60 68
cLassic eFFects Fade a Photo to a Line Drawing From Bert's stUDio Give Me Some Skin Deke sPace Rendering Type in Gold PHotosHoP mastery Content-Aware Fill on an Empty Layer
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www.photoshopuser.com
COLUMNS the coPyright zone Free Photos—Get Your Free Photos Here the small business and freelance coach Free Work Can Really Cost You after the shoot Camera Raw as an Automation Tool creatiVe Point of View Express Yourself digital PhotograPher’s notebook Fast Skin Smoother the fine art of Printing Profile Your Monitor tablet talk Getting Pressure-Sensitive Selections beyond PhotoshoP Adding Signage with Vanishing Point and a 3D Layer
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illustrator tutorial From Illustrator to Photoshop indesign tutorial Create a Beautiful Template for Your Portrait Clients
LIGHTROOM COLUMNS
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LIGHTROOM FEATURE
PhotoshoP & the web To Flash or Not to Flash?
under the hood Five Tips for Making Great Slide Shows under the louPe Hide and Go Seek lightroom tiPs & tricks
PRECISE PORTRAIT PROCESSING
IMAGES BY HEIKO KLUG
The Develop module presents photographers with a logical progression for processing photos. This issue, we’ll show you a standard workflow and explain the tools and functions for basic portrait retouching. A.J. WOOD
bUT wAIT— THERE’S MORE key concePts These icons at the beginning of columns indicate there’s a short video on a tool or function used in that tutorial at the new Key Concepts NAPP member webpage at www.photoshopuser.com/keyconcepts.
Layer masks
Warp
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 www.photoshopuser.com/ members/magazine.
digimarc discoVer Download the Digimarc Discover app directly to your iPhone or Android-based smartphones, and then look for this symbol in articles and ads for online content, special offers, or to play videos right on your phone. Don't have a smartphone? Visit www.photoshopuser . com/category/digitalextra. See page 11 for more info.
a few words from
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scott kelby
FROM THE EDITOR A World of Photoshop From conference to magazine, there’s always a lot going on at NAPP Well, we’re back from one of our best Photoshop World conferences ever! The feedback from NAPP members has really been amazing, and some new faces—such as Holland’s own Frank Doorhof, sports photography legend Dave Black (who received a standing ovation at the closing ceremony), and entertainment photographer Jeremy Cowart—all won lots of new fans. Photoshop World is NAPP’s own convention, created just for you guys, and we’ve opened registration for our Las Vegas conference, which is coming up September 7–9 at the Mandalay Bay Resort & Casino. Thousands of Photoshop users and photographers from around the world will be there, learning everything from Lightroom to retouching to editing video to lighting from the very best in the business, and I want to invite you to be there. If you’ve never come to Photoshop World, I promise you there’s nothing like it anywhere. So make plans now to join us in Vegas. If you register now, with your NAPP member discount you can attend the full conference (with more than 80 classes to choose from) for just $499. I hope to shake your hand in person this fall at the conference (I’m teaching classes on portrait retouching, Photoshop for travel photographers, Lightroom killer tips, and I’m on a panel called “Blogging for Photographers”). Here in the magazine, there’s a lot going on, as well. I know a lot of you are photographers, and we’re heading into wedding and senior portrait season. That’s why our cover story this issue is from Los Angeles-based photographer Hernan Rodriguez, who shares his entire senior portraiture workflow—from lighting to posing tips and tricks, right through his postprocessing in Lightroom and Photoshop. If you’re a photographer, you’ve gotta check this one out—even if you don’t shoot senior portraiture, the techniques you’ll learn apply to a wide range of photography and Photoshop. It starts on page 52. One of the things I’m personally most excited about in this issue is a piece we did on creating promo and comp card templates that portrait photographers can use as an add-on to offer their clients. The piece is written by one of my all-time favorite graphic designers, NAPP’s own Margie Rosenstein, and I think you’re really going to love it (again, even if you’re not doing portraits, you’ll learn a lot that can be applied to other specialties). It’s on page 98. Also in this issue, Lesa Snider, who used to pen our “Graphic Secrets” column, has taken over our “Beginners’ Workshop” column (which she will so rock at), and Dave Cross is launching a new column called “After the Shoot,” where he’ll teach Photoshop techniques that photographers can use after the shoot, from organizing and automating their workflow to retouching and more. We’ve got A.J. Wood in the Lightroom portion of the magazine with a feature on workflow (p. 102), and we take a look at the work of the Guru Award winners from Photoshop World (very cool stuff) in our “NAPP Member Community” section (p. 24). Lastly, our featured artist this issue is digital illustrator Heiko Klug (p. 30). One word to describe Heiko’s work: Wow! Of course, all of your other favorite tutorials, columns, and reviews are here, too. One last thing: if you get a chance, check out my Facebook page. I’m on there daily, and we have a lot of fun. It’s at facebook.com/skelby (click the Like button and you’ll keep up with my posts automatically). Also, don’t miss our new weekly talk show The Grid with Matt Kloskowski and me (http://kelbytv.com/thegrid).
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Whew! There’s a lot going on. Awesome!
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All my best,
Scott Kelby Editor & Publisher
Everything for the Perfect Print.
JUNE 2011 • Volume 14 • Number 4 • Printed in USA The official publication of The National Association of Photoshop Professionals
Editorial: Scott Kelby, Editor-in-Chief Chris Main, Managing Editor Mike Mackenzie, Senior Editor Kim Gabriel, Traffic Director Felix Nelson, Creative Director dave damstra, Production Manager taffy Clifford, Senior Associate Designer dave Korman, Production Designer
Contributing Writers Kevin Ames • Steve Baczewski • Corey Barker • Peter Bauer Larry Becker • John Paul Caponigro • “RC” Concepcion • Dave Cross • Seán Duggan • Ron Duncan • Daniel East • Katrin Eismann • Laurie Excell • Ed Greenberg • Matt Kloskowski Deke McClelland • Bert Monroy • Jay Nelson • Scott Onstott Jack Reznicki • Hernan Rodriguez • Margie Rosenstein • Colin Smith • Lesa Snider • Rob Sylvan • Trisha Van Koughnett Jake Widman • Ben Willmore • A.J. Wood
EPSON Stylus Pro 4900
Ultrachrome HDR
Marketing Team Mary Laurinaitis, Manager of Marketing Tom Castaneda • Eduardo Lowe • Margie Rosenstein
Web Team tommy Maloney, Director of Web Development Justin Finley • Karey Johnson • Fred Maya • Leslie Montenegro Kris Olds • Aaron Westgate
PuBLiSHiNG:
Wacom
Scott Kelby, Publisher david Moser, Executive Publisher Kalebra Kelby, Executive V.P. Jean A. Kendra, Business Manager Larry Becker, Executive Director of the NAPP Paul Parry, Chief Financial Officer
Intuos 4 Wireless
Unleashed Creativity
ADVERTiSiNG: Kevin Agren, V.P., Sales 813-433-2370 Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 215 Veronica (Ronni) o’Neil, 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: 813-433-5014 Customer Service: feedback@photoshopuser.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: www.photoshopuser.com
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COLOPHON: Photoshop User was produced using Adobe Photoshop CS5, Adobe InDesign CS5, and Adobe Illustrator CS5. Blair ITC was used for headlines, Adobe Myriad Pro for subheads, and Frutiger LT Std for text. 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 2011 National Association of Photoshop Professionals. All rights reserved. Any use of the contents of this publication without the written permission 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
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.
Cover Image: Hernan Rodriguez
ABOUT NAPP THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS is a dynamic trade association and the world’s 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. There’s 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
MEMBER DISCOUNTS Save anywhere from 2–4 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 PHOTOSHOP USER MAGAZINE › › p h ot o s h o p u s e r › j u n e 2 0 1 1
Ten issues of the best Photoshop tutorial-based magazine in the industry.
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MEMBERS-ONLY WEBSITE Our extensive website features time- and money-saving content.
TUTORIALS & EDUCATION Thousands of Photoshop tutorials, bonus classes, and quick tip videos.
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 photography learning experience on the planet. It’s an amazing Photoshop event.
FIND NAPP MEMBERSHIP DETAILS AT www.photoshopuser.com or call 800-738-8513 Monday–Friday, 8:30 a.m. to 7:00 p.m. EST. scan cover image above for more information about napp
photoshop’s most wanted
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contributing writers kevin ames creates evocative photographs for clients such as Westin Hotels, AT&T, and CocaCola. His fourth book, published by Peachpit Press, is The Digital Photographer’s Notebook: A Pro’s Guide to Photoshop CS3, Lightroom and Bridge.
steve baczewski is a freelance writer, professional photographer, graphic designer, and consultant. 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 CS5 for Dummies. He was inducted into the Photoshop Hall of Fame in 2010.
JOHn PaUL caPOniGRO is an internationally respected fine artist, a member of the Photoshop Hall of Fame, and author of Adobe Photoshop Master Class and the DVD series R/Evolution. Sign up for his free enews Insights at www.johnpaulcaponigro.com.
seán dUGGan is the co-author of Real World Digital Photography and The Creative Digital Darkroom. He teaches at San Francisco’s Academy of Art University and leads workshops on digital photography, Photoshop, and Lightroom.
danieL east is an author, freelance 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 Photoshop Masking & Compositing and co-author of The Creative Digital Darkroom. Katrin is Chair of the MPS in Digital Photography department at the School of Visual Arts in NYC.
LaURie eXceLL has 28 years of photography and photographic equipment sales experience. Her images have been showcased in galleries, Audubon calendars, Camping Life Magazine, Amtrak publications, and BT Journal.
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deke mccLeLLand is author of Adobe Photoshop CS5 One-on-One and the three-part video series Photoshop CS5 One-on-One. To read Deke’s blog and view his podcasts, go to www.deke.com/dekepod.
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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.
scOtt OnstOtt author of Enhancing Architectural Drawings and Models with Photoshop, has written and edited dozens of books and videos on Photoshop, SketchUp, 3ds Max, and AutoCAD. Check out his website at www.scottonstott.com.
cHRis ORwiG a photographer and book and video author, is on the photography faculty at the Brooks Institute in Santa Barbara. His publications include video training titles on Photoshop CS5 and Lightroom 3.
cOLin smitH is an award-winning designer, lecturer, and writer who has authored or co-authored 12 books on Photoshop and has also created a series of Photoshop training videos. Colin is also the founder of the online resource PhotoshopCAFE.com.
Lesa snideR is the chief evangelist for iStockphoto.com, the author of Photoshop CS5: The Missing Manual, and several video training titles on KelbyTraining.com. She’s also a member of the Photoshop World Dream Team and founder of GraphicReporter.com.
ROb sYLvan is the author of Taking Stock and Photoshop Lightroom 2 for Dummies, a Help Desk Specialist for the NAPP, and an instructor for the Perfect Picture School of Photography.
teRRY wHite is the Worldwide Creative Suite Design Evangelist for Adobe Systems, Inc., author of Secrets of Adobe Bridge, and co-author of InDesign CS/CS2 Killer Tips and The iPhone Book 4th Edition. Check out his tech blog at http://terrywhite.com.
Jake widman is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for about 25 years now—since back when it was called “desktop publishing” and Photoshop was just a piece of scanning software.
ben wiLLmORe is a Photoshop Hall of Famer and a modern-day nomad exploring America via motorcoach. Catch his latest adventure at www.whereisben.com and find out about all his books, seminars, and DVDs at www.digitalmastery.com.
ed GReenbeRG & Jack Reznicki have a new blog at www.thecopyrightzone.com where you can read about their new book, Photographer’s Survival Manual, published by Lark Books.
INDUSTRY NEWS TRAINING AND INFORMATION › ›
NAPP MEMBER COMMUNITY
BY NANCY MASSÉ AND TRISHA VAN KOUGHNETT
Where you’ll find common Help Desk questions; notable member achievements;quotes from Facebook and Twitter; and inspirational work from your fellow members X-RITE I1 PROFESSIONAL COLOR MANAGEMENT SOLUTIONS New i1 Professional Color Management Solutions are now available from X-Rite, Incorporated. With four different profile packages, X-Rite has created a complete collection of profiling tools to improve your workflow in photo, prepress, publishing, and digital printing markets. Each profile package features the groundbreaking new i1Profiler software technology and includes various components. i1Basic Pro was created for imaging professionals for high-end monitor profiling, monitor and printing quality verification, and spot color measurement. It’s an easy-to-use professional spectral color measurement solution. i1Photo Pro allows photo professionals to manage any RGB workflow. It produces high-quality color results, specializing in highlight and shadow details; achieves true colors on your LCD, CRT, and laptop; and creates flawless prints. The last two packages, i1Publish and i1Publish Pro, are ICC-profiling solutions for prepress and publishing professionals that offer the ability to organize and manage complete RGB, CMYK, and CMYK+N prepress workflows. i1Basic Pro is available for $999, i1Photo Pro for $1,399, i1Publish for $999, and i1Publish Pro for $1,898. For more information, visit www.xrite.com.
ONONE ANNOUNCES PERFECT LAYERS PUBLIC PREVIEW onOne Software invites NAPP members to sign up for a public preview of their newest standalone app and plug-in, Perfect Layers. Scott Kelby has been personally involved with this and is excited to share it with you. Perfect Layers is 64-bit compatible and allows users to edit multilayered files with Photoshop Lightroom and Apple Aperture. You can combine multiple images into a layered Photoshop file, use built-in layer masks and masking tools to blend various layers together, and more. Its superfast launch and file-opening speed will amaze you. The Perfect Layers public preview should be available by the time you read this. For more information, visit www.ononesoftware.com/products/perfect-layers.
NIKON RELEASES THE D5100 DSLR AND ME-1 STEREO MICROPHONE The new, versatile Nikon D5100 DSLR has a large 3", 921,000-dot, swivel vari-angle LCD monitor, making it easy to shoot photos and videos while on the move. You can rotate the screen 180° horizontally and vertically, enabling you to capture photos and video at high or low angles. The Special Effects Mode has unique effects to use when shooting still images or recording 1080p D-Movies. With an ISO of 100–6400, users have a wide range to be creative. The ME-1 Stereo Microphone was engineered specifically for DSLRs. It attaches to the hot shoe, is powered directly through the camera, and has noise-dampening components to minimize noise from AF operation. Nikon even included a low-cut filter to reduce noise that isn’t already blocked by the wind screen. The ME-1 works with other Nikon HD movie-capable DSLRs, as well. The D5100 is available for $799.95 for the body only, and as a kit for $899.99 with the AF-S DX Zoom-NIKKOR 18–55mm f/3.5–5.5G ED VR lens. The Nikon ME-1 microphone retails at $179.95. Visit www.nikonusa.com for more information.
COREL ANNOUNCES PAINTER 12
NAPP DISCOUNTS
For the latest list of discounts go to the Discounts section at photoshopuser.com/members
Corel Corporation recently announced Painter 12. According to Corel, Painter 12 has unmatched natural media capabilities, new digital art tools, new workflow options, and 64-bit support for Windows (a later release is in store for Macs). It now has faster performance speed with the brush tools
› ARENAL ECO ADVENTURE
PHOTOGRAPHY WORKSHOP— Join Rick Sammon and Rob Knight to explore the wonders of Costa Rica. NAPP members receive $200 off this all-inclusive, 6-day workshop. Expires June 30, 2011
(3–5 times faster) and also with large file flattening, flipping, and blurring (1.5–3 times faster). Painter 12 has a new, next-generation interface and, for an organic experience, it has RealBrush Painting
› TETHER TOOLS—Receive a free JerkStopper Camera Support with the purchase of any Tether Table or Studio Vu.
and a wide spectrum of painting media including watercolor, acrylic, oil, pastel, and more. Painter 12 supports PSD files, layers, brush blending, libraries, and docking panels, too. Corel Painter 12 is $429 for the full version, and upgrades are $229. Visit www.corel.com for more information.
› STILL RIVER EDITIONS—NAPP members receive a 10% discount for all orders of fine art digital (giclée) printing services and scanning, shipping excluded.
› JHP ACTIONS—JHP Actions give you the
THE GRID PROGRAMMING CHANGE
flexibility and ease of adding that extra boost to all your images with one click. NAPP members get 50% off.
There was a slight programming change for Scott Kelby’s newest KelbyTV show, The Grid (http:// kelbytv.com/thegrid). It’s still live, and it still airs every Monday but the show now starts a half-hour earlier at noon EDT. If you have a reminder set up so you can catch it live, please make sure you change the start time to noon. Also, if you’d like to interact on Twitter during the live show with your comments, be sure to use #TheGridLive hashtag in your tweets and follow @TheGridLive
› SLICKFORCE STUDIO—Awardwinning Art Director Clint Davis shows how to make phenomenal composites. NAPP members get $50 off any item or bundle.
(http://twitter.com/TheGridLive). As always, every episode will be archived on KelbyTV, so you can › PHOTODEX—NAPP members get 20% off ProShow Web and ProShow Producer slide show creation software.
watch it any time.
› ARTISTIC PHOTO CANVAS— NAPP members save 10% on APC’s top-notch photographic and fine art reproduction on canvas.
Showcasing the accomplishments of our members
This issue’s NAPP member of note is the energetic; tattooed goddess; and concert, celebrity, ready-foranything photographer, Krysten Marlette (see photo on p. 22). Krysten hails from Orlando, Florida, and started shooting when she was just 14 years old (her first show was Aerosmith). She “enjoys the stress of being able to capture an artist’s character in three songs or less.” This sentiment soon became evident when she joined fellow NAPP member, Jeff Tamagini, to co-author the official PSW Keynote live blog and handled it with ease. After that, she was soon popping up on everyone’s radar at PSW, not only for her photography work, but for her contagious energy, as well. Keep an eye out for Krysten and her work in the photography world. Her star is just starting to rise and it’s going to shine brightly. And that new tattoo she just got with the letters “NAPP” in it looks pretty spiffy, too. Here’s what she had to say about NAPP: “Being a NAPP member has not only created another social group to hang out with but the information and support from the Web is incredible. I can find a solution to any challenge that may arise or consult another NAPP member for their insight.” Follow her work at www.krystenmarlette.com. If you have any news you’d like to share, please send it to FB@KelbyMediaGroup.com for consideration.
If you have any ideas for things you’d like to see in your “Community,” drop us a line at letters@photoshopuser.com.
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From @nicolesy: Some of the replies I get from NAPP members when I solve Photoshop problems are hilarious. I think I just got a marriage proposal! LOL.
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From @OegeSmedinga: Scott Kelby, great show! Very fresh. Learned a lot about how to leverage social media as a photographer. Thanks! (#Episode1 #TheGridLive) NOTABLE TWEETS
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NOTABLE NAPP MEMBERS
From @KStohl: Vanelli’s dream or Scott Kelby’s nightmare? (http:// twitpic.com/4h9ya6)
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FACEBOOK NEWS It finally happened. Corey Barker has created his own page on Facebook (www.facebook.com/PlanetCorey). The jury is still out on whether or not this is a sign of the apocalypse. In other Facebook news, we’re trying out the idea of localized NAPP fan pages. This is where folks can go to get the latest news from NAPP and interact with other local NAPP members, photographers, and Photoshop enthusiasts. Here’s a list of what’s up and running so far: NAPP UK—Run by our ever-present UK NAPP Evangelist, Dave Clayton, the NAPP UK page (www .facebook.com/nappmember) is something all UK NAPP members on Facebook should join. It’s your 0 2 . 1 7. 1 1
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place to be heard. Dave is largely responsible for getting Scott to bring his Kelby Training LIVE tour to P r i yA S A m u E L
the UK last year, and it’s the place where we intend to send UK companies to convince them that UK NAPP members are plenty in numbers and interests, and that they deserve more discounts. If you want to see more discounts and more live seminars, help us help you. Join now! NAPP Canada—Hey, Canada, same goes for you! Help fellow Canadian NAPP member, Patrick LaMontagne, grow NAPP’s Canadian presence on Facebook (www.facebook.com/NAPPCanada) so we can show Canadian companies why they need to give you more discounts. Plus, you can create meetups, share pictures, and join Patrick’s discussions. NAPP Sweden—We’re not sure how many Swedish NAPP members there are but NAPP forum favorite, Erik Bernskiold, is running our first bilingual fan page (www.facebook.com/NAPPSweden),
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D AV i D r . B A i r
and creating a small (for now) but active community that we can only assume is filled with wonderful NAPP news, since none of us understand his native tongue. NAPP Chicago—We’re also testing localized pages in a few U.S. areas and NAPP Chicago (www .facebook.com/NAPPChicago) was one of the first. Co-administered by one of the first NAPP Evangelists (and another forum favorite), “Firgs,” and Chicago Photoshop meetup organizer, Anna Aaron, NAPP Chicago is leading the pack in hosting local events. If you’re in or near the Chicago area, this is the page for you. NAPP Arizona—Our last beta NAPP Facebook page is NAPP Arizona (www.facebook.com/NAPPArizona). Run by university professor James Gordon Patterson, NAPP Arizona is turning into a great, localized educational resource that will only get bigger and better with more members. Arizona is a
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PETEr JOBBiNS
big state and James can only cover so much, so if that’s the state you live in, this is the page for you. Please join and share what’s going on in your corner of this great state. If you’re wondering where your localized NAPP fan page is, well, we’re rolling them out a little at a time. Pages for Las Vegas and Texas will be up soon and we’re hoping to establish NAPP Australia and NAPP Germany soon. This is where you come in. We’re looking for active NAPP community members who are social media savvy and willing to put forth the effort and do what it takes to grow a localized NAPP fan page. You need to be willing to take the initiative on certain things (since you know your area best) and have the demeanor it takes to communicate in a friendly, professional manner (no matter what—we all know
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how it can get in the online world) that is befitting of a NAPP representative.
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If that’s you, please send an email to FB@KelbyMediaGroup.com with the words, “NAPP Fan Page” › ›
T r A Cy E g i B S O N
and the area you’re from in the title. Be sure to tell us your qualifications, social media experience and metrics, and ideas for your area’s page. We’re looking for people in other countries (especially Germany and Australia) and larger metropolitan areas. If you’re not in a large area but feel you can handle being the Facebook rep for your entire state, we’d like to hear from you, as well. (Note: These Facebook pages are still in beta and can end or change at any time. There’s no guarantee that there will be a page for your city, state, or country, or that volunteering to run a page will automatically grant the right to do so. Thanks in advance for your patience with this process.)
NOTABLE tWEEtS
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g E N E LO W i N g E r
From @cwardphotos: Light It Shoot It Retouch It LIVE! with Scott Kelby in Minneapolis was great and I learned a lot. Highly recommended. Here’s my review http://bit .ly/gfF0XI.
KELBY TV
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NEW HP DISPLAYS, DESKTOPS, AND MOBILE WORKSTATIONS The new HP DreamColor LP2480zx Professional Display (starting at $2,499) is something to take note of. This 24", wide-aspect LCD backlit monitor is the world’s first display to use the Dream-
THE GRID
Color engine technology. It delivers outstanding color accuracy, uses 30-bit LCD panel technology
(http://kelbytv.com/thegrid) Hosts: Scott Kelby and Matt Kloskowski Format: Live Talk Show Air Time: Every Monday at noon EDT (rebroadcast goes online every Tuesday)
to provide more than one-billion active colors, supports the best-in-class off-axis performance, and
PHOTOSHOP USER TV
(http://kelbytv.com/photoshopusertv) Hosts: Scott Kelby, Dave Cross, and Matt Kloskowski Format: Taped Photoshop tutorial show Air Time: New episodes every Tuesday (during regular season)
more. You can work with deep colors; use CRT-class black and programmable white; and use the optional HP DreamColor Advanced Profiling Solutions. The new HP Z210 Convertible Minitower (CMT) and Small Form Factor (SFF) Workstations are low-cost, high-performance machines. They’re both reliable with fast Xeon processors, ECC memory, enterprise-class storage, and application certification. Each offers new Intel HD Graphics P3000/2000 and 2D and 3D professional graphics options from NVIDIA and AMD. With a 20% performance improvement over the previous series, the HP Z210 CMT and SSF Workstations are energy efficient and compatible with various devices. The HP Z210 CMT Workstation starts at $659 and the HP Z210 SFF Workstation starts at $569. HP also has three new mobile workstations in their EliteBook w-series lineup. Each mobile workstation includes an HP DisplaySafe frame, a chemically strengthened glass touchpad, and a
D-TOWN TV
(http://kelbytv.com/dtowntv) Hosts: Rafael “RC” Concepcion and Larry Becker Format: Taped DSLR tips and techniques show Air Time: New episodes every Thursday (during regular season)
brushed gunmetal finish. The HP EliteBook 8760w (starting at $1,899) is the most powerful mobile workstation from HP. It has a 17.3" high-definition screen and the option of three hard drives and RAID 5 support, which is a first for an HP mobile workstation. The HP EliteBook 8560w (starting at $1,349) is HP’s most versatile mobile workstation. It has a 15.6" high-definition display, and the optional HP DreamColor display allows for more than one-billion active colors. The last mobile workstation, the HP EliteBook 8460w (starting at $1,299), is the smallest and lightest. It has a 14"
ASK DAVE
high-definition display and weighs 4.9 lbs. It’s offered with an AMD FirePro 1-GB video memory
(http://kelbytv.com/askdave) Host: Dave Cross Format: Taped tutorial and quick tips Air Time: New episodes every Monday
professional graphics card for true on-the-road video performance. For more information on any HP product mentioned, visit www.hp.com.
NAPP NEWS
(http://kelbytv.com/nappnews) Host: Larry Becker Format: Taped news show Air Time: New episodes every Monday LARRY’S CHEAP SHOTS
(http://kelbytv.com/cheapshots) Host: Larry Becker Format: Taped, segment rebroadcasted Air Time: Every Friday LIGHTROOM KILLER TIPS
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(http://kelbytv.com/lightroomkillertips) Host: Matt Kloskowski Format: Taped tutorial and quick tips Air Time: Approximately every 2–3 weeks (no set air date) PHOTOSHOP KILLER TIPS
(http://kelbytv.com/photoshopkillertips) Host: Matt Kloskowski Format: Taped tutorial and quick tips Air Time: Daily Note: On temporary hiatus. Reruns available. LAYERS TV
(http://kelbytv.com/layerstv) Hosts: Rafael “RC” Concepcion and Corey Barker Format: Taped Adobe Creative Suite tutorial show Note:020 On Permanent hiatus. Reruns available.
ADOBE RELEASES CS5.5— NAPP RELEASES SPECIAL CS5.5 RESOURCE PAGE On April 11, 2011, Adobe Systems Incorporated announced the release of Creative Suite 5.5, and while there are no significant changes to the Photoshop program (they pretty much knocked it out of the park the first time around), there are a few things that we thought you, as Photoshop users, might like to know. To help you, we’ve created a special NAPP CS5.5 landing page where you’ll find videos from Corey Barker about some things that may help enhance your Photoshop experience, and links to download this upgrade. Get the scoop on CS5.5 at www.photoshopuser.com/cs5update.
NAPP COMMUNITY
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THE SOCIAL SIDE OF PHOTOSHOP, A WHOLE OTHER REALM So, you’ve arrived at Photoshop World (PSW), checked into your hotel room, and have a sense of the classes you want to take. Now what? Wait around for classes to start? While you might think this is a good idea, classes at PSW are just one aspect of the conference, and you’re not doing yourself justice if you take this approach. There’s a whole other realm to the conference—the social side—and you can get just as much out of this side as you can from the classes. But like everything, you only get out of it what you put into it. There are four main social events at PSW. It begins with the NAPP forum members’ dinner, an event in which the active forum members get together, have a casual dinner, and catch up. Immediately following is the PSW Tweetup, started by social media ninja, Nancy Massé. What was once a small gathering of Twitter users has grown into a can’t-miss pool party. Photographer Erik Valind sets up a cool mobile studio to take everyone’s portraits and uploads them to Flickr almost instantly. At the most recent PSW Tweetup in Orlando, Florida, NAPP filmed an episode of D-Town TV! After a long first day of classes, you’ll be tempted to head back to your room to relax. Instead, get a ticket to the After Hours Party at B.B. King’s on the East and at House of Blues on the West. This is where all the instructors, vendors, and in-the-know attendees come to have a few drinks, get some good food, and listen to Big Electric Cat, the world-famous PSW band, anchored by none other than Scott Kelby! Seriously, these guys rock and play all of your favorite ’80s and ’90s covers. If you attended a class where an instructor really struck a cord with you, this is also the perfect opportunity to introduce yourself, say thank you, and perhaps pick his or her brain a little more. The final official social event is Midnight Madness. Here you’re guaranteed to learn nothing about Photoshop but you’re guaranteed I
JEFF TAMAGIN
to have a good time. It all starts with Vanelli (who takes a whole other article to explain), who serves as the unofficial security to
the event, which means hilarity will ensue as he leads the crowd in a series of games for some really cool prizes. The instructors blow off steam, poke fun at one another, and play games with the audience for more great prizes. These are just the official social activates. With all the friends you’ll make along the way, why not put together an impromptu photo shoot or hit up Denny’s at 3 a.m. for some food and a gripe session about the photo industry. The week is what you make of it, so
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EMAIL FROM: FIRST TIME PSW ATTENDEE
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why not make it unforgettable and the best experience of your life.—Jeff Tamagini
I just wanted to say thank you for an incredible time in Orlando, Florida, at Photoshop World—it was amazing. From the time I registered online to the closing ceremony it was just incredible! You all were so organized and offered so many great classes that I still am in awe of what I just got to experience! Not to mention the instructors and the talent that you have, not only for the skills of photography and/or knowledge of Photoshop, but the way they deliver the message. Kudos to the entire staff that put this together—you all couldn’t have been nicer and more professional (and a ton of fun!). This was my first PSW but won’t be my last! Thank you! —Keri McDaniel, Snapped Images, Atlanta
scan the image above for more behind-the-scenes coverage of psw
G uru Awards
2011 PHOTOSHOP WORLD ORLANDO, FLORIDA The National Association of Photoshop Professionals (NAPP) is proud to announce the winners of the 2011 Guru Awards. The winners in nine categories, including the Best of Show, were revealed during the Opening Keynote of NAPP’s semiannual convention, Photoshop World, in Orlando, Florida. Sponsored by B&H (www.bhphotovideo.com), the ceremony featured images and photography from international entries in a wide variety of styles, techniques, and skill levels. “Trying to narrow it down to a single winner in each category from hundreds of entries is always difficult,” said NAPP’s creative director, Felix Nelson. “It’s such a subjective call sometimes, but the judges do a great job of selecting whom they think are deserving of the recognition.”
CONGRATULATIONS TO ALL THE 2011 PHOTOSHOP WORLD ORLANDO GURU AWARD WINNERS!
Best of Show
GGLY ERIC E
Illustration
J. MAR IE
METZ
tage Photo Mon
UZ ARD L LEON
Photograph y
WAYN E HAZ ARD
ARTISTIC
STEPHEN PETRANY KIMBERLY MINCER
COMMERCIAL
JENNI THAYER GLYN JACKSON
ILLUSTRATION
SAM SHADOW JOE LAPINSKI
PHOTO MONTAGE
KAVÉ LUZ
PHOTO RESTORATION
JERRY ARNOLD PHIL SCARSBROOK
PHOTO RETOUCHING
KATIE GIARD JOE LAPINSKI
PHOTOGRAPHY
PAUL SADLER JENNI THAYER › › w w w. p h ot o s h o p u s e r . c o m
The Finalists
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ng touchi e R o t Pho
Commercial
ADAM W OLOSZY N
Vincent Versace Award for Excellence in Digital Photography
SUKRU MEHMET OMUR
ORDWAY KATHRYN
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Artistic
LIN UB TT K O C S
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Photo Restoration
DAVID BLI SS
d e pa rt m e n t
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DESIGNERSPOTLIGHT CHRIS MAIN
HEIKO KLUG
ON THIS PAGE: THE END OF PANDORA; OPPOSITE PAGE (cOuNTErclOckwISE frOm TOP): HYDRO; THE OMEGA; PASSEMENT RAPID
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d e pa rt m e n t
› ›› HEIKO KLUG, better known as Jesar One, is 28 years old
and lives in Oberhausen, Germany. At 14, his art career began in the form of graffiti, which helped him learn about flow, shading, and perspective. In 2004, Heiko turned his attention to the digital canvas and began using Photoshop and the Internet to publish his work. He was soon working for clients such as Ecko Unltd., Doritos, The Marketing Arm, Cisowianka, Ars Thanea, ALL IMAGES BY HEIKO KLUG
FALKmedia, Taste!, Southwest Gas, and NVIDIA. He currently works as a digital media designer in an advertising agency.
ABOUT
HEIKO KLUG Q&A PSU: What tools and software do you use to create your images? KLUG: I mostly use Photoshop and a Wacom tablet for my work. When it comes to 3D, I use 3ds Max. I also shoot a lot of stock photos myself with a Canon EOS 50D and a big range of lenses. PSU: You’ve said that your work is mostly inspired by music and movies. What types of music and movies inspire you the most? Are you consciously searching for ideas when you’re listening to a song or watching a movie? KLUG: To be honest, there isn’t a specific genre that inspires me most. For example, for my work The Omega, I was listening to a band called Opeth, which is a progressive death metal band. I also have some pieces that are inspired by jazz or trip hop music. I think it’s the same thing with movies. I don’t really know if I’m searching for some inspiration, but I honestly think it just comes to my mind when I hear or see something, and then one thing leads to another. I’m most inspired when I’m alone and feel good and comfortable.
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PSU: Your images contain lots of amazing detail. How do you know when you’re finally done with a piece? How long does a typical piece take you?
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KLUG: Good question. It’s hard to say, “Okay, I’m done.” I often keep my finished work a few weeks before publishing them and take a closer look at them after a few days. I think it’s important to get some kind of distance. When you work for weeks on the same image, it’s hard to judge it without that distance. It’s important to see other things for a while and come back to it later. The time I spend on my work depends on what I’m doing exactly. Overall, it takes me a month to finish something from start to finish. PSU: Speaking of detail, do you work at a large size in Photoshop to better work on the intricate details? KLUG: I usually work with large files, say something around 6,000 pixels wide or high.
I need this space to work everything out perfectly. It’s the key to getting a good amount of detail and brilliance in an image. PSU: You mentioned that you shoot a lot of your own photos for your work. Do you ever use stock images, as well? KLUG: I often use stock photos, mostly of stuff I can’t shoot by myself or if the photos would take more time and be more expensive than buying a stock image. But I do shoot a lot of stuff myself. I only do big photo shoots when I need a person in a precise position; for example, as in the Passement Rapid image. I photographed everything in that image: the guy, the textures, and the skyscraper in the background. PSU: In your freelance work, you’ve rejected clients in the past because you didn’t like what they had planned for your work, or you just found the job boring. How has that impacted your career and art? KLUG: I rejected those works because I also have a full-time job in an agency. That means I spend my free time working, and in that time I like to work on things that I like, that I can have fun with, and can stand 100% behind the project. It’s very important to make something really good. I don’t really know how that has affected my career, but when I’m looking back I don’t think it could be for the worst. PSU: You refer to yourself as an autodidactic, meaning you’re self-taught. How did you teach yourself, and are you still learning new things today? KLUG: I’m totally self-taught, yes. I learned most things with the Internet. There are millions of tutorials out there. It’s very important to experiment a lot with the programs. Another important thing is to get connected to other artists and share some knowledge—give some and take some. I often get emails from people asking where they can find tutorials to achieve a style similar to mine, but to be honest, I didn’t do something completely new or magical. It’s stuff you find in thousands of tutorials out there. Just transfer those techniques to your concept. I think that’s the key. I also learn new stuff every day. ■ [CONTACT] Heiko Klug / Heiko Klug http://jesar-one.com
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DESIGNMAKEOVER JAKE WIDMAN
CLIENT
Patriots Jet Demonstration Team/www.patriotsjetteam.com
shooting stars BEFORE
The Patriots Jet Demonstration Team first took wing in 2003. Called Red Star Airshows, they flew two Russian MIGs and had a Russian vodka for a sponsor. Their initial logo formed the basis for the one they still use today: a star shape with jets flying around it—first two, and now six. Cliff George, the team’s photographer, says that after 9/11 popular support for a Soviet-themed show dropped off, so the group renamed itself and adopted a more “patriotic” name. These days, the Patriots Jet Demonstration Team fly L-39 Albatross jets manufactured in the former Czechoslovakia and perform at a dozen or more air shows a year, mostly on the West Coast. They often share a bill with the Navy’s Blue Angels or the Air Force’s Thunderbirds. While several team members are active-duty and ex-military, the group is all volunteer. Their current sponsors include Fry’s Electronics and Hot Line Construction. In addition to the star and the planes, the current logo features red, white, and blue trails behind the jets—a feature of the team’s live shows. The team likes the star shape and overall patriotic feel of the logo, which appears on everything from the jets themselves to caps, shirts, and their support truck. But it shows its haphazard evolution. “The current logo feels stale,” says George. “It’s been more or less the same logo for almost 10 years. We’ve updated the team and performance, but not the logo—we just keep adding more planes.” The
It’s been more or less the same logo for almost 10 years—we just keep adding more planes.
team would like a new logo that makes them look as professional and capable as the Blue Angels and the Thunderbirds. “We’d like it to tell people, ‘These guys are players, not just sideliners,’” says George. And they’d like the logo to communicate the love of flying that they believe comes through in their shows. With all that in mind, we asked three designers to help the Patriots
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Jet Demonstration Team logo take off.
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JAKE WIDMAN is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for
about 25 years now—since back when it was all called “desktop publishing” and Photoshop was just a piece of scanning software.
MAKEOVER SUBMISSIONS
WE’RE LOOKING FOR PRODUCT PACKAGING OR LABELS, PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MARKETPLACE FOR FUTURE “DESIGN MAKEOVERS.” SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOU’D LIKE US TO CONSIDER MAKING OVER, OR IF YOU’RE A DESIGNER AND YOU’D LIKE TO BE CONSIDERED FOR A FUTURE “DESIGN MAKEOVER,” SEND US AN EMAIL AT LETTERS@PHOTOSHOPUSER.COM.
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design makeover
DESIGNER
Ruth Johnson/www.ruthjohnson.bc.ca
AFTER
My initial reaction to the original Patriots Jet logo was that it appeared too busy and a little outdated. After researching the team, what they represented, and what they were looking for in their new image, I wanted to create a logo with a modern feel that still had a patriotic appearance and reflected their original image. I also wanted to visually communicate what the team represents. After brainstorming and some initial sketching, I combined the name of the team and the jet image in a way that illustrates the jet and colored smoke in a seamless logo. For the typography, I chose a heavy sans-serif typeface—Interstate—which will allow the type to stand out at distance. I feel this is a crucial element in the design due to the ways the logo will be displayed. I used the star element very subtly within the type, so the brand can hold on to its roots but also develop in another direction. Simplifying the logo down to the necessary elements will allow it to be used in multiple contexts to communicate the message of the brand—on the side of the plane, on jackets and caps, and on other marketing material. For the color scheme, I retained the classic American red, white, and blue. They represent the team’s patriotism and at the same time the jets’ signature smoke trails. I paired these with a dark gray that would complement them without being distracting. I used the gray for the type and the airplane image. The final logo clearly communicates the Patriots Jet Team brand; it’s easily recognizable and has longevity. It will provide the team with a professional image to communicate its passion to peers and to its audience.
ABOUT THE DESIGNER RUTH JOHNSON
Ruth’s love for art started at a very young age with drawing and painting. That eventually led to her studying at the Birmingham (U.K.) Institute of Art and Design, where she gained a bachelor’s degree in visual communication, specializing in graphic design. In 2007, Ruth traveled to the beautiful mountains of Whistler, British Columbia, and has called the area home ever since. Since her move, Ruth worked freelance and then founded her own design company, the self-titled Ruth Johnson graphic design. She works for premier clients in the Whistler area on projects from branding and advertising to Web designs. When Ruth isn’t designing, she’s out in the mountains snowboarding, dog walking, painting, or taking photos. She’d like to credit her uncle, Alan Stafford, a pilot and a huge fan of all things airborne, with her inspiration for this logo design. . APPLICATION USED: Adobe Illustrator CS5
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Simplifying the logo down to the necessary elements will allow it to be used in multiple contexts to communicate the message of the brand…
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DESIGNMAKEOVER JAKE WIDMAN
DESIGNER
Elnaz Sarrafzadeh/www.edesigngroupus.com
AFTER
I’m truly inspired by the simple term “patriotism,” which is typically expressed by the vivid colors of red, white, and blue—also the colors of the streams these jets produce when in air. The entire premise for this logo design should be one that provides the viewer with an understanding of what the team stands for and what they do in their performance. For that reason, I made the focal point the jets themselves. The old logo appeared cluttered and didn’t sufficiently represent that these jets are used for show; it thus lost something and failed to convey the sense of unity such a team-based organization would have. Nevertheless, it had some vital contributions to the foundation and evolution of the new logo—I kept some elements intact but enhanced or improved them. I focused the new logo on the six jets in order to represent a sense of pride in the team’s display and showmanship. I placed the jets in the center of the logo, spreading them out evenly so that a viewer can easily spot them and give them their deserved attention. The arrangement of the jets, with added emphasis on the colored streams, suggests an airshow performance better than the old arrangement did. I enlarged the star itself to frame the jets and for its suggestion of air and height. I thought that the team name printed over the star was inconsistent with the rest of the logo, in that the colors used didn’t match or complement one another. I chose the bold font Impact for the text to
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I focused the new logo on the six jets in order to represent a sense of pride in the team’s display and showmanship.
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demonstrate power and stability. I put all these features together into a logo that would exemplify all of the important elements of the Patriots.
ABOUT THE DESIGNER ELNAZ SARRAFZADEH
Since her youth, Elnaz has been prodigiously creative with an undying passion for art. As a teenager, she chose graphic design as her niche and has never regretted it to this day. Elnaz attended a tech and art school back in her home country of Iran and graduated with honors. She went on to earn an associate degree in graphic design while interning at different graphic design studios to gain experience. Since beginning her journey into graphic design, Elnaz has gained a vast amount of experience in the field. She moved to the United States four years ago to continue her education and is currently enrolled at California State University East Bay, studying Web design. In the meantime, she runs her own design firm, E Design Group, which was established in 2008 in San Jose. So far, she’s amassed more than eight years of handson experience in the graphic design and print industry and almost four years in Web design. APPLICATION USED: Adobe Illustrator CS4
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design makeover
DESIGNER
Esther Werber/www.flairdesignstudios.com
AFTER
The Patriots Jet Team logo was begging for a redo. The logo was a hodgepodge of elements thrown together and legibility was poor. The Patriots wanted their new logo to include a star; their jets; their signature red, blue, and white trailing smoke; and the team’s name, of course. Being that the Patriots are a performing jet team, I knew I wanted the logo to communicate movement, speed, and precision. The challenge for me was to include all these elements while keeping the logo simple, versatile, and iconic. I started off the old-fashioned way. I took pen to paper and doodled whatever came to mind. Stars and planes littered the paper. I then re-created the best concept in Illustrator CS4 with my trusty Wacom Intuos4. The jets were drawn with the Pen tool by tracing over one of the photos off the Patriots website. I created the smoke trails with a brush from the Elegant Curl & Floral Brush set that comes with Illustrator. (Incidentally, the brush named Drop Up is fantastic for drawing many shapes, not just flowers!) The most complicated part of the logo was placing the jets and smoke trails perfectly in context with the star. I kept tweaking until it was finally pleasing to the eye. For the type, I used the font Good Times, which I customized so that all the letters flowed together and gave the logo a polished look. I also skewed the type to imply movement and speed. The little red star between the words “jet” and “team” was inserted to tie in the text with the logo. My intent for the logo was for the Patriots to be able to use the icon and type together or each one separately as needed for various applications. Ta-da! A new star is born.
ABOUT THE DESIGNER ESTHER WERBER
Esther Werber has been doodling on any available surface since second grade, to the consternation of her teachers. She studied art, painting, and graphic design. Over the past decade, Esther has been a designer at local design firms and print shops while freelancing on the side. She has designed materials for corporate clients, nonprofits, and small businesses. In 2008 Esther started her own firm, Flair Design Studios. Esther has a passion for effective logo design, branding, packaging, and photography. She uses the science of marketing psychology to create design that works. Her simple, clean, and creative designs stand out among the clutter flooding the market. When she isn’t working on design projects or attempting to raise the kids, Esther loves creating art through her camera lens and Photoshop. She lives in the New York suburbs with her husband, their three boys, and her pet camera. . APPLICATION USED: Adobe Illustrator CS4 ■
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I started off the old-fashioned way. I took pen to paper and doodled whatever came to mind.
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DOWN & DIRTY TRICKS Kung Fu Text
COREY BARKER
Recently, I saw a trailer for the new movie Kung Fu Panda 2 and was struck by the use of 3D in the title. The good news is we have the ability in Photoshop CS5 Extended to create 3D text that’s very similar to what’s being seen in mainstream media today. STEP ONE:
Begin by opening the project file or create a new
document (File>New) and follow along. [NAPP members may download the file used in this tutorial at www.photoshopuser.com/members/jun11-downloads.html. All files are for personal use only.] Our document is 12x7" at 100 ppi with a black background. We have the two text layers because we’ll be creating two 3D objects: one with the words KUNG FU in Serpentine Bold at 115 pt and the color set to yellow (R:224, G:146, B:47), while the other has the word BEAR set in the same font but at 192 pt and in red (R:134, G:19, B:22). In the Layers panel, make sure KUNG FU is the top layer and BEAR is below that. (Note: If you don’t have the Serpentine font, you can substitute it with any bold font of your choosing.)
Step One
STEP TWO: Click the KUNG FU layer in the Layers panel to make
it active and choose Edit>Transform>Warp. Click on the Warp menu in the Options Bar and choose Arc Upper. By default, it will expand outward. If you zoom out you can grab the control handle at the top of the arc and drag it down to make the text arc inward, or you can go to the Options Bar and set the Bend to around –17. When done,
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press Return (PC: Enter) to commit the transformation.
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STEP THREE:
Step Two
Repeat this process for the BEAR layer, only this
time choose Arc Lower from the Warp menu. Again, you can grab the control handle at the base of the arc and drag it upward, or set the Bend to around –30. Press Return (PC: Enter) once again to commit.
Step Three
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STEP FOUR:
DOWN & DIRTY TRICKS
Activate the KUNG FU layer and choose 3D>
Repoussé>Text Layer. In the dialog that appears, click Yes to rasterize the text. This will convert the layer into a 3D layer, extrude the text, and open the Repoussé dialog. The default extrusion is a bit much, so go to the Extrude section and change the Depth setting to .2 to shorten the extrusion. Next, go to the Bevel section and set both the Height and Width to 2. Click OK. STEP FIVE:
Activate the BEAR layer and follow the step above
to apply the Repoussé effect to this text. When the Repoussé dialog appears, set the Extrude Depth to .1 and the Bevel Height and Width to 1. Click OK when done. STEP SIX:
Shift-click the KUNG FU layer in the Layers panel so
that both text layers are selected, then choose 3D>Merge 3D Layers. This will combine both 3D objects into a single 3D layer
Step Four
so they can reflect and cast shadows on each other. STEP SEVEN:
Now go to the
Layers panel and you’ll see Textures layers just below the main 3D layer. Locate the BEAR Extrusion Material and double-click it to open the texture file as a separate document. Drag this document to the side so you can see the original document with your text. Click on the Foreground color swatch
Step Five
to open the Color Picker. Click on the KUNG FU text to sample the yellow color. Click OK to close the Color Picker. Press Option-Delete (PC: AltBackspace) to fill this document with the same yellow color used for the KUNG FU text. When done, close the document and save the changes. This will change the color of the BEAR text’s edge. STEP EIGHT:
Even though both objects are on the same layer,
we still need to change each object’s angle. To do this we must use the Mesh tools in the 3D panel (Window>3D). Click-and-hold on the third tool down on the left side to reveal all the 3D Mesh tools, and choose the 3D Mesh Rotate tool. This tool is content-sensitive, meaning it will highlight each 3D object as you move your cursor the top 3D object. This will tilt the top of the text toward you slightly.
STEP NINE:
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over it. First, hold down the Shift key and click-and-drag down on
Next, move your cursor over the bottom object,
hold down the Shift key, and click-and-drag up to tilt the text back in space. The idea here is to tilt both text objects so the upper text will be reflected in the face of the lower text. After tilting the text layers, you may need to adjust their positioning a bit. Return to the 3D panel, under the 3D Mesh tools, and choose the 3D Mesh Pan tool. Use this tool to click on each object and drag up or down to position them a little closer together without intersecting.
Step Nine
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DOWN & DIRTY TRICKS
STEP TEN:
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It might be necessary to slide the top object back
in 3D space. To do this, choose the 3D Mesh Slide tool in the 3D panel, and click-and-drag up to push it back in space, or down to bring it forward. STEP ELEVEN:
While still in the 3D panel, click on the third
icon at the top to access the 3D {Materials} section. In the Materials list at the top, make sure the BEAR Front Inflation Material is selected. Go down to Reflection and set it to 30, then click on the first icon at the top of the 3D panel (Filter By: Whole Scene). STEP TWELVE:
We need to add a couple spotlights to add
some glare effects to the text. Click on the Create a New Light icon at the bottom of the 3D panel and choose New Spot Light from the list. You may see the light appear on the 3D object but it’s hard to move the light around if you can’t see the source. Once again, at the bottom of the 3D panel, click the Toggle Misc.
Step Eleven
3D Extras icon and choose 3D Light to turn on the 3D wireframes. These allow you to see all the lights in the scene. Set the Softness to 5% and the Falloff to 60°. STEP THIRTEEN:
To move the spotlight around, click-and-
hold the fourth icon down on the left in the 3D panel and you’ll see a 3D Light Rotate, Pan, and Slide tool for changing the light position
Step Thirteen
and angle. Begin by selecting the 3D Light Pan tool and make sure the Spot Light 1 is selected in the list above (you may need to scroll down the list to find it). Click in the canvas area and drag to the right to move the spotlight to the right of the text. (Tip: The lights are also content-sensitive like the mesh objects. Just place your cursor over the wireframe then click-and-drag.) STEP FOURTEEN:
Return to the 3D Light tool and choose the
3D Light Slide tool. Go into the canvas area and click-and-drag up to push the light back in space so it’s just behind the right side of the text. Then, select the 3D Light Rotate tool. Use this to click-anddrag the light around to change the angle of the light so that it’s pointing forward and down, illuminating the edge of the KUNG FU text and lighting up the front face of the BEAR text. (Note: If you’ve never used the 3D Light tools, they can be frustrating. Just play › › p h ot o s h o p u s e r › j u n e 2 0 1 1
around with them to get used to them.)
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STEP FIFTEEN:
Step Fourteen
To see the light glare in the text, we must go
to the 3D panel, into the Materials section. With the BEAR Front Inflation Material highlighted in the list at the top, change both the Gloss and Shine to 50%. You’ll see the glare appear on the text. Depending on the position of your spotlight and angle of your text, you may need to experiment with these settings. For added dimension, click on BEAR Extrusion Material in the list at the top, and set the Gloss to 90% and set Shine to 75%. Step Fifteen continued on p. 42
DOWN & DIRTY TRICKS ›
STEP SIXTEEN:
›
Repeat Step Twelve to add a second spotlight
but leave the Softness and Falloff at their defaults. Position the new spotlight on the left side, as shown here until you see the glare appear in the surface of the text. You can see the light and glare, however, you can’t see the shadow and reflections until you render them. To do this, go to the 3D panel and click on the first icon at the top for the Filter By: Whole Scene section. Click the word “Scene” at the top of the list. Now go to the Quality menu and choose Ray Traced Draft to get a preview of the shadows and reflections. It will do a progressive render, so let it make a few passes to better see the effect. This will help you determine if you need to reposition the lights or change any of the surface properties. You can leave it in Ray Traced Draft mode while you make changes; however, it will try to render each time you make a change. You can also go back to the Quality menu and change it back to Interactive. If you don’t see the shadow and reflection of the words “KUNG FU” in the word “BEAR,” try moving KUNG FU forward in space using the 3D Mesh Slide tool. Here’s the final result. We added a stylized “2” to complete the effect. Check out the Digital Extras page at www.photoshopuser. com/category/digitalextra to see a video tutorial on creating the
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number 2 in this final image. ■
042 scan the final picture for a video tutorial
Step Sixteen
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DOWN & DIRTY TRICKS Creepy Composite
FELIX NELSON
Dave Damstra, Photoshop User’s Production Manager, found an old Dorian Gray poster and thought it was a good candidate for this column, and I agreed. For the most part, it’s created using basic compositing and masking techniques, but the overall effect is just creepy enough to get your attention. STEP ONE: We’ll use four
images for this tutorial: two different backgrounds, a peeling paint image, and a portrait. [NAPP members may download the images used in this tutorial at www .photoshopuser.com/members/ files are for personal use only.] Choose File>New and create a 429x640 pixel, 72 ppi document. Select the Move tool (V), open the Big Ben image, and click-and-drag it into the document you’ve just created (Layer 1).
STEP TWO:
©ISTOCKPHOTO/JHORROCKS
jun11-downloads.html. All
With Layer 1 highlighted, press Command-T
(PC: Ctrl-T) to bring up the Free Transform bounding box. Resize and position the image toward the top-left corner, as shown. (PC: Enter) to apply the transformation. Open the second building image, then click-and-drag it into your document (Layer 2). Use Free Transform to resize and position this image in the topright corner of the document (see example).
STEP THREE:
Press Command-E
(PC: Ctrl-E) to merge down (combine Layers 1 and 2). Press Command-Shift-U › › p h ot o s h o p u s e r › j u n e 2 0 1 1
(PC: Ctrl-Shift-U) to desaturate. Now,
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press Command-U (PC: Ctrl-U) to bring up the Hue/Saturation dialog. Click the Colorize checkbox, enter 203 for Hue, 37 for Saturation, and click OK. Go to Filter>Blur>Gaussian Blur, enter 1 pixel for Radius, and click OK. Click on the Add a Layer Style icon (ƒx) at the bottom of the Layers panel, and choose Inner Glow. Change the Blend Mode to Multiply, enter 65% for Opacity, and click on the yellow color swatch. Choose a dark blue color (R:25, G:53, B:65), and click OK. Enter 165 px for Size and click OK to apply the style.
©ISTOCKPHOTO/ATTATOR
(Hold down the Shift key to maintain proportions.) Press Return
› ›
STEP FOUR:
DOWN & DIRTY TRICKS
Click on the Create a New
Layer icon at the bottom of the Layers panel to create a new layer (Layer 2). Change the blend mode to Overlay. Press D then X to set the Foreground color to white, then choose Filter>Render>Clouds. Create another new layer (Layer 3). Choose the Brush tool (B) and with a large, soft-edged brush, paint in a large glow in the center of the document.
STEP FIVE:
Open the portrait image
file (the vampire-looking person in our your choice, make a selection of the person, choose the Move tool, then clickand-drag that selection into the background document we’ve created (Layer 4). Reposition and resize as necessary (see example). Press Return (PC: Enter) to apply the transformation.
STEP SIX:
©ISTOCKPHOTO/DUNCAN1890
example). Using the selection tool of
Add another new layer (Layer 5). Change the
blend mode to Color and lower the Opacity to 75%. Click on the Foreground color swatch, choose a light tan color (R:210, G:189, B:186), and click OK. Choose the Brush tool and use a small, soft-edged brush to paint some color over the face and hands (don’t forget the hairline in the upper portion of the forehead). This will appear as a slight hint of color, which is okay (that’s part of the effect). Now, change the Foreground color to gray (R:175, G:181, B:185) and paint over the hair on the left side of the image to add a soft, bluish-gray tint. It will be very subtle
Open the
peeling paint image, select the Move tool, and click-and-drag the entire image into your document (Layer 6). Press Command-T (PC: Ctrl-T) to bring up the Free Transform bounding box. Resize and rotate the image 90°, then position it over the left side of the face. Press Return (PC: Enter) to apply the transformation.
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STEP SEVEN:
©ISTOCKPHOTO/TREE4TWO
but effective when you compare the before and after.
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DOWN & DIRTY TRICKS
STEP EIGHT:
› ›
Press Command-
Shift-U (PC: Ctrl-Shift-U) to desaturate the peeling paint, and change the blend mode to Multiply. Now, press Command-L (PC: Ctrl-L) to bring up the Levels dialog. Drag the Highlight Input Levels slider toward the left until it reads 202, and click OK.
STEP NINE:
Click on the Add Layer Mask icon (circle in a
square) at the bottom of the Layers panel. Choose the Brush tool and use a small, soft-edged brush to mask out the hard edge on the left side of the peeling paint, and any cracks over the left eye.
STEP TEN:
To intensify the appearance of the cracks,
duplicate Layer 6 (Layer 6 copy) by dragging it onto the Create a New Layer icon at the bottom of the Layers panel, then lower the Opacity to 75%. Finally, add some text to complete
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the effect. ■
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DOWN & DIRTY TRICKS Instant Abs
FELIX NELSON
We’ve all seen those infomercials showing how to get six-pack abs in only five minutes a day. You have the Ab Away, Ab Doer, Ab Circle Pro, Torso Track, Torso Tiger, and the list goes on. But now, we’re introducing the Photoshop Abs-O-Matic. We can absolutely, positively guarantee great abs in one single session. STEP ONE:
Choose and open an image of someone with at
least slightly visible abs to begin with (it will make it much easier to isolate the muscles you want to enhance). If you’re familiar with human muscle anatomy, you can choose someone with less-defined abs, but this may not be the best tutorial for a major nip-and-tuck digital makeover.
www.photoshopuser.com/members/jun11-downloads.html. All files are for personal use only.]
STEP TWO:
Choose the Lasso tool (L) and make a selection
of the ab group at the top left of the image. Remember, use what’s already there for the most realistic effect. Now, while holding down the Shift key (to add to your selection), make a selection of the middle ab section on the left (see example). Continue adding to your selections until you’ve selected all of the ab muscles.
STEP THREE:
You’ll want to soften the edges of the selection
slightly, so go to Select>Modify>Feather. Enter 3 pixels and click › › p h ot o s h o p u s e r › j u n e 2 0 1 1
OK. Now Press Command-J (PC: Ctrl-J) to put the selection on its
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own layer (Layer 1).
©ISTOCKPHOTO/STOCKPHOTO4U
[NAPP members may download the image used in this tutorial at
› ›
STEP FOUR:
DOWN & DIRTY TRICKS
Click
the Add a Layer Style icon (ƒx) at the bottom of the Layers panel, and choose Bevel and Emboss. Lower the Depth to 20%, raise the Size to 20 px, and set Soften to 5. Don’t click OK yet.
STEP FIVE:
Uncheck
Use Global Light, enter 159° for Angle and 42° for Altitude. Don’t click OK yet. Note: The objective here is to try and match the light direction of the original image. Experiment with different settings until you find the one that most closely matches your image.
STEP SIX: The abs we’ve
created so far look very unnatural for a number of reasons. First, the color of both the highlights and shadows aren’t realistic. So with the Layer Style dialog still open, click on the white Highlight Mode color swatch. When the Color Picker appears, move your cursor over a highlight area of the image (such as her hip in this example) and click to sample a light tan color from the image. If you’re using the download image, you can enter R:224, G:196, B:172. Click OK to close the Color Picker.
STEP SEVEN:
Now
click on the black Shadow Mode color swatch. Choose G:96, B:59 ), or sample a color from the left side of her upper oblique (see example). Click OK to close the Color Picker. Raise the Shadow Mode Opacity to 100%, and click OK to apply the style.
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a dark tan color (R:144,
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DOWN & DIRTY TRICKS
STEP EIGHT:
› ›
The abs
still don’t look quite right because they have some hard edges that don’t blend with the original image. Choose the Eraser tool (E) and set the Opacity to 20% up in the Options Bar. Using a soft-edged brush, erase away the areas of the lower abs as well as some of the sides of the abs. Again, the idea is to blend the enhanced abs into the existing image so they appear more natural (see example). That’s pretty much it. You’ve completed the effect. NOTE:
You can intensify the effect by increasing the Depth and
Size settings in the Layer Style dialog (double-click the words “Bevel and Emboss” in the Layers panel to reopen the dialog), but go easy with the settings as even changing the Depth as little as 10% or the Size by 10 pixels can make the abs look fake. If you go overboard (see example), they’ll look way out of whack. ■
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Depth: 30%, Size: 30 pixels
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Before
Depth: 400%, Size: 40 pixels After
The Social Network Generation
Use lighting, Lightroom, and Photoshop to create amazing portraits
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Illustrations: iStockphoto Layout Design: Taffy Clifford
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Text and photographs by Hernan Rodriguez
I wonder who photographed President Obama’s senior portrait? For that matter, who photographed Elvis Presley, Jennifer Lopez, or Mark Zuckerberg? At one point in time, they were all high school seniors. You never know what the future holds for the teenagers in front of your lens, and you’ve been given the amazing opportunity to capture them at this pivotal time in their lives. Speaking of Mr. Facebook, I usually see my images of any given senior appear on Facebook within hours of the shoot. Yes, we have a brand-new generation of seniors and it’s fantastic! Coming up with new ways to capture the core and spirit of today’s social network generation keeps me on my toes, and applications such as Lightroom are instrumental in keeping our studio current with the quick gallery automation this software has to offer, as well as the ability to embed our logo into a watermark to protect our images. Photographing people is my passion. As a commercial photographer, I’ve been commissioned to photograph wine bottles, energy drinks, gourmet salads, swimsuits, beautiful interiors, etc., and feel very blessed to have done so. However, capturing the essence of a person and then experiencing the joy that my image-making brings is like hitting the daily double. “Essence” is a word that’s quite often used loosely, and it’s probably the most important element in any portrait I take. Psychology goes hand-in-hand with creating this essence. Before you can have a successful gallery, you need to identify with the senior and capture a glimpse of his personality. You have to get into the senior’s mind and see where his comfort level is. You must gain his trust, study his behavior, and see where that natural expression lies. Some seniors completely open up once you make them laugh and they don’t need any posing, only refinements. I try to let their natural body language take over and I just make small adjustments to their hands, feet, or tilt of their head. This results in a less-contrived look to the images. Study and learn these elementary classic poses in portraiture and have them at your disposal. Once you establish that trust, their confidence levels go up. I can literally see it when it happens when reviewing the images in Lightroom. Why do you think a senior’s perception of a great image of himself is the one a friend might have taken on a cell phone camera, regardless of quality or exposure? It’s because of who was behind the camera—a close friend making him feel comfortable. Once you can shoot within that framework and create the expressions, everything else is just a formality.
The Lenses The following lenses are instrumental for all my senior work: Tamron SP AF90mm f/2.8 Di macro Tamron SP AF17–50mm f/2.8 XR Di II VC
Path To Portraiture∑
∑
Senior portraiture isn’t something that I knew much about when I started my photography career. I was working as an art director and graphic designer for an apparel company in Los Angeles designing all their national ads and catalogs. My studies in college were in art and advertising. My father, Hernan Rodriguez, Sr., was a photographer. I began taking classes in photography at Tri-Community in West Covina, which really helped me refine skills I had learned from years past. When my confidence rose, I started shooting my own ads for the company. Next, I took a job with a large portrait studio in L.A. During a staff meeting on the first day, the president of the company, Mike Trerotola, was talking about taking portraits of seniors. Mike said, “I hold more respect for a photographer that can get a great image of a senior than any other type of photographer.” On our first break, I mentioned to another photographer, “I see his point. I guess taking great shots of old folks is challenging. I mean, the wrinkles and hard lines, how do you minimize them?” That photographer, Nathan York (now close friend and colleague), gave me a really strange look. It never occurred to me Mike was talking about high school seniors—until we pulled up to a high school. What a surprise. I’ve loved senior portraiture from that moment on. My senior work has greatly impacted my commercial work, as well. I thought working with actors was challenging, but these guys are trained. They know about expressions and emotions, or they should know. For seniors, it’s their first professional photo shoot ever, and sometimes their last. That has taught me some things you can’t learn in school. My number-one rule for any portrait session: win them over.
∑The
Studio∑
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My studio is based in the San Fernando Valley close to Hollywood, and that influence naturally carries over into our senior portraiture division. Our motto is to treat everyone that walks through the door like a celebrity. Of course, we’re never surprised to find out that someone is the offspring of a celebrity. For instance, the beautiful ballerina pictured in pink is Michelle, the daughter of Mark Wallengren of KOST 103.5 FM, who’s one of the few DJs to receive a star on the Hollywood Walk of Fame. She and her best friend, Paige, have studied dance together since they were three, so we came up with a Black Swan theme for them to showcase their passion for dance. Jonette Swider from JS Dance Center in Sherman Oaks, California, came in to help pose the girls. We’re a collaborative team that allows everyone to put in that little extra in the image-making process.
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My number-one rule for any portrait session: win them over.
The Importance Of Anatomy∑
∑
There are so many fundamentals to implement in the process of creating the best collection of images for any particular senior before even thinking about Lightroom or Photoshop. It all starts with identifying the subject and the anatomy of his or her face. This pretty much dictates every aspect of the photo session. From here, determine exactly where to place lights. Make a facial analysis and try to minimize any flaws. For deep-set eyes, for example, place the lights a little lower to cast less shadows in the sockets. For a crooked nose, place lights on the side of the hump to place the shadow on the straighter side of the nose, thus making the portrait more pleasing to the subject. Employ simple applications, such as having a subject with protruding ears turn three quarters to the point that the back ear disappears, to minimize the overall appearance of the ears. For round faces, shoot from a higher-than-normal angle and have you subject stretch his neck a bit to elongate the appearance of the face. When you have a subject with one eye that’s much smaller than the other, position him so the smaller eye is closer to the camera because in the laws of perspective, the back eye recedes and visually will seem smaller, thus giving both eyes a better balance overall in the final image. Most people have two characters (the left and right) that make up facial lines, which are totally different. You must learn to identify them and choose the best angle, then you can start building on your posing and lighting. Seniors would rather see one image of their best angle rather than 100 of their not-so-good angle. One exercise you can practice is to take a photograph of a subject looking straight into the camera. Print three identical images of the same file, then flip the image (Image>Image Rotation>Flip Canvas Horizontal) and print it again. Cut the flipped image right down the center. Place the left half on the left side of one of the normal prints and the right half on the right side of one of the other normal prints. You’ll end up with three completely distinct images and personalities. There will be one that will stand out as the most flattering of the three. This is the side you want to photograph. This side will be the more elongated side, which also happens to be the thinner side, usually displaying a more prominent cheekbone. After much practice, you’ll be able to determine this by glancing at your subjects. You can visually mark a point from the center of your subject’s chin to the left lower ear, as well as the same for the right side. One of these sides will be the longest side which is also the more favorable side. [For another technique to identify facial symmetry using Photoshop, see Photoshop User, April/May 2011, p. 84.—Ed.]
∑Foreshortening ∑
I learned most of these applications in art school, which I highly recommend to any serious aspiring portraitist. The more you know about the human anatomy, the more working knowledge you can apply to create better images. The laws of foreshortening are highly applicable, as well. Foreshortening is a technique where perspective is applied to the subject on a picture plane to highlight a difference in scale. Too many seasoned photographers shoot from the oddest angles that don’t flatter their subjects. They might shoot from an extreme top angle where it seems like the subject’s feet are growing out from her knees. It foreshortens the whole angle of the plane, dwarfing the subject. In this example, the subject had muscular arms that we wanted to show, but at the same time we wanted the waistline to appear smaller. You can apply this forshorting method by choosing a higher camera angle along with a pose that tucks the lower body behind, creating the illusion of a smaller waistline.
Process Efficiently∑
∑
The production and postprocessing of all the images is just as important. In the business of senior photography, file management is at the top of the list for running an efficient studio. This is where Lightroom excels. Not having a proper workflow can be the demise of any photography studio. We don’t do huge numbers, as we’re more of the boutique senior portrait studio. We never want to lose this to chasing the volume; nonetheless, we still have many files to deal with. We shoot approximately 250 senior portrait sessions between July and the first week of October, at an average of around 120 images per senior. That’s around 30,000 files we must deal with. Multiply that by a five-year period, and it gives us 150,000 files for which we’re accountable. Before Lightroom, we dropped all of the senior sessions on a drive, viewed them in a browser such as Canon Digital Photo Professional to select the best images, saved our selections into another folder, and then opened them in Photoshop for the postprocessing. Now we’re able to do the one-stop shopping in Lightroom, which also allows us to bring the images into Photoshop for further enhancements. Sweet! That’s one of the highlights I like best—I can make my adjustments and then open the file in Photoshop. Another great feature we use for organizing files is using collection sets. We sometimes get, say, 40 seniors from one particular school in one particular year. We can call this collection St. James HS, and in that collection we can put the individual seniors by name for that particular year. It’s really helpful when trying to locate seniors. During the ordering process, we usually review images with the mothers and assign five-star ratings (simply press 5) to the best images, which becomes the final collection that we bring into Photoshop for retouching. As far as viewing goes, there are two approaches we implement. We have a savvy group of kids who are very Web-oriented, and then we have the traditionalists—like some parents and mainly the grandparents—who need something tangible, such as proof sheets. We can accommodate both in Lightroom. We normally set up a four- to five-page spread of thumbnails which are easily assembled in Lightroom, and run a copyright across the images for security. In the Print module, set up 3 Rows and 4 Columns to run 12 images per sheet in the Page Grid section of the Layout panel. This is a good size for viewing. The other option is to use a Web gallery. This is great because it saves money on those crazy ink prices. If you add your Mail Link in the Site Info panel, viewers can place orders immediately after viewing the galleries.
. Lightroom allows you to present the best image possible as far as calculations go, and Photoshop knocks it out of the park.
Local Adjustments∑
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∑
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Lightroom is nondestructive, which means your originals are left intact. In the Develop module, you can adjust the highlights, midtones, shadows, and color balance individually. Narrow down the best dynamic range for the skintone values and get the optimal histogram for print. You can also convert your images into black and white, which we often do, and really fine-tune everything from shadows to highlights. All these options are excellent for senior photography. Sometimes I’ll shoot a whole collection of images outdoors and warm up the color temperature on all these images. Simply make the necessary adjustments to one of the images, select the rest in the Filmstrip, and click the Sync button. Another excellent feature is the ability to make local adjustments. Most postprocessing engines deal with making global adjustments to an image, so when you want to enhance a particular color, it will affect the entire image with that color adjustment. In Lightroom, you can choose the Adjustment Brush (K) and designate what you want to work on. For example, if a particular part in an image is “hot,” simply make Exposure or Brightness adjustments to that isolated area. Lightroom allows you to present the best image possible as far as calculations go, and Photoshop knocks it out of the park.
Skintone By The Numbers∑
∑
What do I save for Photoshop? I do the RGB calculations of skintones and the final retouching. For skintones, I use a basic formula I learned in my years of print production and advertising. ] STEP
ONE ^
Bring up the Info panel (Window>Info) so you can see both the RGB and CMYK values in your image. Your image is in RGB, but you’ll base your corrections on the CMYK values. ] STEP
TWO ^
Switch to the Eyedropper tool (I), hold the Shift key, and click on an average medium value on the face area to add a Color Sampler point. Be sure to avoid the specular highlights. ] STEP
THREE ^
All of these corrections are done on a Curves adjustment layer (Layer>New Adjustment Layer>Curves), adjusting each channel individually. We’ll base our example on an average skintone which is Cyan: 19–23%, Magenta: 36%, Yellow: 46%, and Black: 0%. Darker skintones are about 10 points higher in both the Magenta and Yellow values. The goal is to get the Magenta value about 10 points less than the Yellow, which translates to the Green and Blue channels in RGB. ] STEP
FOUR ^
In the Adjustments panel, select Green in the channel drop-down menu, and click on the Target Adjustment tool (hand next to a double-headed arrow). The cursor will change to an eyedropper and you’ll see both the RGB and CMYK values in the Info panel. ] STEP
FIVE ^
Click-and-drag starting at the center of the Color Sampler point until the Magenta value is close to 10% less than the Yellow in the CMYK values. (This will also add a point on the curve in the Adjustments panel.) Repeat for the Blue channel in the Adjusments panel. ] STEP
SIX ^
The final correction is to the Red channel. Click-and-drag until the Cyan value in the Info panel is about 19–23%, which usually warms up the skintones quite nicely.
ColorGels∑
∑
Because we’re always pushing the envelope and constantly testing new approaches to our senior work, our studio teamed up with Joel Svendsen, manager of sales for Rosco Laboratories (www.rosco.com). Joel started us with a pack of CalColor filters and a booklet of filter facts, which explains the use of color and dealing with color shifts, Kelvin, and balancing a scene, to name a few. CalColor filters are pure primary and complementary colors for your lights, similar to working with the RGB channels in Photoshop. Most photographers think of filters under the confines of cinematography or stage lighting, but using these applications for portraiture is amazing. It’s more than adding a splash of color here or there. What I learned from Joel was that using a particular filter color on all my lights, and then using Photoshop to correct for skin color, created remarkable results. Have you ever seen the Dolce & Gabana ads or maybe the cover of Vanity Fair and wondered how these images were shot? Here’s the secret: For the image of the ballerina, I gelled the keylight, a 7' Scrim Jim from Westcott, with Roscolux #02 Bastard Amber. It’s a medium-light amber with hints of pink. I then gelled all the accents and fill lights with Roscolux #302 Pale Bastard Amber. The results were spectacular. In Photoshop, I used Curves to adjust the Green channel, which affects the opposite color—magenta.
Another example is the dancer in blue. We were after a moody moonlight effect. For this shot, we gelled all the lights with a Roscolux #4315 CalColor 15 Cyan. The background used was a very pale blue. In Photoshop, I added a Curves adjustment layer to correct for skintones, which allowed me to pull back the opacity and maintain a bit more of a blue bias from the filters. Of course, the image had a very high cyan cast, which is on the Red channel in RGB. By bringing up the red, it brought down the cyan. By bringing down the blue in the RGB channels, you can also see how it raises the yellow. Pretty cool stuff. From my experience, you need that color there on capture to get that extra dimension.
Final Touches∑
∑
Photoshop also adds an extra dimension to our senior work. In the example of the girl with butterflies, the finishing touches to an amazing portrait were simply pasting an extra butterfly in the scene and adding a blurred forest to the existing yellow background. The most realistic composites are created by keeping the natural settings from the capture and building on top, as opposed to completely extracting. It makes the image more organic. Although the scenerio might be unrealistic it still seems real. The viewer shouldn’t feel the hand of the artist in the image.
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Hernan Rodriguez is an international award-winning professional photographer specializing in commercial photography and portraiture. He has earned 25 awards in photography, including the much coveted Black and White Spider Award for photographic excellence in fashion photography. His outgoing personality and fresh approach to imagery has allowed him to work with such clients as GUESS, Playboy, Corona, EMI, and Sony Music Entertainment.
Bio
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In the end, what do we learn from this savvy, progressive, social network generation of seniors? For starters, traditional just isn’t enough. It pushes us to discover more and expand our boundaries. It has helped me to evolve my photography in fashion, music, and posing, and taught me new approaches to imagery. But what matters most is I’ve learned patience and understanding, making me a better person. ■
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BEGINNERS’ WORKSHOP Dipping into Duotone Mode
LESA SNIDER
Have you ever wondered why black-and-white images displayed in galleries look so darn good? Sure the subject and composition are top of the line, but most aren’t really black and white—they’re black and white plus a subtle color tint, giving the image extra depth and richness. This process is called creating a duotone. STEP ONE:
Convert your image to black and white using the
method of your choice. In this example, we’ll use a Gradient Map adjustment layer because it’s fast and it produces great contrast (the change also happens on its own layer, though that’s less important here because you’ll flatten the file in a minute). Because the Gradient Map adjustment layer uses the current colors of your Foreground and Background color swatches, the first step is to set them to the default of black and white, respectively. You can do that by pressing the D key or by clicking the tiny black-and-white icon above your color swatches at the bottom of your Toolbox (circled).
STEP TWO:
Next, create the adjustment layer by clicking the
half-black, half-white circle at the bottom of your Layers panel and choosing Gradient Map. Alternatively, you can choose Layer>
Step One
New Adjustment Layer>Gradient Map, or use the Adjustments panel (Window>Adjustments) and click the Gradient Map icon. Either way, Photoshop instantly remaps the shadows in your image to one side of the gradient (in our case, black) and the highlights to the other (white), creating a black-and-white image.
STEP THREE:
Step Two
Since the Duotone mode in Photoshop lets you
add additional colors to genuine grayscale images, you must first reduce the colors in your image to black and white by changing its color mode to Grayscale. Choose Image>Mode>Grayscale and, when Photoshop asks if you want to flatten or preserve your layers, take a deep breath and click Flatten. When you’re asked if you
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want to discard your color information, click Discard.
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STEP FOUR:
Trot back up to the menu bar and choose Image>
Mode>Duotone, and Photoshop promptly opens the Duotone Options dialog. We’re having fun now! Technically, the word “duotone” refers to an image that’s made from two colors: grayscale (black and white) plus something else. If you add another color, you get a tritone (grayscale plus two colors), and if you add one more you get a quadtone (grayscale plus three colors). For the purposes of this discussion and as far as Photoshop is concerned, duotones include tritones and quadtones.
Step Three
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beginners’ workshop
STEP FIVE: Because duotones are used so much in professional
printing—they contain fewer color channels, so they cost less to print—Adobe spent beaucoup bucks concocting color combinations that produce some of the most amazing images you’ve ever ©ISTOCKPHOTO/DEBIBISHOP
seen. Take a peek in the Preset menu at the top of the dialog and you’ll spot hundreds of duo-, tri-, and quadtones (you could spend a whole evening looking through all the options). When you choose one of these settings, Photoshop automatically changes the dialog’s Type drop-down menu to reflect the option you picked, whether it’s a duotone, tritone, or a quadtone. The dialog also shows you which colors are being used. Once you’re finished experimenting, make a note of the preset’s name and click OK. Here you can see what the image looks like using three of the myriad presets.
STEP SIX:
Now you’re free to go back to the color mode from
whence you came by choosing Image>Mode>RGB Color. Because Duotone mode is a special document mode for printing (it’s not meant for editing), you don’t really want to hang around there. When you go back to RGB mode, you won’t notice anything different—except the awesome new color of your image.
STEP SEVEN:
Choose File>Save As and add the name of the
duotone preset to the end of the filename so you don’t forget which one you used. From the Format drop-down menu, choose Photoshop. This ensures maximum image quality should you ever decide to reopen the image and continue editing, plus it keeps you from saving over your original image. Click Save and then congratulate yourself for snatching your first color combo from Duotone mode, which is a little like bank-robbing for Photoshop jockeys. Step Five
So remember, even if your image isn’t headed to a professional printing press, you can still pop in and out of Duotone mode and use the built-in color combos to produce a striking, one-of-a-kind force be with you all! ■
Step Seven LESA SNIDER, chief evangelist of iStockphoto.com, is the author of Photoshop CS5: The Missing Manual (2010 Pogue Press/O’Reilly), co-author of iPhoto ’11:
The Missing Manual (2011 Pogue Press/O’Reilly), and has several video training titles on KelbyTraining.com. She also leads photographic adventures on the rivers of Europe (PhotoCruisewithLesa.com). Lesa is a longtime member of the Photoshop World Dream Team of instructors and founder of the free tutorial site, GraphicReporter.com.
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image, just like you’ve seen here. Until next time, may the creative
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CLASSIC EFFECTS Fade a Photo to a Line Drawing
COREY BARKER
Sometimes you can make a bland photo much more interesting when you creatively use filters. Here, we’ll revisit a technique I presented on the NAPP member website a few years ago that still proves to deliver outstanding results. The best part is that it will work well on almost any image. STEP ONE:
This effect works great for emphasizing specific parts
of an image in a very stylish way. In this image of a party, we want to bring more attention to the two girls near the middle of the photo. [NAPP members may download the file used in this tutorial from www.photoshopuser.com/members/jun11-downloads.html. All files
STEP TWO:
Start by duplicating the Background layer twice by
pressing Command-J (PC: Ctrl-J) two times. We’ll apply a different effect to each layer to build the finished look.
STEP THREE:
With the top layer (Layer 1 copy) active in the
©FOTOLIA/YURI ARCURS
are for personal use only.]
Step Two Step One
Layers panel, go to Filter>Blur>Smart Blur. We’re not actually running a blur here but rather creating the line-drawing effect. Go to the Mode drop-down menu at the bottom of the Smart Blur dialog and choose Edge Only. Set the Quality drop-down menu to High. Then, move the Radius and Threshold sliders to refine how much line detail you want. We set the Radius to 2.5 and the Threshold to 25. Click OK.
STEP FOUR:
Now we need to
extract the line drawing from the layer so we can change the line color. Go to the Channels panel (Window>Channels), hold down the Command (PC: Ctrl) key, and
Step Three
click on the RGB channel thumbnail. This will load the luminosity of the image as a selection. Since the im› › p h ot o s h o p u s e r › j u n e 2 0 1 1
age is black and white, it will ignore
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black and load just the white area.
STEP FIVE:
With the selection active, click the Create a New
Layer icon at the bottom of the Layers panel to create a new blank layer (Layer 2). Click the Eye icon to the left of the original line drawing layer (Layer 1 copy) to hide it. Then, press Shift-Delete (PC: Shift-Backspace) to bring up the Fill dialog. Choose Black from the Use drop-down menu, and click OK. Press Command-D (PC: Ctrl-D) to deselect. The line-drawing effect over the original photo creates an interesting result.
Step Five
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STEP SIX:
CLASSIC EFFECTS
Here’s a cool trick to get the overall color tone of
an image as a color fill. Click the original Background layer in the Layers panel to make it active, and go to Filter>Blur>Average. It will look at the overall image and generate a color fill based on the average color tone of the entire image. The result will look good for this image but experiment with other colors to see what works best for your image. STEP SEVEN:
Activate the duplicate layer (Layer 1) that still
contains the original image. Hold down the Option (PC: Alt) key and click the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. This will create a layer mask filled with black,
Step Six
hiding the entire layer. STEP EIGHT:
Select the
Gradient tool (G). Press D to set the Foreground color to white. Click the down-facing arrow next to the gradient preview in the Options Bar to open the Gradient Picker and choose the Foreground to Transparent gradient. To the right of the gradient preview in the Options Bar, choose the Radial
Step Nine
Gradient icon. STEP NINE:
Click to start the gradient in the area of the image
where the main subjects are, then drag toward the bottom-right corner of the image. This will reveal the image in the area where you started dragging and fade away to the edges. STEP TEN:
Since we want the image to transition from a photo
to a line drawing, we need to mask the line drawing area in the middle. Select the layer containing the line drawing (Layer 2) and click the Add Layer Mask icon again (but this time without holding down the Option [PC: Alt] key). This will add a layer mask filled with Step Ten
white, revealing the entire layer. Press X until the Foreground color is set to black. Using the Gradient tool again with the same settings as above, draw the gradient in the same area and distance as you did in the previous step. Now as the photo fades out, the line drawing fades in. STEP ELEVEN: Let’s slightly change the color of the outline. Click
the layer thumbnail for the line drawing layer (Layer 2) to make the › › w w w. p h ot o s h o p u s e r . c o m
layer active and not the mask. Click the Lock Transparent Pixels icon (checkerboard) at the top of the Layers panel. Click the Foreground color swatch at the bottom of the Toolbox, select a color in the Color Picker (we chose R:45, G:9, B:45), and click OK. Press Option-Delete (PC: Alt-Backspace) to fill the lines with your chosen color. To finish the effect, we added some texture to the background color. Activate the Background layer and go to Filter>Texture> Texturizer. Set the Texture drop-down menu to Sandstone, Scaling to 100%, Relief to 3, and click OK. You can also add additional gradients to the line drawing layer mask (Layer 2) to fade out any distracting lines as we did here near the bottom of the image. ■
Step Eleven
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key concepts:
Layer mask
Warp
FROM BERT’S STUDIO Give Me Some Skin
BERT MONROY
Photoshop gives you all the tools you need to create anything your imagination can conjure up. Making what you create look real requires careful attention to detail—how the image is lit is important, but more important is what the object is made of. The texture must immediately tell the viewer what the object feels like. Many filters are designed to create specific textures such as stone or liquid, and a combination of filters can produce a wide range of other textures that you might need. But some textures require a different approach. In this tutorial, you’ll learn how to use patterns for simulating textures. To up the ante, you’ll see how to create a subtle but complex texture—skin. You may never have to create a skin texture but it’s the steps outlined here that are important to note. The underlying principle is to create a pattern that’s so scattered that it doesn’t really look like a pattern. Skin sounds difficult but you have a great source of reference—yourself. This first image shows a close-up of a wrist on one of the people in my painting, Times Square. You can see the subtle texture of the skin as it wraps around the arm. STEP ONE:
Create a new Photoshop document that’s 4x3" at
72 ppi. Click the Create a New Layer icon at the bottom of the Layers panel to create a new layer where the texture will be made. The layer has transparency. This is important because all you want for the texture are the lines. STEP TWO:
Using the Brush tool (B), with a small, solid brush tip
Step Two
and black for the color, generate a small series of strokes to simulate skin. Create a large enough patch to introduce variety. Simply look at your own wrist to get an idea of how they should look. STEP THREE:
Make a duplicate of the layer by dragging it to
the Create a New Layer icon at the bottom of the Layers panel. Using the Move tool (V), click-and-drag the duplicated layer to the
Step Three
right so that it just touches the right edge of the original texture. STEP FOUR:
You’ll notice some spaces and broken lines. Use
the Eraser tool (E) and the Brush tool to clean them up so the two › › p h ot o s h o p u s e r › j u n e 2 0 1 1
clumps fit into each other. In this example, one of the layers has
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been lightened to make it easier for you to see the connection area.
Step Four
With the duplicate layer active in the Layers panel, press Command-E (PC: Ctrl-E) to merge it into the original layer to make them a single layer. Note: Do not flatten the image; the Background must remain separate. STEP FIVE:
Drag the layer with the extended texture to the
Create a New Layer icon to duplicate it. Drag the duplicate layer down below the original and mend the seams as before. Merge the two layers together. You now have enough area to create a seamless texture.
Step Five
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STEP SIX:
FROM BERT’S STUDIO
Looking within the maze of odd shapes, find four
shapes that are exact duplicates of each other. In this example, four such shapes have been filled with red to make it easier for you to see (you don’t actually need to color the shapes). Now comes the most crucial and precise step. Use the Rectangular Marquee tool (M) to select an area using the four shapes as a guide. Positioning of the selection marquee is crucial! If the upper-left corner is a specific pixel, the bottom left of the selection must end right before the duplicate of that same pixel down below. If the
Step Six
position is off, you’ll create a noticeable seam. STEP SEVEN:
Once the selection is made, turn off the Back-
ground layer by clicking on the Eye icon next to it in the Layers panel. This makes the area between the drawn lines transparent. Choose Edit>Define Pattern to save the pattern. Give it a name and click OK. STEP EIGHT: Now you can go to the document that needs the
texture you just created. Let’s say you have an arm similar to the one shown at the beginning of this tutorial, make the layer containing
Step Eight
the arm active by clicking on it in the Layers panel. Create a new layer above it by clicking the Create a New Layer icon at the bottom of the Layers panel. Choose Edit>Fill. For Use, choose Pattern. Under Custom Pattern, your skin pattern will be the last choice in the dropdown window. Choose the pattern and click OK. The layer will then be filled with the pattern. Distort the pattern to fit the shape using Edit>Transform>Warp. Press Return (PC: Enter) when finished. STEP NINE:
Once the texture is in place, it’s necessary for it to
look like skin. Skin texture isn’t a bunch of black lines unless you spent the day in a coalmine. Locking the transparency for the layer will allow you to fill the texture with any color you wish (click the Lock Transparent Pixels icon near the top left of the Layers panel). For the skin texture that I created, I used a layer style. Double-click to the right of the name of the skin texture layer to open the Layer Style dialog, and in the Advanced Blending section, lower the Fill
Step Nine
Opacity to 1%. Then, click on the words “Bevel and Emboss” in the list of Styles on the left in the dialog. Alter the settings based on the dialog shown here until it gives you the highlights and shadows necessary to make the skin look real, and click OK. Depending on the size and resolution of your image, the settings may vary quite a bit. Click on the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel and use the Brush tool to paint in black
STEP TEN:
The real beauty of this is that once you have the
texture, it can be used for many other situations. The leather wristband in this final image is made of the same texture. A heightening of the Fill Opacity plus a slight alteration of the Bevel and Emboss, and smooth skin became rough leather. If you have an idea for an image floating around in your head, there’s a way to bring it to life with Photoshop. ■
Step Ten
BERT MONROY is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has served on the faculty of many well-known institutions, written many books, and appeared on hundreds of TV shows around the world.
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to hide the areas of the pattern where it’s unwanted.
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DEKE SPACE Rendering Type in Gold
DEKE McCLELLAND
Over the course of the previous two columns, we’ve been sharing some shockingly simple recipes that result in eye-catching type effects. That theme continues today, with one exception: This recipe is simpler than ever. The upshot is that you can replicate my instructions with a minimal margin for error. In the next few steps, you’ll learn how to create type rendered in gold using a series of four layer styles and some hand-painted highlights. Before we start, a few words about gold: its diffuse color (the color of the metal before light is applied) is a brilliant orange-yellow. When polished, gold is highly reflective, replete with lustrous highlights and shadows. And most importantly, it’s a soft metal. As opposed to hard, chiseled forms, your final image should exhibit round contours and smooth transitions.
Step One
STEP ONE: Create a new document that’s around 6x2" at 200 ppi
and choose the Type tool (T). We created our text against a textured background; you can use any background. (There’s no reason this needs to be text, incidentally. A shape layer, for example, would work just as well.) In the Options Bar, choose a font, size, and color. We used a serif font, specifically Caslon Pro (which ships with the full Creative Suite); a large font size; and white for the text color. Enter the word “GOLD.” After entering our text, we hand-kerned the letters to be closer to each other. To do this, place the text cursor in between two letters, hold down the Option (PC: Alt) key, and press the Left Arrow key as many times as needed to bring the two letters closer together. When finished, click the Commit icon (checkmark) in the Options Bar. The first effect will establish the color. With the text layer active, click the Add a Layer Style icon (ƒx) at the bottom of the Layers panel and choose Color Overlay. In the Layer Style dialog, click the Blend Mode color swatch, choose a yellow color (R:255, G:219, B:38), and click OK. The color is a bit garish, so reduce the Opacity to 35%. Don’t exit the Layer Style dialog yet! We have three more layer styles to add.
STEP TWO:
To convey a sense of depth, click on the words “Drop Shadow” under the Styles list on the left side of the Layer Style dialog. Assuming the default settings, raise the Opacity to 100% and set the Angle to 120° (the Use Global Light checkbox should be turned on). Set the Distance to 10 px, the Spread to 0%, and the Size to 10 px. Note: In our example, the document measures to a mere 1,200x420 pixels. If your document is larger, increase the Size and Distance values accordingly. For example, if your image measures 3,600 pixels wide (or 12" wide at 300 ppi), which is three times the size of our image, then take the Size and Distance up to 30 px.
Step Two
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STEP THREE:
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Now, for the gold. Choose Bevel and Emboss from the Styles list. Raise the Depth to 250% and set the Size to 35 px (again, scale the Size if your image is larger). Make sure the Style is
STEP FOUR:
Step Three
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DEKE SPACE
set to Inner Bevel and for Technique choose Chisel Hard. This will give you the effect shown here, which is great if this were a hard stone or metal, but as I mentioned earlier, gold is soft. So some additional modifications are in order.
STEP FIVE: Still inside the Bevel and Emboss panel, raise Soften to 5 px to smooth away the chiseled edges. Click the white Highlight Mode color swatch, choose a pale yellow color (R:255, G:223, B:128), and click OK. Change the Highlight Mode to Linear Dodge (Add) and raise the Opacity to 100%. Click the black Shadow Mode color swatch, choose a dark brown color (R:77, G:57, B:0), and click OK. Change the Shadow Mode to Linear Burn and raise the Opacity to 85%. To further soften the effect, we’re going to raise the angle of the light source in the sky. Set the Altitude to 60°. Click on the down-facing arrow next to the Gloss Contour thumbnail to open the Contour Picker and select Ring—Double (two steep hills). Then turn on the Anti-aliased checkbox to smooth over any remaining harsh transitions.
Step Four
Step Five
This final layer style helps to add some random contrast to the scene. Choose Satin from the Styles list and click on the Blend Mode color swatch. Choose a gold color (R:128, G:109, B:19) and click OK. The default Contour settings will work fine. Set the Angle to 35°, the Distance to 12 px, and the Size to 20 px (again, scale the Distance and Size for a larger image). You can also drag directly inside the image window to experiment with an ideal effect. And finally, click OK to apply the four layer styles.
STEP SIX:
Step Six To lend the gold effect some additional credibility, we need to add shiny highlights. Click on the Create a New Layer icon at the bottom of the Layers panel and double-click on the layer name to rename it “Specular.” Select the Brush tool (B). Right-click in the image window to open the Brush Preset Picker, select a round brush, set the Size to 90 px (scale as needed), and the Hardness to 0%. Press Return (PC: Enter) to close the panel. Press D, then X to make sure the Foreground color is set to white. Click to place highlights on each area as shown.
STEP SEVEN:
Step Seven
The result is a handful of letters that look like they might reasonably have been carved out of gold. In my next column, I’ll show you how I created that hammered-metal background behind the letters. ■
Step Eight
DEKE MCCLELLAND is author of Adobe Photoshop CS5 One-on-One (deke.oreilly.com) and the three-part video series Photoshop CS5 One-on-One (lynda .com/deke). For a free video demonstration of the above and other recipes, look for Deke’s free weekly video blog, Deke’s Techniques, at deke.com/dekepod.
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In a perfect world, you could mask the highlights by combining the layers into a clipping mask, but thanks to the mechanics of overlapping layer effects, this doesn’t quite work. So, we’ll use a layer mask instead. Command-click (PC: Ctrl-click) on the text layer thumbnail to load it as a selection and click on the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel to complete the effect.
STEP EIGHT:
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PHOTOSHOP MASTERY Content-Aware Fill on an Empty Layer
BEN WILLMORE
To get most retouching tools to deposit their results onto an empty layer, simply create a new layer and then change the sampling setting for each retouching tool in the Options Bar to either Current & Below or Sample All Layers and you’re good to go. The Content-Aware Fill command doesn’t offer such an option. If you attempt to apply the Content-Aware Fill command to an
STEP FOUR:
empty layer you’ll be prompted with an error message because that
the Use pop-up menu to Content-Aware, and click OK. If you love
command needs to work on the same layer that contains the area
keyboard shortcuts, press Shift-Delete (PC: Shift-Backspace) and
you’re attempting to retouch. Here we’ll show you how to avoid
then press Return (PC: Enter) to accept the default setting—which is
this problem.
Content-Aware. Doing so should produce the retouching you desire.
STEP ONE:
Open (File>Open) an image you wish to retouch in
STEP FIVE:
With the selection still active, choose Edit>Fill, set
Choose Select>Inverse or press Shift-Command-I
Photoshop using the Content-Aware Fill command. Click on the Cre-
(PC: Shift-Ctrl-I) to select the areas that you didn’t want to retouch
ate a New Layer icon at the bottom of the Layers panel to create an
and then press Delete (PC: Backspace) to remove the selected area
empty layer that will eventually contain your retouching. (Note: We
from the current layer. Press Command-D (PC: Ctrl-D) to deselect.
renamed our new layer. To do so, double-click on the layer’s name If the layer you had active at the time you started this
in the Layers panel and rename it accordingly.) Feel free to use any
STEP SIX:
retouching tools on this layer prior to continuing with this technique
technique was empty, then you’re done because the Merge Visible
since it doesn’t have to be empty for the technique to be successful.
command would have caused everything to be contained on that layer. If, on the other hand, the layer that was active at the time you
STEP TWO:
Once you’re ready to use the Content-Aware Fill
moved to Step Two contained any information, then the next step
feature, use any selection tool to make a selection around the area
would have produced a new layer instead of depositing the merged
you’d like to retouch. I usually end up using the Lasso tool (L) for this.
info onto the active layer. If that’s the case, then you should have only the area that was retouched using Content-Aware Fill on an
Hold down the Option (PC: Alt) key and choose
otherwise empty layer, so all we have to do is get that information to
Layer>Merge Visible to merge the contents from all the layers into a
be deposited onto the layer we were originally using for retouching
single new layer. Or press Shift-Option-Command-E (PC: Shift-Alt-
(since it contains other retouching you’ve done previously). To com-
Ctrl-E) to use the keyboard shortcut. You’ll get one of two results
bine the active layer into the underlying layer, choose Layer>Merge
depending on what was contained on the active layer: If the layer
Down or press Command-E (PC: Ctrl-E). That’s it, we’re done!
STEP THREE:
was empty, then the merged visible information will be deposited onto the active layer instead of being placed on a new layer; if the layer contained some retouching you had previously performed, then the merged visible result will appear on a brand-new layer. Having the contents of the entire image on a single layer is the key
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to getting the Content-Aware Fill command to work properly.
PHOTOSHOP HALL OF FAMER Ben Willmore is a nomad exploring America via motorcoach. Catch his latest adventure by visiting his blog at
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www.whereisben.com, see his photography at www.thebestofben.com, and find out about all his books, seminars, DVDs, and other educational products at www.digitalmastery.com.
If you practice this technique a dozen or so times, then you should be able to get to the point where you can do it entirely with keyboard shortcuts. It all depends on how often you plan to use this technique. If it will be daily, then practice so you can get used to the keyboard shortcuts. ■
ALL IMAGES BY BEN WILLMORE
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The CopyrighT Zone Free Photos—Get Your Free Photos Here
ed GreenberG and jack reznicki
Lately, we’ve seen the rapid acceleration of a very disturbing trend. We wrote a rather tongue-in-cheek column a while back on how we were starting a stock agency where photographers would give us their photos and we would just keep all the money. We’re finding it’s not so funny anymore. Several items recently caught our attention. One was that The Huff-
created by small, medium, and incredibly large media companies.
ington Post was sold for a reported $315 million. This sale was done
There’s distribution of various media into every burg in the U.S., all
on the backs of bloggers and other unpaid contributors who will
the nation-state members of the E.U., and the countries of Africa
expire while waiting by the phone for that call from Arianna inform-
stretching from the Mediterranean down to the Cape of Good
ing them of their cut of the bounty.
Hope. In the olden days of, say, the 1980s, if a big newspaper
Those of you in Colbert Nation no doubt saw Stephen’s com-
Now media conglomerates own newspapers, numerous magazines,
Colbert content. He too cried out for his cut on two shows.
television networks, and do webcasts and sublicense to families of
Along these lines, we give you a tale with names changed to protect both the innocent and the incredibly guilty, but without
based on geography or medium. Let’s see what that means in current real dollars and cents,
some facts. Hypothetically, let’s say there was a kidnapping of a
forgetting for the moment the lucrative licensing demands for this
young heiress, Jane Doesydoe (à la the Patty Hearst case of decades
image in the future. At a very minimal licensing fee of, say, $100 per
ago), but this victim is much younger than Ms. Hearst was. The
use of this unique photo (and trust us, Tommy could have licensed
kidnapping goes bad because, unlike in CSI endings, these stories
this image for hundreds of thousands of dollars via an exclusive
don’t always have a happy ending nor are they accomplished in
or otherwise), how many times do you think BiNWAK Syndicators
48 minutes, excluding commercials. Naturally, in this new brave world
licensed the image to newspapers and magazines? We guess the
of 24/7 news, it becomes a national news story of great interest
number is at least well over 300. It could be up to nearly 1,000. For
instantly. It dominates the news coast-to-coast and beyond.
the sake of argument, let’s say 500. So 500 x $100 = $50,000. Let’s use the same number for TV stations, figuring three local affiliate
young Ms. Doesydoe, but because she comes from a very, very pri-
stations per American city, the major networks, and cable channels,
vate family and is too young to have had her picture taken at debu-
and it wouldn’t take long (conservatively) to get to another 500.
tante balls, public events, and such, there are only very old photos of
Without breaking a sweat, BiNWAK gets $100,000 for licensing
her not suitable for the press. Ah, but there’s a single exception.
Tommy Cleancut’s photo, without his credit line.
Ms. Doesydoe was in a formal family photo taken at a holiday
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magazines. The Internet has removed any restrictions on distribution
Mariska Hargitay. A crime is involved, so we also need to change
The news media and photo syndicators need a photo to show of
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infringed, you’d likely see the infringement in just that newspaper.
ments about Ms. Huffington pocketing millions by repurposing
All the photos are credited to BiNWAK or Harry Sleazy or both.
party at the country club by society photographer Tommy Cleancut
Each newspaper, magazine, and television outlet is supplied with
just months prior to the kidnapping. With everyone craving a photo,
primo content. This results in preserving or improving ratings with
a local photographer, Harry Sleazy, gets access to Tommy’s photo
ad prices being adjusted accordingly. BiNWAK and its clients make
and then takes a closeup shot of Tommy’s photo. Mr. Sleazy then
a profit on Tommy’s image at every level. When the villain goes to
crops and manipulates until the result is an image showing just
trial, there will be renewed demand for the image. BiNWAK and its
Jane Doesydoe’s face. Since Mr. Cleancut didn’t give Mr. Sleazy
customers will then profit yet again.
permission, Mr. Sleazy has now violated federal copyright law and has no defense.
“DON’T MAKE IT A FEDERAL CASE”
So what did Tommy Cleancut get for all this after BiNWAK syndiFOLLOW THE TRAIL
cated it without his permission? Luckily, being smart and register-
Now this is where it gets interesting and disturbing. Harry sells the
ing his photos, what Tommy got was a lawyer because BiNWAK
photo of the photo to the BiNWAK (Big Name We All Know) Photo
has given him nada. This is like Hertz coming to your house, taking
Syndicators, who then license it all over the country. It appears
your one-of-a-kind vintage car, and renting it out for money.
in newspapers, magazines, TV reports, and webcasts worldwide
Maybe they send you a thank you note—probably not. Tommy’s continued on p.72
th e co pyr i g ht zo n e
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lawyer made sure that BiNWAK paid Tommy for the theft of his
The photographer sets his or her own price and terms, that is
image. BiNWAK said, “Hey Tommy, don’t make it a federal case,
if he or she wants to license it at all. That right doesn’t belong to a
and think of the family and what they’ve been through.” But hey,
thief, a.k.a. copyright infringer.
BiNWAK, it is a federal case because the Copyright Act is derived directly from Article One in the U.S. Constitution. A copyright
THE STEALING CONTINUES
infringement is a federal case and BiNWAK is, quite simply, a thief.
You think we just came up with this fairytale, fabrication, and con-
Now the plot thickens. While under no legal obligation to do
jured fantasy? It will never happen? Actually, sadly, it happens every
so, Tommy is a nice guy and chooses to donate his earnings to
day. And almost every day, photographers get screwed because
charity. Tommy selects a women’s abuse shelter, so that women
they don’t know what to do; they didn’t register their images; or
with kids who are at risk of being attacked but without money to
frankly, they think they can’t go up against Big Time Media Compa-
simply move cross country can have resources and thus benefit
nies like our mythical BiNWAK. Many photographers don’t have the
from this tragedy.
guts to fight the local or national media that has stolen their work.
During arguments in court in front of a federal judge, BiNWAK claimed that the amount of money involved was actually quite
The media knows this, so the stealing continues. The result? BiNWAK-type companies—and there are many—
small because they didn’t charge
daily make literally millions on the
a flat rate to syndicate the Sleazy
backs of some photographers who
image; instead, they included it in a subscription-based pricing structure. So in reality, that claim of $100 per use is bogus and the revenues are really only pennies. Now this part we love. The judge in our story found for Tommy Cleancut and said that, “A copyright infringer may not benefit by its pricing structure of an image
This is like Hertz coming to your house, taking your one-of-a-kind vintage car, and renting it out for money.
produce content and get nothing. Not even a credit line. For every Tommy Cleancut that manages to get money and see that people benefit, there are thousands of creatives that don’t get anything. Some aren’t professional photographers: They’re people sending in photos to the BiNWAKs for the glory of having
to which it had no rights in the first
their photo used. BiNWAK takes
instance.” What if the syndicator is
their submitted photos, uses them,
a not-for-profit company or one that has lost money consistently
and keeps all the money. The public couldn’t possibly care less, in
over the last few years? What if the syndicator elected to grant free
part because photographers do little to educate the masses.
access to the image for its best customers? The judge found those arguments to be “spurious.” Quoting from one of Ed’s briefs in a similar, real-life case, which the real-life judge found both amusing and convincing:
So the BiNWAKs of the world can afford to take their chances by using whatever photos they want, figuring that what they pay out to the Tommys of the world will be far overshadowed by what they bring in otherwise. And they talk about this with the Huffingtons
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of the world, drinking tea and eating finger foods, or whatever multi-
072
“If a sumo wrestler goes to an all-you-can-eat buffet in
millionaires do in fancy restaurants, while photographers and all the
Las Vegas and eats his weight in lobster, shrimp, prime rib,
others who could benefit stare in from the street.
oysters, and filet mignon and pays $9.99, does that set the
There are Tommy Cleancuts out there today. There are also
per-pound market rate for any or all of the aforementioned
photographers who don’t have the stones to tangle with the bad
food items? Let’s go one step further and assume that our
guys. There was a Tommy Cleancut both of us were friends with, a
400 lb wrestler wants to have a Coke with his buffet. The
photographer named Stuart Gross, who unfortunately passed away
drink is not included in the $9.99 price and the buffet
too young. Stuart had a chance brush with a little girl named Lisa
charges him $3 for the soda. Can we then deduce that
Steinberg who was murdered by her father, Joel Steinberg, days
Coke is infinitely more costly per ounce than lobster simply
later. Stuart’s photos of Lisa helped convict Joel Steinberg, as quoted
because the buffet has chosen to charge separately for the
by the New York District Attorney. This case created laws requiring
beverage? In reality it costs the restaurant about $0.50 per
that suspected child abuse be reported, and as a result, an untold
ounce to serve the Coke and about 50+ times as much to
number of children have been protected. You need not be a photo-
serve the lobster or prime rib per ounce.”
journalist in a war zone to be courageous or make a difference. n
CatCh JaCk and Ed’s blog at www.thecopyrightzone.com and read about their book, Photographer’s Survival Manual, published by Lark Books.
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The Small buSineSS and freelance coach Free Work Can Really Cost You
Larry becker
Many talented freelance photographers and designers regularly give away their precious work for free. There’s a time when free work makes sense, but most small business people and freelancers still fall prey to the twisted logic that their free work is an investment, even when it’s not. What’s the difference between good and bad free work? There are
The flip side of the contest is that, more often than not, the
several kinds of free work people do, but the most insidious is work
judges are largely unqualified to judge what work is best. For
done on the speculation that you might get hired for paying work
example, consider the specific circumstance of a restaurant hiring
based on a request for free work samples. (I’m not talking about
a designer or photographer for a billboard campaign. Even though
a request to review portfolio work; rather, I’m talking about being
billboards are the largest form of visual advertising available, the
asked to create new work as a sort of audition.) Most people simply
messages and images have to be simple and direct because drivers
refer to this as “spec work.” There’s even a website dedicated to
viewing billboards rarely have time for much more than a glance.
eliminating spec work outright, and while I don’t necessarily agree
(Just for fun, next time you’re out driving, look around and see how
with everything said on the site, I do agree that spec work is usually
many cluttered billboards with bad images and unclear messages
not a positive way to put a client and a freelancer together. The big-
are out there.) The restaurant owner might pick the photographer
gest problem with spec work is that none of the many competing
who has a picture of the most popular dish, in spite of the fact that
freelancers are treated fairly and the hiring company almost always
the image is lit poorly and is too cluttered to even make out what
gets a poor result, even if they don’t realize it.
the image is in the final advertising placement. The restaurant owner
So how do people get freelancers to give their work away for
might choose the designer who includes a bunch of information
free? The easiest way is to have a contest. Hungry freelancers
because it’s a more complete message, even though the billboard is
always line up for the chance to “win” a new client, and they
so cluttered with text that no one will ever be able to read it when
usually work especially hard for the chance. And for those poten-
driving by. And if the restaurant owner is just judging submit-
tial employers who aren’t willing (or able) to invest big dollars to
ted images, he or she will never get the sales presentation when
publicize a contest, there are websites where freelancers bid on writers, etc., just post their job specifications and let the freelanc-
poor judgement
ers bid for the work.
I don’t necessarily blame a hiring company for not judging a
available work. So people who need photographers, designers,
good photographer versus a bad one, or a good designer from THE PITFALLS OF SPEC WORK
a bad one. Unfortunately, even professionals in advertising
There are lots of problems with contest-based hiring, or any hir-
and public relations can be poor judges. Having been on the
ing done based on spec work. First, nearly all of the contestants submitting work are generating work product for which they will never be paid. Only the winner gets the contract and everyone
› › p h ot o s h o p u s e r › j u n e 2 0 1 1
else has worked for nothing. But the problems are more than
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boards of both advertising and public relations associations, and having entered and judged numerous statewide PR and advertising competitions myself, I know for a fact that frequently the prettiest
just unpaid work. After looking at dozens (or hundreds) of work
advertisements win gold-level awards, while the most effec-
submissions, the hiring company receives quite a few clever ideas
tive advertisements or designs often don’t. And these are in
it could potentially use. This is unethical of course, but even if the
professional competitions judged by industry experts. What all this
company doesn’t do it intentionally, it will be influenced by some
means is that, as a working professional designer or photographer,
of the nonwinning submissions. Then when it selects a winner
it’s your job to educate your clients about what makes a good
from the group, it’s very likely that the company will ask the
photograph or design, and then further educate them about why
winner to slightly modify the work to incorporate some other ideas it likes. And those ideas very likely came from some of the unpaid nonwinners.
you are the right person to hire for the job. (And by the way, you’d better be pretty good.)
continued on p.76
the small business and freelance coach
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the photographer or designer explains how or why the simplest
possibly even some of the market value of your work (but check
billboards are the best investment.
with your accountant to be sure).
In the end, all but one of the freelancers get nothing for their
There are a handful of ways that strategic charitable giving can
hard work; the winner will likely still have to make changes to the
help generate business or save you money, and they’re not decep-
submission, committing even more time to production work even
tive or unethical in any way. Most cash and in-kind donations are
after winning the contest; and the end user of the winning services
given by businesses for reasons such as these.
probably didn’t pick the best freelancer anyway.
I strongly suggest that you give altruistically, as well. Pick a charity, church, or nonprofit organization you feel is especially important
controlled situations
or one that does a particularly good job, and give to them from your
Keep in mind that not all contests are bad. What matters most is
heart. Give money or in-kind service donations with no expectation
the intent of the contest organizers. If the intent is to reward good
of any return. Give anonymously if that’s appropriate. I’ve always
photography by calling for photographers to enter one or more
found that this kind of giving pays rewards that are far beyond any
images from an existing body of work, in various categories, and
business success.
those images are judged by photographers and the winners receive
Yet with all of your charitable giving efforts, manage them with
prizes or money, then that’s a good contest. However, if a contest is
balance in mind. You can’t stay in business if your entire strategy
organized by a person or business who’s trying to get work product
is charitable giving of your work product. You have to generate
for private use and only pay the winner, that’s a bad contest.
income so you can eat and pay the rent. Likewise, focusing exclu-
When I talk to groups of freelancers and small business people, I encourage them to avoid spec work and contests, but I don’t
sively on income with no thought of helping others will not make you successful in the end.
mean all contests. Likewise, there are even times you might do free speculative work in the hopes of impressing a potential client.
the familY and friends traP
For instance, you might take some impressive photographs of an
There’s still another kind of free work that can really tap resources of
architect’s office building and send them to the firm while asking
people who are new in business, and it’s doing work for friends or
for a meeting to discuss architectural photography. The big dif-
family at a greatly reduced fee. This situation is especially problematic
ference is that you have spotted a potential client and prepared
because of the existing relationship you have with your friends and
a photography package you hope will impress that architect. The
family as they become clients. As the former owner of both an
entire speculative project is under your control. What’s more,
advertising company and Web design firm, it’s amazing how many
you’re creating something that you can add to your portfolio. Even
friends came to me for inexpensive logo designs, advertising layouts,
if you don’t win the client in that situation, that work, as a part
and website designs. In my early days of business ownership, I’d try
of your portfolio, might win some future clients for you. Another
to help my friends by cutting my regular prices and doing various
positive aspect of this kind of situation is that you aren’t one of
special favors for them. Unfortunately, I can’t think of many times
many contestants in a stack of faceless entries; instead, you’re the
when these efforts were helpful to my business or my bottom line. In
one and only participant in your own specific, controlled solicita-
fact, lots of times these folks would even require extra effort because
tion for business.
they’d want to tweak their websites or advertising campaigns more
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than a regular, paying client. My advice is to make it your policy to
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donatinG serVices
avoid working with friends and family as clients, at least in the early
Another way to do free work that might help you get a job is to
days of your business. It will keep you from spending too much
donate your services to a visible charitable effort in your com-
time on a client that generates too little revenue, and it will cause you
munity. I consider this strategic charitable in-kind giving and there
to find legitimate paying clients first.
are several ways this pays off. First, you’re helping a worthy cause
It’s easy to fall into the trap of working with friends and family
that couldn’t otherwise afford your services. Second, they’ll repay
because you know each other and it’s comfortable. But you’ll need
you in the only way they can, with a public thank you to you and
to stretch outside your comfort zone and secure strangers as clients
your company for the nice donation. Third, if you’ve selected the
in order to be successful, so you should start by stepping outside
charitable effort wisely, you already know that several prospective
that comfort zone in the very beginning.
clients are involved with that charity and will notice your contribution. Fourth, you can put the photos or designs you’ve contributed
If you want to be successful in business and in life, you should charge
in your portfolio and whenever you pitch your services, prospects
for your work and you should give it away sometimes, too. Just go
will see that you’re a charitable person. Fifth, you can usually write
into each situation with complete awareness and make sure you’re
off most, if not all, of your expenses related to the donation and
always in control of the circumstances. n
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AFTER THE SHOOT Camera Raw as an Automation Tool
DAVE CROSS
Adobe Camera Raw (henceforth called ACR) is a software program that allows you to work with camera files that were captured in the RAW format, as well as JPEG and TIFF files. This article will look at some ways that we can take advantage of ACR to work more efficiently.
rewind: (Before we get into the meat of this column, the “Rewind” section will provide a little background information.) Although ACR can open RAW, JPEG, and TIFF files, there are some advantages to capturing your photos in the RAW format. There’s plenty of debate about the pros and cons of using RAW versus JPEG, but it’s generally accepted that RAW files allow for greater exposure adjustment. In addition, there’s more room to adjust the white balance of a RAW file. Here’s the White Balance menu for a RAW file compared with the same menu when a JPEG file is opened in ACR.
Step One
When your camera captures a JPEG file, the processing is done in-camera, which means that opening the file in ACR isn’t necessary. However, it’s nice to know that JPEG files can be edited in ACR and that we can take advantage of the same automation that’s available for RAW files.
WORKING WITH MULTIPLE FILES
If you have a relatively small number of files that were taken under the same conditions and that need to be adjusted, you can open them all in ACR. STEP ONE:
In Bridge, select the files and press Command-O
(PC: Ctrl-O) to open them in ACR. The files will appear down the left side of the ACR dialog with the fist image showing in the
Step Two
preview area.
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STEP TWO: Make adjustments to the first image and when you’re
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ready to apply the same adjustments to the rest of the images, click the Select All button, and then the Synchronize button. In the Synchronize dialog you can choose whether you want to have all or only some adjustments applied to the other images. From then on, if you make further adjustments to the first image, any other selected images will update, as well. STEP THREE:
One of the optional adjustments (that’s not
checked by default) in the Synchronize dialog is Crop. With this option checked, if you use the Crop tool on the first image, the other images will be cropped to the same area. This can be a real
Step Three
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a f t e r t h e s h o ot
timesaver, as long as you remember that the crop area will be the same on all synchronized images. Step Four STEP FOUR:
Once you’re finished making adjustments to the
open files, you can either open them or click Done. A couple of notes here: The Open Images command will only open the file or files that are selected on the left side of the dialog. If only one is selected, only that file will open, but the adjustments will be applied to the other files. If you simply want to make adjustments to a series of files and open them later, click Done. Opening multiple files at once works very well for a relatively small number of files—any more than 10 and it may be best to try an alternate method. ADJUST ONE, APPLY TO MANY
This is a very interesting possibility! Imagine you have 300 (or more) RAW images and you realize that you need to make the same adjustment, such as white balance, to all of them. Here’s how to use ACR and Bridge to achieve that very quickly.
Step Six
STEP FIVE: First, open one RAW file in ACR and make the neces-
sary adjustments. When finished, click Done (you don’t need to open the file). STEP SIX:
Then in Bridge, select the remainder of the files. Right-
click on any one of the selected files and from the pop-up menu, choose Develop Settings>Previous Conversion. Each of the selected files will have the same adjustments applied. If you wish, you can still open any of the files and further tweak the settings, but most of the work has been done for you. SAVE PRESETS, APPLY IN BRIDGE
If you find yourself repeatedly shooting under the same (challenging) conditions, creating presets in ACR can be a timesaver. STEP SEVEN: To create a preset, open a RAW file and make the
appropriate adjustments. Go to the Presets panel and click the New
Step Seven
Preset icon at the bottom. In the New Preset dialog, choose the appropriate settings (All Settings will often be the best choice). STEP EIGHT: Once you have a preset, you can use it in a couple
of ways. The first way is to open a single image (or a small number of
STEP NINE:
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images) and, from the Presets panel, click on your preset to apply it. If you have a large number of images, use a slight
variation on the previous Bridge technique. Select all the images in Bridge and Right-click on any one of the selected files. From the popup menu that appears, go to Develop Settings again, but this time, choose your preset from the list at the bottom of the submenu. Finally, it’s worth remembering that one of the other major benefits of using ACR is that everything is nondestructive, so whatever adjustments you’ve applied can always be changed—that in itself is a great timesaver! ■
Step Nine
079 ALL IMAGES BY DAVE CROSS
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CREATIVE POINT OF VIEW Express Yourself
KATRIN EISMANN
Knowing how each setting works doesn’t create compelling images, and having great ideas without mastering the skills to realize them is also very frustrating. Producing outstanding images requires dedication to craft, vision, and creativity, and being an artist is exhilarating, challenging, frightening, pleasurable, difficult, and rewarding. Creating art requires you to look out at the world and look into
nature overlap. Photography and image enhancement allows me to
yourself to learn what inspires you, and also understand what blocks
ponder and seek the answers to these questions. Recognizing and
or distracts you from the creative process. Each of you has a unique
valuing what you’re interested in is often the first step to creating
sensibility based on an amorphous blend of cultural, environmental,
images and developing a cohesive body of work.
educational, and personal experiences that interact and are influenced by beliefs, fate, family, history, geo-political, physical, intellec-
WHAT INSPIRES YOU?
tual, and spiritual characteristics. Many photographers work intuitively
Your personal history is a rich source for creative ideas. What you’ve
and enjoy reacting to the scene or beauty around them, while many
experienced, what you value, what you’ve seen and felt are all
others seek to create a conceptually strong body of work by asking
unique to you. Your fears and joys, darkest and lightest moments
questions and working with the camera to develop answers. Devel-
are all springboards for creative investigation and provide rich mate-
oping a body of work is at the heart of the photographic art practice
rial to work with. Don’t turn away from yourself as a unique source
and requires you to explore an idea or scene again and again to get
of inspiration.
past the easy surface. Anyone can take one great photograph but as
As visual artists, it’s imperative to see, read, visit, consume, enjoy,
an artist you need to be interested enough in a topic to return to it
ponder, discuss, disagree with, and process art forms and informa-
numerous times to learn and show it more deeply.
tion from a wide range of sources. Pay attention to the news; for
Recognizing and nurturing what interests you and where your
example, how would you illustrate abstract concepts such as infla-
creative ideas spring from is the start of the creative process. For
tion, competition, climate change, etc., without using cliché symbols
me, my creative process often starts with a question that I’m seek-
or imagery. Read fiction and nonfiction to engage your imagination
ing an answer for. Questions that intrigue me include socioeco-
and learn how authors describe a scene with words that you could
nomic issues, how gender is portrayed, and how humans and
create as an image or book cover. Visit galleries and museums of all types to revel in the quality of the prints, the color palette, abstraction or literalness of the portrayal, and how the work expresses the artist’s perception or ideas. Listen to new kinds of music and imagine what it would look like—jazz looks and feels different than rock or rap music. Go to the theater, where the stage is a framed image with props and lighting design. As image-makers we should relish in watching movies as a rich, decadent visual feast. Study how the cinematographer uses the frame and light to set the scene and create the mood. Sign up for a film history class or watch the Visions of Light: the Art of Cinematography DVD with a fellow photographer. Study and enjoy a wide variety of photography—from historical to contemporary. Become articulate in your chosen field of
› › p h ot o s h o p u s e r › j u n e 2 0 1 1
photography by studying its history and being aware of what contemporary image-makers are working on. Think about and
080
child! Most likely a child that took things apart, cut the doll’s hair
express how your work fits into the contemporary discourse of image-making—artists don’t live or create in a vacuum. Let yourself be influenced and then take that influence further to create your own artwork. Tip: Research the work and biography of an artist you admire and contact him and ask him three to five surprising and engaging questions.
THE ATTRIBUTES OF CREATIVE PEOPLE
Everyone is creative—proven by the fact that you were once a
› ›
CREATIVE POINT OF VIEW
Open: Shares ideas and discoveries; is receptive to constructive feedback and criticism; and is willing to consider change and new ideas. Honest: Truthful to herself and others. Dedicated: Learns, practices, and masters new habits and skills. Flexible: Willing to investigate options and explore issues from various points of view. Adventurous: Takes risks and relishes the challenge of the new or unknown. Playful: Embraces the childlike mind-set of unstructured play. Disciplined: Ability to prioritize tasks; maintain a schedule; and remove, turn off, or ignore distractions. Positive: Doesn’t succumb to the doubter or self-critic. Enjoys the process. Persistence: Willingness to repeat the artistic process to learn and improve. Respectful: Takes care of herself and nurtures creative habits and environments. Patient: Allows for development and growth. Trust: Believes in herself. Creative point of view is valid and is expressed with honesty and openness. Multitalented: Enjoys other interests. Einstein played the violin, while many photographers we know play musical instruments or are deeply involved with martial arts. Being one-sided is the fastest way to get into a creative rut. Generous: Shares, teaches, and supports creative people with positive energy and feedback with fellow students, hobbyists, friends, and professionals. It’s a secret every teacher knows: the teacher learns more than the student! REMOVING CREATIVE ROADBLOCKS
If you’re too busy making excuses to work creatively, or if cleaning the bathroom just sounds better than working on images, don’t lose hope. I often put off creative work out of fear of failure, perceived lack of ideas, or personal inhibitions. The first thing I do to get over empty computer screen phobia is to just work through it—somethinking it would grow back, had imaginary friends that were quite
thing I learned from an experienced photography teacher. When
real, and enjoyed unstructured playtime filled with made-up stories
I felt empty or uninspired, he encouraged me “…to get out there
and adventures. When young children play they don’t wonder about
and take pictures.” The actual act of working often frees me up to
what others will think or what time it is. As adults, we can latch onto
keep going, and once I have momentum, there’s no stopping me.
our childlike curiosity while brainstorming creative ideas and think of the word “no” as verboten.
I learned another helpful concept from Julieanne Kost at Adobe Systems. In a nutshell, she advised, “Identify the primary distraction that keeps you from your creative work and deal with it. If you have an issue, be it weight, lack of exercise, or family worries, do your best to resolve
be open to exploring, experimenting, producing, and learning. No
that issue or reduce its power of distraction on your time and energy.”
KATRIN EISMANN is the author of Photoshop Restoration & Retouching and Photoshop Masking & Compositing and co-author of The Creative Digital Dark-
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No one can, with 100% certainty, answer the timeless question, “Where do creative ideas come from?” but as artists we all need to
room and the recently released Real World Digital Photography, 3rd edition. In 2005, she was inducted into the Photoshop Hall of Fame. Katrin is the Chair of both in-classroom and online MPS in Digital Photography department at the School of Visual Arts in NYC (www.sva.edu/digitalphoto).
081
matter which field you’re in, creative people embody many of the following attributes:
It’s important to remember that creating images is a worthwhile
Curious: Engaged and fascinated with the greater world and doesn’t
endeavor in and of itself. Being creative, expressing yourself, and
blindly internalize assumptions.
learning about the world we live in through image-making is a
Imagination: Exercises and nurtures creativity; has the ability to mute
positive way to spend your time. So turn off that nagging voice of
the inner naysayer; enjoys making new connections.
distraction and doubt, and get to work. ■
ALL IMAGES BY KATRIN EISMANN
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DIGITAL PHOTOGRAPHER’S NOTEBOOK Fast Skin Smoother
KEVIN AMES
Portraits from high-megapixel cameras suffer from too much information, especially when making proofs for review. Bumps and other skin irregularities aren’t wanted when presenting portrait choices to clients. Unfortunately, retouching proofs to perfection isn’t cost-effective. STEP ONE:
We’ll show you how to build an action that softens
skin, retains texture, and can be applied to a file in 30 seconds. Open Kenya1.tif in Photoshop, then press Command-1 (PC: Ctrl-1) to set the view to 100%. Choose Window>Actions to open the Actions panel. Click the Create New Set icon (folder) at the bottom of the Actions panel, name it “Retouching Actions,” and click OK. Now click the Create New Action icon, name the action “Fast Skin Smoother,” and click Record. [NAPP members may download the files used in this tutorial from www.photoshopuser.com/members/jun11-downloads.html. All files are for personal use only.] STEP TWO:
Press Command-J (PC: Ctrl-J) to duplicate the Back-
ground layer. Double-click the words “Layer 1” in the layer stack, rename the layer “Retouch,” then press Return (PC: Enter). Step One STEP THREE:
Choose Filter>Blur>Surface Blur. This filter was
designed to remove noise or grain, which makes it perfect for smoothing over most of the unwanted skin texture in a portrait. Radius sets the size of the area that’s considered for the blur. Threshold tells the filter how different the neighboring pixels must be before becoming part of the blur, so pixels that differ a lot are excluded from the blur. This means the skin will blur while shadows won’t blur much at all. Blurring a shadow changes the lighting, so it’s a dead giveaway that the skin has been artificially smoothed. Set the Radius to 6 pixels and the Threshold to 2 levels, the lowest setting. Hover the cursor over the word “Threshold” to reveal the scrubby slider. Click-and-drag to the right until the field reads 15. Most of the bumps on Kenya’s skin are gone. Notice that the shadows on her face haven’t changed. Her eyes and the rhinestones on the straps of her top are still sharp, as is › › p h ot o s h o p u s e r › j u n e 2 0 1 1
the shadow of the strap itself. Continue dragging the Threshold
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scrubby slider until the field reads 20, and click OK. The rest of the bumps pretty much disappear. Step Three STEP FOUR:
Now choose Filter>Noise>Add Noise. Set the
Amount to 3 pixels, turn on Uniform and Monochromatic, and click OK to apply the filter. Adding noise puts smaller, uniform texture back into the skin so it won’t have the plastic look of most smoothing strategies. STEP FIVE:
Press Command-A (PC: Ctrl-A) to select the entire
canvas. Now choose Edit>Define Pattern, name it, and click OK.
Step Five
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STEP SIX:
digital photographer’s notebook
Here’s where the process gets counterintuitive. Press
Command-Option-Z (PC: Ctrl-Alt-Z) three times to deselect the canvas, undo Add Noise, and undo Surface Blur, respectively. Finally, click the Stop Recording icon (square) at the bottom left of the Actions panel to stop recording.
Step Seven STEP EIGHT:
Here’s how fast using this softening technique
can be. Glance at your computer’s clock. When the seconds read 00, open Kenya2.tif, choose the Fast Skin Smoother action, and Step Six STEP SEVEN:
Some people would have been tempted to not
undo the Add Noise and Surface Blur filters, leaving the whole photo blurred. Let’s take 30 seconds to apply the softening to just her skin. Choose the Healing Brush tool (nested under the Spot Healing Brush tool [J]). In the Options Bar, set the Source to Pattern. Now, click the drop-down menu to the right of Pattern. Click the disclosure triangle at the top right of the Pattern Picker and select
click Play Selection. Choose the last pattern (ours is Kenya1.tif). The thumbnail shows you that it’s the correct one. The settings for the Healing Brush tool are already set. Quickly heal over her skin, chest, and shoulders. How much time has passed? My clock said 30 seconds. STEP NINE:
Click the Eye icon for the Retouch layer to see how
much this softener does in less than a minute. Periodically, you’ll want to clear the patterns. Choose the Healing
used for your file (it should be at the bottom of the list). Check the
Brush tool, click the Pattern list in the Options Bar, then click the
Aligned box, use a 90-pixel brush, and heal over Kenya’s skin on her
disclosure triangle. Choose Reset Patterns, click OK, then click
face, chest, and shoulders. Don’t worry too much about painting
Don’t Save. When using the Healing Brush tool to heal, remember
outside the lines. This is fast, easy, and forgiving.
to set the Source back to Sampled and uncheck Aligned. ■
Original
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Large List. Choose the pattern Kenya1.tif, or whatever name you
Softened
KEVIN AMES creates evocative photographs for clients such as Westin Hotels, AT&T, and Coca-Cola. His fourth book, published by Peachpit Press is The Digital
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Photographer’s Notebook: A Pro’s Guide to Photoshop CS3, Lightroom and Bridge. He teaches the digital arts worldwide. ALL IMAGES BY KEVIN AMES
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THE FINE ART OF PRINTING Profile Your Monitor
JOHN PAUL CAPONIGRO
If you want to display your images accurately and make sophisticated decisions about how they will or could look, calibrate your monitor with hardware. Monitor calibration is a must. It’s not optional. It’s easy. You need a device to do it well. The visual comparator method (using your eyes to approximate an
be more difficult to predict what your image will look like in print,
appearance onscreen) is too fraught with inaccuracies and inconsis-
and it’s likely your prints will appear too dark. If it’s darker than this
tencies to be relied on. Instead, use consistent, accurate, objective
target range, your whites will appear too dull and you may not see
hardware and software. Colorimeters don’t have favorite and least
subtle shadow detail that exists in your files.
favorite colors, don’t have color deficiencies, don’t get fatigued, don’t drink caffeine or eat sugar, don’t change over time or adapt to
Second, indicate your gamma and white point preferences with
their environments, and don’t have emotions. You do. All of these
your software: Specify a Gamma 2.2 and a white point of D-65.
can affect your perception of color at one time or another. Colorim-
Both of these items produce confusion for many. The gamma is
eters are in a stable state. You’re not. So when it comes to making
specified based on the operating system of your computer, now
sure that your monitor displays color as accurately as possible, use
the same for both Mac and PC. It’s not the gamma of your editing
a colorimeter.
space, monitor, or output device. The white point is specified to
While some colorimeters, and the software packages that ship
simulate a clean white, neither too blue and bright nor too yellow
with them, are better than others, most colorimeters are good.
and dull. While the industry standard for building ICC printer profiles
Unless it’s defective, any colorimeter is better than none.
and viewing prints is D-50 or 5000K, if you specify this setting during
Spectrophotometers can also be used to calibrate monitors.
monitor calibration, more often than not your whites will appear too
What’s the difference between the two? Unlike a colorimeter, a
dull and yellow. This is due to monitor hardware limitations; their
spectrophotometer has its own light source that can be used to
white points are so high, well above 7500K, that when you simulate
make printer profiles. Spectrophotometers can do more. They also
a white point lower than 6500K, the monitor’s response starts to
cost more.
physically fail. A white point of D-65 is a simulation that generates a standard preferred appearance—or a good clean white.
CALIBRATE AND CHARACTERIZE
There’s a difference between calibrating and characterizing devices. Calibrating a device is changing its state, like setting the brightness of a monitor. Characterizing a device is measuring and mapping the color capacity of a device or building an ICC profile to describe it. Most of the process of monitor “calibration” is actually “characterization.” Calibrating and characterizing your monitor is a simple process.
Third, measure the color space and build the profile: All you have to
Use the profiling device and software of your choice (I use X-Rite
do is click go and let the software do the rest. To find a monitor’s
products [www.xrite.com]: The i1 Display 2, ColorMunki, or i1 Pro).
capacity or limitations, the measurement software will send known values to the monitor and its accompanying hardware will measure
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First, set the brightness of your monitor: Use your monitor’s buttons
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the monitor’s response.
or onscreen menu. The software you use should help you confirm
With the before and after data, it will generate an ICC profile
that you have set the brightness to a target luminance between
that maps the color space of the monitor. At the end of the process,
90 and 100. If your monitor is brighter than this target range, it will
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THE FINE ART OF PRINTING
make sure the title for the resulting ICC profile contains the date. This profile will be loaded automatically whenever you restart your computer, or until you build a new one. On a Mac, ICC profiles can be found at HD/Library/ColorSync/Profiles; on a PC, you can find them at C:\Windows\system32\spool\drivers\color.
Finally, confirm monitor calibration: View both synthetic test files (you can find many on my website) and real-world images (Bill Atkinson provides an excellent evaluation file on his website [https:// public.me.com/billatkinson]). If grayscale ramps contain color casts or crosses, repeat the process. Repeat this process monthly or when conditions change substantially.
You can manually specify a monitor profile in the Apple Displays System Preferences control panel. Separate profiles are available for each monitor used. FUTURE PROOF
The purpose of monitor calibration is to get a monitor to display digital image files as accurately as possible. The ICC profile will help your monitor display files better but it won’t change them. Only
For some images, like this one, the saturation a file contains can’t be fully displayed (top). The image is most saturated in print, but the file still contains more saturation.
changing the file’s ICC profile (so the numbers in your file mean something different) or editing the file with software (so the num-
with the same files. You won’t have to adjust your files when you
bers actually change) can do that.
look at them on other monitors, for instance, when you replace your old monitor.
too saturated for your monitor to display. The best monitors today
The purpose of monitor calibration isn’t to match a print, though
can display a gamut equivalent to Adobe RGB 1998 but can’t yet
it will help you make all your prints more accurate. A well-calibrated
display the full gamut of ProPhoto. This means that some of your
monitor will help you predict what your images will look like when
files may be able to print colors that are more saturated than your
printed, even on multiple substrates. This is what soft-proofing in
display. Do build your files in ProPhoto to take full advantage of the
Photoshop is designed to achieve.
capabilities of today’s printers and tomorrow’s monitors. As monitor technology evolves this will become a less frequent occurrence.
The value of the time and money invested in calibrating and charac-
One of the advantages of calibrating your monitors to a device-
terizing your monitor simply can’t be overstated. Once you’ve made
neutral standard is that when properly calibrated, all monitors, old
this investment, you’ll reap countless dividends, and you’ll get more
or new, should generate very similar if not identical appearances
enjoyment out of the process and your images. ■
JOHN PAUL CAPONIGRO is an internationally respected fine artist, a member of the Photoshop Hall of Fame, and author of Adobe Photoshop Master Class and the DVD series R/Evolution. Get more than 100 free lessons when you sign up for his free enews Insights at www.johnpaulcaponigro.com. Learn more about color management at his website and in his DVD 6 Simple Steps to Good Color Management.
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Some of your files may contain colors that are out of gamut or
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TABLET TALK Getting Pressure-Sensitive Selections
COREY BARKER
When you make a selection using any of the standard selection tools in Photoshop, you’ll see the “marching ants” representing the edge of the selection, but this is only helpful if the selection has very defined edges. What do you do if you have an image with a soft or blurred edge, or if the selection needs some transparency? The problem with the marching ants is that they’re not showing
STEP THREE: Now use a round, soft-edged brush to paint in the
you everything that’s going on with your selection. Photoshop
area of the selection. Make sure it’s painting the Quick Mask and not
generates selections based on black, white, and gray pixels. Where
actual pixels. In this example, we first painted over the entire area of
black is unselected, white is fully selected, and gray is partially
the bird, except the wings.
selected with the lighter grays being more selected than darker grays. This is how Photoshop sees selections. The marching ants are merely a visual aid. So it makes sense to be able to make selections visually by painting with black, white, or gray pixels and to use tools to make selections that you’d never think of using. For instance, what if I told you that you could make a selection with the Smudge tool? This is where the power of pressure sensitivity can really make a difference and save you a tremendous amount of time. To demonstrate, we’ll use a picture of a hummingbird in flight. We need to extract the bird from the background. The wings present a challenge as they have some subtle transparency due to the motion blur, so we’ll attack this selection visually. STEP ONE:
Select the Brush tool (B) and in the Brush Preset
Picker up in the Options Bar, choose a round, hard-edged brush. At the bottom of the Toolbox, double-click the Edit in Quick
STEP FOUR:
Now open the Brush panel (Window>Brush). Turn
on Transfer on the left of the panel, then set both the Opacity Jitter and Flow Jitter Control drop-down menus to Pen Pressure. This will allow you to vary the density of the selected area with the pressure applied to the tablet. Thus, by pressing lightly as you paint in the area of the wings with repeated overlapping strokes, you can build the density just a tiny bit while maintaining some transparency. When done, simply press Q to exit Quick Mask mode and go back to the marching ants. For our example, the selection may be only somewhat visible in the wing area because marching ants don’t appear until the selected area is 50% gray or lighter. This is why visual selections are so useful—to let you see more of what’s selected. Now add a layer mask or copy the selected area to a new layer. You’ll see the resulting transparency in the wings.
Mask Mode icon to open the Quick Mask Options dialog. Here you can change the color of the Quick Mask overlay by clicking on the Color swatch. Because this image is mainly green, we want a color that will clash with the green so we can see the selection. This hot
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©ISTOCKPHOTO/RCYOUNG
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pink will do.
STEP TWO: Use your Left and Right Bracket keys to decrease and
Without the ability to manage the selected pixels visually or to use
increase the size of the brush, respectively. Now begin painting in
pressure sensitivity to paint the transparent selection, this would
pixels using any pixel tool available, even the Smudge tool with the
have taken a lot more time and probably not come out as good.
Finger Painting option turned on in the Options Bar to get a smeared
The point here is to use the tools and features in Photoshop in
effect. You can even make a gradient selection with the Gradient
conjunction with pressure sensitivity to allow more natural strokes
tool (G) as long as you’re in Quick Mask mode.
and pressure to more accurately build the selection. ■
If you’re considering making the leap to a tablet, check out a couple new courses from Corey at KelbyTraining.com: “Getting Up to Speed with Wacom Intuos4” and “Using Wacom Tablets with Photoshop.” The first is all about getting set up out of the box and the second is about using the tablet effectively with Photoshop.
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BEYOND PHOTOSHOP Adding Signage with Vanishing Point and a 3D Layer
SCOTT ONSTOTT
The Vanishing Point filter makes matching perspective a simple task by clicking to add four corner points on a rectangular surface in a photo. The Extended version of Photoshop takes Vanishing Point to another level in allowing you to return a 3D layer to Photoshop for further processing. STEP ONE:
Open the New Building.jpg file in Photoshop CS5
Extended and choose Filter>Vanishing Point. [NAPP members may download the files used in this tutorial from www.photoshopuser.com/members/jun11-downloads.html. All files are for personal use only.]
Select the Zoom tool (Z) in the Vanishing Point dia-
©ISTOCKPHOTO/FSTOP123
STEP TWO:
log and zoom into the rectangular reveals above the awning over the entry on the right. Press C to select the Create Plane tool and click to create four corner points as shown. Press V to select the Edit Plane tool and then click-and-drag each point if necessary to line up perfectly with the intersecting reveals. What you’re doing here is actually creating 3D geometry that matches the perspective
Step One
of the photo. We’re lucky that this particular photo has such obvious lines of perspective in the form of reveals, but most architectural photography will have horizontal and vertical edges that you can map a plane to.
STEP THREE:
It’s easy to overlook but there’s a menu in the
Vanishing Point dialog in the upper-left corner. Open this menu and select Return 3D Layer to Photoshop (this will place a checkmark next to this option). This choice (only available in the Extended edition) maps the pixels covered by the plane you drew in the previous step into a dependent texture map that’s part of a resulting 3D layer. Click OK in the Vanishing Point dialog to have Photoshop Step Two
work its magic.
STEP FOUR:
A new layer ap-
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pears above the Background layer
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with a 3D box icon in the corner of its layer thumbnail. Double-click the new layer’s name and rename it “3D Layer.” Notice that a texture map called temp0 was created under the 3D Layer (expand 3D Layer if necessary). Double-click the word temp0 to open a separate document called temp0.psb. Choose Window>Arrange>Float All in Windows so you can see both document windows simultaneously.
Step Three
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BEYOND PHOTOSHOP
STEP FIVE: Choose File>Place; from the download files, navigate to
the Home Logo.ai sample file, which was created in Adobe Illustrator; and ©ISTOCKPHOTO/ELAPELA
click the Place button. Click OK in the Place PDF dialog that appears. Click the Maintain Aspect Ratio icon (chain) in the Options Bar, highlight the text in the Set Horizontal Scale field (W), and type 50%. Press Return (PC: Enter) twice to accept the new size and to commit the Place command. Press Command-S (PC: Ctrl-S) to save the PSB file. The logo now appears on the wall of the building in the main document.
STEP SIX:
Step Five
Still in the PSB file, choose Select>All, switch to the
Move tool (V), and select the Align Vertical Centers and Align Horizontal Centers icons in the Options Bar. The logo is now centered within the texture map. Press Command-D (PC: Ctrl-D) to deselect. Click on Layer 0 (containing the wall paint color) in the Layers panel to target it, and then press Delete (PC: Backspace). Press Command-W (PC: Ctrl-W) and then Return (PC: Enter) to close and save the changes to the PSB file. The logo on the building in the main document appears against a white background; you see the unpainted portion of the 3D surface as white because you deleted Layer 0 in the PSB file. Step Six STEP SEVEN:
To hide the 3D surface’s unsightly white color,
choose 3D>Render Settings. Select Constant from the Face Style drop-down menu and click OK to close the 3D Render Settings dialog. Now the logo appears as a cutout on the wall. STEP EIGHT:
Reopen the PSB file by double-clicking the texture
map temp0 in the Layers panel. You’ll now give the logo some depth with layer styles. Click the Add a Layer Style icon (ƒx) at the bottom of the Layers panel and select Drop Shadow. In the Layer Style dialog that appears, set Angle to 125°, Distance to 1 px, Spread to 0%, and Size to 4 px. Click the words “Bevel and Emboss” in the list of Styles on the left to add this effect and to go to its settings panel in one fell
Step Seven
swoop. Select Chisel Hard from the Technique drop-down menu, set Step Eight
Size to 4 px and Soften to 0 px. Click OK. Press Command-W (PC: Ctrl-W) and then Return (PC: Enter) to close and save the changes to the PSB file.
STEP NINE:
The red letters in the signage are too bright to be
convincing in the shade. Change the 3D Layer’s blend mode to luminosity of the wall that it appears on. Press Command-S (PC: Ctrl-S) to save the PSD file. Using this technique you can accurately place vector signage or raster artwork on any photographic surface in perspective. ■
Step Nine SCOTT ONSTOTT creates video tutorials on Photoshop, SketchUp, and 3ds Max at ScottOnstott.com. Check out Scott’s new book, Enhancing Architectural Drawings and Models with Photoshop.
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Multiply in the Layers panel and the signage instantly matches the
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PHOTOSHOP & THE WEB To Flash or Not to Flash?
RAFAEL “RC” CONCEPCION
With the introduction of the iPad, the war between designing portfolios in Flash and HTML has escalated. Backers of HTML5 have stormed the castle and asked that Flash be replaced altogether for photo portfolios. Flash still has a place, so long as it’s one part of a multipronged strategy. WHY DO WE USE FLASH?
Photographers like showcasing their images using the Flash format because of one thing—sexiness. Flash websites offer viewers a cool experience with pictures that fade or animate in and out; music playing in the background; and cool transitions or animations when clicking on a menu item. This packages the photography experience in a way that makes it look great. (For a cool example, check out Dan Winters at www.danwintersphoto.com.) Security is another reason photographers use Flash portfolios. When images are placed online, users can drag them from the webpage onto their desktops. In a second, those pictures are theirs for printing and distribution. Having a Flash portfolio makes theft a little bit more cumbersome, but not foolproof. When Apple launched the iPad, they famously decided not to include Flash on it, and gave a variety of reasons for their decision. With that decision, many in the photographic community started a stampede to get HTML5 versions of their Flash sites online. I believe that the solution to this problem isn’t so much a move away from the Flash platform, but to take advantage of all the available tools and software. THE PHOTO BLOG SOLUTION
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At the end of the day, what we photographers want is increased visibility. We want to have our customers connect with us, and to tell potential customers about the work we do. We want the work that we put in a Web portfolio to promote us automatically, and if someone suggests we’re missing a market segment, we scramble to include it. How often do you update your portfolio? If you’re like me, you probably don’t do it all that often. Chances are you’re out shooting more than you’re updating your portfolio. What are you going to do
090
with all those images? This is where something like a photo blog can help you. WordPress (http://wordpress.org) is software you can use to create your website or photo blog and quickly add text entries with your images. You don’t have to be Shakespeare when you write a blog entry—just include an image and a sentence about it. Think of it as a caption. By doing this regularly, you’ll set the expectation with your viewers that the content on your photo blog is updated constantly, and they’ll keep coming back. Your viewers will wonder what you’re going to post tomorrow instead of if you’ll post tomorrow. Your portfolio should be separate from your photo blog. Your portfolio is where you can really showcase your images. It’s the place where you thematically put the best pieces together and really control the experience for the user. Organizing a portfolio can be a work of art itself, and by separating your portfolio from your main website or blog, you can dedicate the necessary time to your portfolio. REDIRECTION FOR THE IPAD
So what do you do with the iPad when someone wants to access your Flash portfolio? Your Flash portfolio is actually embedded into an HTML file. If you open the HTML file, you’ll notice that there’s a section at the top of the page called the <head> area. Somewhere between the <head> and closing </head> tags, type in the code, as shown here.
Basically, this code says if you happen to be browsing this page on an iPad, iPhone, or Android device, go to the following webpage instead. Where you send the user is entirely up to you. I suggest creating a special page on your WordPress site that has a customized message for you iPad users. You can then take the link for that page and paste it into the script above in place of my website. When users come to see your Flash portfolio, they’re redirected to this page, where you explain what’s happening, give them some images to view, and tie the experience back to your website or blog. This takes your portfolio and turns it into one part of your overall strategy of attracting people to and keeping them at your site. The best part about it is that it’s pretty easy to do. ■ FOR MORE tips and tricks on how to get your images online, be sure to check out RC’s new book Get Your Photography on the Web: The Fastest, Easiest Way to Show & Sell Your Work. ALL IMAGES BY RAFAEL “RC” CONCEPCION scan the graphic on the right for a closer look at the code
d e pa rt m e n t
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From the help Desk
peter bauer
To: Will From: NAPP HelP Desk
Why do some of the
The word “Pro” at the end of a font name indicates an OpenType font. OpenType is a font format jointly developed by Adobe and Microsoft in
fonts in my font menu
order to provide a cross-platform, Unicode-based solution to typography
have the word “Pro” at the
trast to a maximum of 256 gylphs in a non-OpenType font. (A character
end of the name?—Will
problems. Because OpenType is based on the Unicode multibyte encoding system, each font can contain up to 65,536 individual glyphs, in conis, for example, the letter “S.” Glyphs include all of the various ways that a font reproduces a character, number, or symbol, such as S, s, s, and s.) Because of the huge number of glyphs that can be included in an OpenType font, a single font can include the Latin characters we typically use, all of the accented characters used in various European alphabets, all of the various symbols and punctuation marks, true fractions and ordinals, and advanced typographic features, such as ligatures and swashes. Many OpenType fonts include various optical weights for the font at different sizes to enhance the appearance of the text. Some OpenType fonts even include the Greek and Cyrillic alphabets. Not all OpenType fonts include all variations and optional glyphs. Here are a couple of ligature examples, comparing Myriad and Myriad Pro:
fl fi – fl fi Using an OpenType font with its extra characters can add a bit of elegance and style to your work, especially when working with script fonts. Compare, for example, the linkage between the letters “a” and “m” and “a” and “z” using Edwardian Script ITC (left) and Bickham Script Pro (right):
To work with an OpenType font’s special features in Photoshop, you need to activate them in the Character panel’s menu. In the Character panel (Window>Character), select an OpenType font. Click the icon in the upper-right corner of the panel to open the panel’s menu, then mouse
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down to the OpenType submenu and select the features you want to use.
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Options that are grayed out are not built into that particular font. Selected options remain active as you switch among OpenType fonts. When working with Adobe InDesign or Illustrator, use the program’s Glyphs panel (Type>Glyphs) to access all of the glyphs found in a particular “Pro” font. To access more glyphs in Photoshop (or, for that matter, any program that supports OpenType), Mac users can open the Character Viewer, Windows users can open the Character Map. Mac users also have the Keyboard Viewer available to preview key assignments and work with non-Latin alphabets. (Check the operating system’s Help for specific information.) n peter bauer is Director of the NAPP Help Desk and a member of the Photoshop Hall of Fame. His latest book is Photoshop CS5 for Dummies.
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ILLUSTRATOR TUTORIAL From Illustrator to Photoshop
DAVE CROSS
There are a number of interesting ways to take your Illustrator artwork and use it in Photoshop. This article will examine three very useful methods of moving artwork from Illustrator to Photoshop, particularly two very “smart” techniques. One of the reasons for building designs in Illustrator is the fact that Illustrator uses vectors, and that makes the designs very editable and scalable. Unless we’re careful, bringing vector artwork into Photoshop converts the vectors to pixels, a process known as rasterizing. The disadvantage to rasterizing Illustrator artwork is you lose the ability to edit the paths, and you can’t scale the design anywhere ©ISTOCKPHOTO/ALEXKAVA
near as much. Let’s look at two ways to move Illustrator documents into Photoshop without losing the ability to edit and scale. COPY-AND-PASTE
In this method, we’ll copy the Illustrator artwork and paste it into a Photoshop document, paying close attention to how the artwork is pasted. STEP ONE:
Step One
In Illustrator, switch to the Selection tool (V), select
the artwork, and copy it (Edit>Copy). STEP TWO: Switch to Photoshop with a document open and go
to Edit>Paste. In the resulting Paste dialog, choose Paste As: Smart Object, and click OK. Size the object as desired (hold the Shift key to maintain proportion) and then press Return (PC: Enter). This creates a two-way street between Photoshop and Illustrator, and although the artwork appears to have been rasterized, there’s a live link that GLASS: ©ISTOCKPHOTO/JOHAN63 WOMAN: ©ISTOCKPHOTO/VLINGVA
allows you to edit the original file. Note: Since this is a vector smart object, you can scale the artwork to a much larger size without losing quality because Photoshop refers to the original vector artwork, which is very scalable. Just press Command-T (PC: Ctrl-T) to enter Free Transform, scale the object as large as you want, and press Return (PC: Enter) to commit the transformation. To edit or change the original artwork, double-
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STEP THREE:
Step Two
click the layer thumbnail in the Layers panel in Photoshop, click OK
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vector smart object that you can edit in Illustrator as described above.
in the resulting dialog, and Illustrator will open the vector smart object artwork—not the original artwork, but the smart object version. Make a change to the artwork, save it, and when you switch back to Photoshop, the artwork will update while preserving its size, position, and any Photoshop effects you’ve applied. In this example, we added some additional splashes to the vector artwork. Note: If you want to bring in an existing Illustrator file without launching Illustrator, in Photoshop use File>Place. That will also create a Step Three
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ILLUSTRATOR TUTORIAL
PLACING ARTBOARDS IN PHOTOSHOP
In Illustrator CS5, you can create and save multiple artboards in one document, and then access the individual artboards in Photoshop. Here’s how to import and make use of the artboards in Photoshop. In Illustrator, use the Artboard tool (Shift-O) to
©ISTOCKPHOTO/ALEXKAVA
STEP FOUR:
create multiple artboards in a document. Just click-and-drag in the document to create a new artboard at the desired size. This can be a very useful way to save multiple versions and sizes of a design in one document. After creating a different illustration on each of the artboards, save (File>Save As) the document as an .ai file.
Step Four
STEP FIVE: In Photoshop (with a document open), use File>Place
and choose the Illustrator file that you just saved. The Place PDF dialog will appear, and each artboard will appear as a separate page. Choose the page (artboard) you want and click OK. STEP SIX:
Scale the placed artwork to the size you want and
press Return (PC: Enter). This will create a vector smart object layer. STEP SEVEN: As before, double-click on the vector smart object
layer thumbnail to access the artwork in Illustrator. Step Five Note: If you wish to use a different artboard in Photoshop, after double-clicking to open the vector smart object, delete the artboard you previously chose (you can always get it back). To delete an artboard, go the Artboards panel (Window>Artboards) in Illustrator, ©ISTOCKPHOTO/SOFOCLES
click on the artboard you want to delete in the list of artboards, and then click on the Delete Artboard icon (trash can) at the bottom of the panel. When you save the Illustrator document, the Photoshop document will update with the new artboard. PUTTING IT INTO PRACTICE
Here’s an example that builds on the idea of using vector smart objects.
Step Six
STEP EIGHT: As before, copy-and-paste from Illustrator to Photo-
shop to place some Illustrator artwork, and press Return (PC: Enter). We’re using a logo that contains some text. STEP NINE:
In Photoshop, press Command-J (PC: Ctrl-J) to
duplicate the layer. STEP TEN: Press Command-T (PC: Ctrl-T) to enter Free Transform, › › w w w. p h ot o s h o p u s e r . c o m
and scale the copy of the logo to a larger size, and press Return (PC: Enter) to commit the transformation. Then, lower its Opacity to around 10% in the Layers panel. Change the layer stacking order so the larger logo is behind the smaller logo. Just click-and-drag a layer in the Layers panel to change the order of the layers. STEP ELEVEN:
Click on the original logo layer in the Layers
panel to make it active. Enter Free Transform again, and resize and reposition the logo so the text is larger and centered in front of the copied logo with the reduced opacity. Press Return (PC: Enter) to commit the transformation.
Step Ten
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ILLUSTRATOR TUTORIAL
STEP TWELVE:
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Using the Rectangular Marquee tool (M), make
a selection around just the word portion of your logo and click the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. This will hide the rest of the original logo, leaving just the text visible. STEP THIRTEEN:
To make a change to the design, double-
click on either of the layer thumbnails for the vector smart objects, make the change in Illustrator, and save the file. The change will be made to both layers in Photoshop. EXPORTING FROM ILLUSTRATOR
Although perhaps a little less common, it’s possible to take Illustrator
Step Twelve
artwork and export it so that each element appears as a separate layer in Photoshop. Here’s how to do that: STEP FOURTEEN:
After saving the Illustrator file as an .ai file,
go to File>Export. In the Export dialog, choose Photoshop (psd) in the Format drop-down menu, and click the Export button. STEP FIFTEEN:
In the Photoshop Export Options dialog that
appears, choose the Color Model and Resolution. For the best results in Photoshop, choose Write Layers and enable both Preserve Text Editability and Maximum Editability. Click OK. Step Thirteen Step Fourteen
Step Sixteen
STEP SIXTEEN:
Open the document in Photoshop and you’ll
see each of the Illustrator objects appear as a layer, with text ap› › p h ot o s h o p u s e r › j u n e 2 0 1 1
pearing as Photoshop type layers. Note: The non-type layers are
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rasterized, so you do lose the ability to edit the paths and scale to much larger sizes. STEP SEVENTEEN:
Add your Photoshop effects such as
layer styles, etc., and you’re done. Remember, all of these options are available not only for artwork that you create from scratch in Illustrator, but also the built-in Illustrator artwork that’s available from the Symbol Libraries and Brush Libraries. You can find all these libraries at the bottom of the Window menu. ■
Step Seventeen
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INDESIGN TUTORIAL Create a Beautiful Template for Your Portrait Clients
MARGIE ROSENSTEIN
With InDesign, you can create great-looking promo card or comp card templates that you can use as an extra added value to sell your clients after a photo shoot. Added to any photography package, it’s a great way of making additional monies. STEP ONE:
This tutorial was inspired by our cover story this
issue on senior photography (p. 52). We’d like to thank Hernan Rodriguez for allowing us to use his photography in this article to help us demonstrate some cool techniques for senior and portrait photographers. We’re going to build a simple design that houses a couple of Hernan’s photos and some vector graphics, including some downloaded from iStockphoto.com. We’ll create this template so it can be used more than once for a variety of photographs; simply switch out the the illustrations and change the colors and text to fit the feeling of the photos. For this tutorial, we’ll make a one-page 10x8" document, so choose File>New>Document. Make the Width 10 in and the Height 8 in, set the margins to 0.5 in all around, and click OK. STEP TWO:
Since we want to create a template that we can use
Step One
more than once, it’s best to build the document using layers. So, let’s start by creating a new layer for a background gradient. Go to the Layers panel (Window>Layers), and Option-click (PC: Alt-click) on the Create New Layer icon. Name the layer “Background Gradient” in the New Layer dialog and click OK. STEP THREE: Now let’s create that background gradient. We
want to use warm colors but in order to create the gradient with warm colors, we’ll need to build a new color swatch. Go to the Swatches panel (Window>Color>Swatches), and select New Color Swatch from the panel’s flyout menu. Turn on the Name with Color Value checkbox, choose Process for Color Type, and select CMYK for Color Mode. Set Cyan to 6%, Magenta to 20%, Yellow to 27%, and Black to 0%, then click OK. Your new swatch will appear at the
Step Three
bottom of the Swatches panel. STEP FOUR:
Now that we have the proper swatch to create
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the background gradient, go to the flyout menu again in the
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Swatches panel and select New Gradient Swatch. Name it “Background Gradient,” and select Radial for Type. Below the Gradient Ramp, click on the right color stop (it should be black). The Stop Color area should change to all of your available swatches (if it doesn’t, select Swatches from the Stop Color drop-down menu). Select the new color swatch you created in Step Three. Leave the Location at 100%, and click OK. STEP FIVE:
To apply the gradient, select the Retangle tool (M)
and click-and-drag to draw a frame the size of the page. It should fill with the gradient that you just created, but if it doesn’t, go to
Step Four
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INDESIGN TUTORIAL
the Swatches panel, make sure the Fill icon and not the Stroke icon is active at the top left of the panel, and select the Background Gradient at the bottom of the list. STEP SIX:
Now we’re ready to add detail to the background. For
this example, we’ve selected a floral scroll from iStockphoto.com to match the delicate touch of the photography (we actually only used one small piece of the overall vector illustration). Most microstock sites have plenty of vector illustrations to choose from to meet your particular needs. We made sure that the illustration we’re using was filled with white, so when we place it in InDesign it can be screened back for a ghosted effect. [NAPP members may download practice vector illustrations for this tutorial from www.photoshopuser.com/members/jun11-downloads
Step Five
.html. Some of the files are not the exact images shown here. All files are for personal use only.]
STEP SEVEN: To add the scrolls, first create a new layer named
“Scrolls.” Switch to the Selection tool (V), and click on an area outside of your document to make sure the frame with the gradient isn’t selected. Go to File>Place (Command-D [PC: Ctrl-D]) and find ©ISTOCKPHOTO/ALEKSANDARVELASEVIC
the vector image that you want to place, select it, and then click Open. When you see the arrow and brush (or PDF icon if you’re placing a native Illustrator file), click-and-drag out the scroll to the approximate size you want it to appear on the page (if you only click and you don’t drag, the scroll will be placed inside the frame containg the gradient). To move the scroll, just click-and-drag it with the Selection tool to the desired position. To resize it, hold Shift-Command (PC: Shift-Ctrl) and click-and-drag one of the corner points (Shift maintains proportion and Command [PC: Ctrl] resizes the
Step Seven
frame at the same time). To rotate the scroll, mouse over a corner point until you see the bent double arrow, then click-and-drag to the desired angle. Use the Selection tool to reposition if necessary.
STEP EIGHT: To lighten the scroll for that ghosted effect, select
the scroll image (click on it with the Selection tool), and go to the Effects panel (Window>Effects). Drop the Opacity to 40%. The scroll is now screened back for a more delicate effect. In this example, we thought the design would look best if we used the scroll coming out of each corner of the page. With the scroll selected, copy (Command-C [PC: Ctrl-C]) it, and then paste (Command-V [PC: Step Eight › › w w w. p h ot o s h o p u s e r . c o m
Ctrl-V]) it three times. Use the Selection tool to position and rotate the duplicates.
STEP NINE:
Let’s add one more graphic detail to the back-
ground. We created an illustration of a large flower in Illustrator and made sure it was filled with white. Create a new layer named “Large Flower” and place your new graphic (if you’re using the download files, look for large_flower.ai). Again, you can position the flower wherever you think it looks good and size it to fill the card. As with the scrolls, ghost back the new element to 40% in the Effects panel.
Step Nine
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INDESIGN TUTORIAL
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STEP TEN: Once the background details are complete, it’s time
to add some photos. Create a new layer named “Photographs.” Make sure the flower graphic that you just added isn’t selected. Go to File>Place, find the first photo you want to place on the page, click Open, and then click-and-drag to place the image. Resize, position, and rotate the image using the Selection tool.
STEP ELEVEN:
Now that HERNAN RODRIGUEZ
the photo is in the right spot, let’s add a stroke to it. Make sure the photo is still selected, and go to the Swatches panel. Click the Stroke icon near the top left of the panel, and select the Paper (white) swatch. To adjust the size of the stroke, go to the Stroke panel (Window>Stroke). Change the Weight to 6 pt, the Miter Limit to 4, and the Type to Solid (thick
Step Ten
black line).
STEP TWELVE:
To get a sense of dimension, let’s add a drop
shadow to the photo. Go to the Effects panel, click on th ƒx icon at the bottom, and select Drop Shadow. In the Effects dialog, set the Blending Mode to Multiply and the Opacity to 55%. Set the Distance to 0.125 and the Angle to 59°. In the Options section, change the Size to 0.0894, and click OK. Step Twelve STEP THIRTEEN:
Place a second photo and add the same
stroke and drop shadow. Tip: With the first photo selected, clickand-drag the ƒx symbol that appears next to Object: Normal 100% in the Effects panel, and drop it on the second photo in the document to apply the same shadow. We also rotated the second image –13.875°.
STEP FOURTEEN:
Move the Scrolls layer above the Photo-
graphs layer so the ghosted scrolls overlay the photos. Simply go to the Layers panel and click-and-drag the Scrolls layer above the
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Photographs layer.
STEP FIFTEEN:
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angle of the photos.
We thought adding photo corners like the
ones used in photo albums or scrapbooks would add a nice touch.
Step Thirteen
Again, we’ve downloaded an illustration of a photo corner from ©ISTOCKPHOTO/FREETRANSFORM
iStockphoto.com (you can use the one called photo_corner.ai in the downloads folder). Create a new layer and name it “Photo Corners.” Place the vector image that you want to use in the InDesign document, and using the Selection tool, position it over the top-left corner of the top photo, then resize and rotate it. Copy the photo corner and paste it six times. Position a photo corner at each visible corner of the two photos, and use the Selection tool to match the Step Fifteen
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STEP SIXTEEN:
INDESIGN TUTORIAL
For the finishing touch, let’s add some copy
to further tell the story. A few choice descriptive words accent the piece. You can use any script font that you think looks good. Create a new layer and name it “Type.” Make sure that the Type layer is your top layer in the Layers panel. Select the Type tool (T), draw out a text box, and type in the word “beauty.” Select all the text (Command-A [PC: Ctrl-A]), go to the Character Formatting Controls in the Control panel, and type the first few letters of the name of the font you want to use in the first field at the top (we’re using Edwardian Script). Set the Font Size to 72 pt. Using the Selection tool, clickand-drag the text box over to the top-right corner of the first photo and rotate the text box so it matches the angle of the photo. In this example, the text would show up best if were white and ghosted Step Sixteen
back a bit. To change the color of the text, go to the Swatches panel and click on the Formatting Affects Text icon (T) at the top of the panel. Select Paper as the color. Click on the text with the Selection tool, and lower the Opacity to 60% in the Effects panel. STEP SEVENTEEN:
To add a little depth to the text, click
the ƒx icon at the bottom of the Effects panel and choose Drop Shadow. Set the Blending Mode to Multiply and the Opacity to 19%. Set the Distance to 0.0625 and the Angle to 135°. Check the box for Object Knocks Out Shadow, then click OK. You can add another word or two for effect by following the same steps as above. We added the words “elegance” and “Class of 2011.” We set “Class of 2011” in a light purple to match the background of the photos and left the Opacity at 100% so it would read clearly off the background. As you can see, with just a couple photos, a few of choice vector graphics, and some text, you can create a comp or promo card Step Seventeen
template to use for any and all of your clients by just changing out the photos and the vector graphics. Here are a few other examples of some comp card designs that were done by two of our designers at NAPP, Jessica Maldonado and Eduardo Lowe. You can see that there are a variety of ways you can go to create great-looking promo or comp cards to sell
scan bottom-right image for video tutorial by jessica
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HERNAN RODRIGUEZ / ILLUSTRATION BY JESSICA MALDONADO
HERNAN RODRIGUEZ / ILLUSTRATION BY EDUARDO LOWE
your clients. ■
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BEFOR E
AFTER
PRECISE PORTRAIT PROCESSING UPDATES TO LIGHTROOM 3 YIELD IMPRESSIVE RESULTS by A.J. WOOD
YOU HAVE TO ADMIRE THE PIONEERS OF PHOTOGRAPHY WHO CREATED AN IMAGE WITHOUT THE INSTANT GRATIFICATION OFFERED BY DIGITAL SLR CAMERAS (DSLRS) AND THEIR LCD DISPLAYS. WHILE THEIR PREDECESSORS WORKED PATIENTLY IN A DARKROOM AMIDST A WAFF OF CHEMICALS, TODAY’S DIGITAL PHOTOGRAPHERS BENEFIT FROM THE LIGHTROOM DEVELOP MODULE. THE DEVELOP MODULE INTERFACE PRESENTS PHOTOGRAPHERS WITH A LOGICAL PROGRESSION FOR PROCESSING IMAGES.
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THE CAMERA CALIBRATION PANEL
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Figure 1
Our first step is the Camera Calibration panel, located at the bottom of the right-side panels area in the Develop module. It doesn’t require changes every time you work on an image; however, there’s a setting that distinguishes Lightroom 3 from previous versions—it’s the Process pop-up menu option, which is set to 2010 (Current) for images newly imported in Lightroom 3. If you have updated an existing Lightroom 1 or Lightroom 2 catalog, you’ll notice your images display an exclamation point warning at the bottom right, indicating the Process is set to 2003. To take advantage of all the new Develop features in Lightroom 3, you must use Process 2010 (Current). See Figure 1. While you may consider updating your entire Lightroom catalog to process version 2010, this will change images you’ve already edited under the 2003 process version. For example, Sharpening and Noise Reduction look significantly different between the 2003 and 2010 processes. The good news is you can switch process versions any time you choose due to the Lightroom database design. A recommended approach is to update older images as necessary when making new adjustments.
[ images A.J. Wood; iStockphoto.com + layout design Eduardo Lowe ]
PR P
The Profile setting in the Camera Calibration panel allows you to choose profiles that mimic your camera’s custom settings. Canon and Nikon users specifically can emulate vivid color settings or settings for scenery and portraits. Profiles are best used to establish your baseline setting—your starting point—for the rest of the adjustments you make in the Develop module. For our example, we’re using Camera Portrait.
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Figure 2
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Figure 3
THE BASIC PANEL
Working from top to bottom in the Basic panel, your first stop is adjusting the white balance in your image. When working with RAW images, the white balance (WB) pop-up menu will show all the settings available in camera, such as Auto, Daylight, Cloudy, Shade, Tungsten, Fluorescent, Flash, etc. When working with JPEG images, the white balance pop-up menu only shows three choices: Auto, Custom, and As Shot. It should also be noted RAW images show a Temp adjustment in degrees Kelvin, where JPEG images have a range from –100 to +100. The White Balance Selector tool (W) is designed to target image areas that are neutral gray, not white. With the tool selected, click the eyedropper on a gray portion of an image for better control. As you mouse over your image, look in the Navigator panel for a preview. In our example, the initial white balance in camera is a little green, so we changed the white balance to Flash to warm things up. After setting the white balance, you’re ready to adjust the Tone controls. If you’re not sure where to begin, or which controls you need to adjust, the Auto button is a good starting point. As Photoshop wizard Jack Davis points out, you’ll find the Exposure slider locks in an appropriate value, and you can simply adjust the Brightness and Contrast sliders to your individual taste. What’s the difference between the Exposure and Brightness sliders? Exposure targets the highlight areas first when brightening an image, while Brightness targets the midtone range. Our portrait is a little dark, so we adjusted the Exposure to +0.55. See Figure 2. The Recovery slider is used to recover highlight details lost from overexposure. While it can simply be used in response to adjustments made with the Exposure slider, it’s useful by itself as a single adjustment. We’ll use the Recovery slider to pull back highlight detail in the face, then adjust Blacks to keep the shirt from washing out. For a better idea of how your adjustments are affecting the exposure of an image, press J to toggle the shadow and highlight clipping warnings on and off. Blown-out highlights appear in red, while clipped shadows appear in blue. You can also press-and-hold the Option (PC: Alt) key while moving the Exposure, Recovery, or Blacks sliders to see individual clipping warnings for those adjustments. See Figure 3. Once you’ve set the tonal range in the image, you can give it more pop by adjusting the Presence controls. Clarity increases local contrast and in some cases appears to thicken the outline areas or sharpen the image. Shiny objects, metals, and textured areas benefit well when adding positive Clarity values. When shooting portraits, women and children generally can do without too much Clarity. Choosing a negative Clarity value will reduce contrast, creating an appearance of surface blurring. Portraits benefit from the Vibrance adjustment. This is due to its ability to target primarily muted colors compared to Saturation, which boosts all colors simultaneously in an image. Vibrance also does well at preserving skintones.
RECISE PORTRAIT
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THE BASIC PANEL
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THE TONE CURVE PANEL THE TONE CURVE PANEL
You can make an overall contrast adjustment targeting the midtones by using the Contrast slider in the Basic panel, but for greater control the Tone Curve panel works very well. We’ll use the Point Curve pop-up menu and choose Strong Contrast. Notice the very shallow S curve created in the Tone Curve graph? The steeper this curve, the stronger the contrast in the image. To target specific areas in an image, use the Target Adjustment tool in the Tone Curve panel. It’s easy to overlook, but click the target icon to the left of the Tone Curve graph. Click-and-drag up in your photo to lighten specific areas, or click-and-drag down to darken areas of the photo. When you’re finished making adjustments, click the icon again to dismiss the tool.
HE HSL PANEL
THE HSL PANEL
“WHEN YOU MOVE THE LUMINANCE SLIDER FOR THE FIRST TIME, YOU WON’T BE DISAPPOINTED.” ■
Figure 4
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Figure 5
The Vibrance and Saturation controls work well, but sometimes you want more precise color control. The HSL panel allows you to adjust Hue, Saturation, and Luminance one color at a time. We have good separation of colors in this image, allowing us the freedom to play with our HSL adjustments. Here we can adjust the blue in the sky (which also affects the eyes), as well as make minor adjustments to the red and orange in the skin. In the Saturation section, we set Red to –20, Orange to –25, Green to –40, Aqua to +10, and Blue to +60. Under Luminance, we set Yellow and Green to –100, and Blue to –20. Notice there’s a Target Adjustment tool here as well, so you can easily click-and-drag in the photo to adjust color. See Figure 4.
TH AD BR
HE DETAIL ANEL
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THE DETAIL PANEL
104
As previously mentioned, you’ll appreciate the improvements made to Sharpening and Noise Reduction in the Detail panel. To see the adjustments in your image, be sure to set the view to 1:1 or higher in the Navigator panel. Sharpening deserves special attention because the settings you used with Process 2003 will not be the same settings you use with Process 2010 (Current). This may be why some of your favorite sharpening presets seem broken. The Amount and Radius sliders determine how much sharpening will be applied to a photo, while the Detail and Masking sliders determine the areas of focus for sharpening. Using the 2010 process version in Lightroom 3, you’ll find it’s better to use smaller values than you’re used to for the Amount slider. Press-and-hold the Option (PC: Alt) key while moving the Sharpening sliders to display focus previews. The Amount preview is black and white to remove color distractions, while the Radius and Detail previews are embossed to show area localization. The Masking preview shows areas sharpened in white, while areas in black will not be sharpened. In our image, the Amount is set to 39, Radius is kept at 1.0 for small areas, Detail is lowered to 3 to reduce edge artifacts, and Masking hovers around 89 to allow the edge of the nose to show. See Figure 5. Prior to Lightroom 3, you probably never used the Noise Reduction sliders and resorted to making these corrections elsewhere. It’s worth finding that old photo that had noise you couldn’t remove and running this adjustment on it. When you move the Luminance slider for the first time, you won’t be disappointed. You reduce the graininess by adjusting the Luminance, and balance the image details with the Detail and Contrast sliders.
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PROC
THE SPOT REMOVAL PANEL THE SPOT REMOVAL TOOL
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Figure 6
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Figure 7
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Figure 8
It’s true that Photoshop is the standard for image manipulation, but Lightroom has its share of brushes. The Spot Removal tool (Q) comes in handy for quick touch-up work in portraits (and the occasional dust spot). Unlike the Clone Stamp or Healing Brush tools in Photoshop, you don’t use a brushing motion with this tool. Simply hover over the spot you want to clean up, then click-and-drag to a clean spot, and release the mouse button. Make sure the brush options are set to Heal for portraits. You can also resize the Spot Removal tool by using the scroll wheel on your mouse. No more reaching for the Bracket keys to size up or down. See Figure 6.
HE DJUSTMENT RUSH THE ADJUSTMENT BRUSH
The Adjustment Brush (K) is another tool that can be used for localized adjustments. It’s a powerful tool in that once you’ve painted the area you want to adjust, you can change what adjustments are applied as often as you like. As with the Spot Removal tool, you can quickly resize the Adjustment Brush by using the scroll wheel on your mouse. Press-and-hold the Shift key while using the scroll wheel to adjust Feather. To begin, simply paint in an area on your photo where you want to make an adjustment. A pin will be set where you first clicked. You can toggle the paint overlay on and off by pressing O, which is useful if you’re using a subtle adjustment. There’s no need to lock in the slider adjustment (e.g., Exposure, Saturation, etc.) prior to painting because you can move the sliders and adjust the area as long as the pin is in place. An active pin shows up as black, and inactive pins will be gray. To create a new adjustment area, simply click New in the Adjustment Brush panel. You can toggle visibility of the adjustment pins on and off by pressing H. The following nose trick is a favorite, as we would normally jump into Photoshop. To remove the extra bit of red, paint the nose as shown (Overlay preview is left on for your review). We’ll set Saturation to –30 then select a color by clicking on the Color swatch. We set the Hue to 40 and the Saturation to 18% in the Select a Color dialog, which balances well against the skin. You’ll find if you sample directly from the face, the sampled color is too red. See Figure 7. For the eyes, we’ll add a tiny bit of Exposure and set it to 0.26, and set Clarity to 11. If you want, you can also use the Color option to change the eye color. See Figure 8.
PRECISE PORTRAIT CESSING
BIO
A.J. Wood is an Adobe Community Professional and Adobe Certified Instructor in Photoshop, Lightroom, and InDesign. He’s a NAPP Evangelist, belongs to the Professional Photographers of America (PPA), and is an instructor for the Special Kids Photography of America (SKPA). In addition to creating video tutorials for LayersMagazine.com, A.J. contributes art and technology content for ajwood.com, TipSquirrel.com, GeekBeat.tv, and WebBeat.tv.
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When Lightroom first came out, an Adobe employee commented that, “Using Lightroom makes photography fun again.” There’s a lot that can be done in the Develop module. After building a foundation with some basic adjustments, you quickly realize the untapped potential that awaits.
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adobe photoshop
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UNDER THE HOOD
Five Tips for Making Great Slide Shows Matt Kloskowski
X Y
If you’re using Lightroom 3 to deliver slide shows, then there are some pretty important tips you need to know to ensure it plays without a hitch. Our tips will address best practices for working in the Slideshow module and dealing with options, such as using a second monitor. . . . . TAKE ADVANTAGE OF TITLE SCREENS
Let’s say your clients come to your studio or office to review photos, and you have that one killer shot (say of a bride and groom) that you want to wow them with when the slide show kicks off. This all hinges on them being seated, comfortable, and in the zone ready to view the photos, right? You don’t want the moment ruined by the clients accidentally seeing the photo onscreen in the Slideshow module before you’re ready. If they do, that “wow” moment is ruined. That’s where the Titles panel comes in. It lets you add a title screen with text (or graphics) to the beginning of the slide show. Launch Lightroom 3, select the folder or collection of photos for your slide show, and go to the Slideshow module. In the Template Browser panel on the left, choose your display preference for the slide show (we’re using the Widescreen preset for our example). Then scroll down the right-side panels area to the Titles panel. You’ll see two main areas here: Intro Screen and Ending Screen.
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STEP ONE:
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STEP TWO: Let’s check out the Intro Screen option (the Ending Screen option works the same). Check the Intro Screen box to enable it, then click the color swatch to the right of it to select a color for the intro screen. This is what the client will see before the first slide appears in the slide show. Now your slide show will start to a blank screen in whatever color you chose.
you want to change it), just click at the bottom right of the identity plate preview and choose Edit. In the Identity Plate Editor dialog that appears, choose Use a Styled Text Identity Plate. Now enter your text in the field then choose a font, size, and color. Click OK. Tip: If you click Use a Graphical Identity Plate, you can use any graphic that you create in, say, Photoshop for your identity plate and as an intro screen. STEP FOUR: Playing the slide show is really simple; how-
ever, if you want the intro screen to work right, there’s a little trick you need to know. If you haven’t turned on the Intro Screen, try it now. You’ll see the screen changes for a few seconds to show what your intro screen contains but then it changes back to your regular view. While the intro screen is great, it doesn’t help the issue at hand because the “moment” is still ruined—the photo is still onscreen for everyone waiting to see. You need to have the slide show ready to go before the client even comes in. Set up everything ahead of time, then click the Play button. When your intro screen pops up, quickly hit the Spacebar to pause the slide show. When everyone is ready to go, press the Spacebar again to resume the slide show. The first photo will appear and you’ll have captured everyone’s attention from the start with the photo you intended, not some weird Lightroom interface that they’ve never seen (but will undoubtedly ask questions about), and not the photo that you didn’t want them to see yet.
You’ll see your intro slide for about four seconds before you see the first photo in the slide show PREP THE SLIDE SHOW AHEAD OF TIME
Let’s say you want to add some text. Turn on the Add Identity Plate checkbox and your current identity plate will show up onscreen. If you haven’t specified one (or STEP THREE:
It takes a minute or so for Lightroom to build the previews it displays in the slide show. If you don’t let it build those previews, then you may see a pixelated version of
› › a photo in the slide show. To ensure that doesn’t happen, scroll all the way down the right-side panels to the very last option—a checkbox called Prepare Previews in Advance. Enable this and when you click Play, you’ll see a dialog before the intro screen or slide show telling you that Lightroom is building previews of each photo. It takes a minute, but you’ll be assured that when the slide show does start to play, all of the photos will be crystal clear and you won’t see any blurry, pixelated photos (meaning Lightroom hadn’t built a preview yet). MUSIC AND TIMING
Every slide show needs music. That’s a no-brainer, right? But if the music stops before the slide show, it’s a very awkward moment. Lightroom 3 has a way to avoid this.
under the hood
settings in the second monitor window instead. Even if you don’t turn on Intro Screen in the Slideshow module, you can turn it on here. Plus, it enables the rest of the checkboxes next to it. Intro Screen displays the intro slide even if you haven’t enabled it in the Slideshow module. Pause on Intro is exactly the circumstance we saw in the “Take Advantage of Title Screens” section above, but pauses on the intro screen for you instead of you having to hit the Spacebar. The trick is you must be using the second monitor to make it happen. Ending Screen is the same as Intro Screen above. Repeat overrides the Repeat setting in the Slideshow module and uses this one for the second monitor instead.
Scroll to the bottom of the right-side panels area in the Slideshow module to the Playback panel. Turn on the Soundtrack option and click the Select Music button. Navigate to the song of your choice and click Choose.
STEP ONE:
At this point, all you’ve done is tell Lightroom what song you want to play during the slide show. But if that song is too short, your music will stop before the slide show ends. To fix this, click the Fit to Music button. If you watch the Slide Duration settings, you’ll see them change so that the entire slide show’s timing will fit the timing of the song that you’ve chosen.
STEP TWO:
VIDEO EXPORT
All of this is great if you want to watch the slide show on your computer, but what if you want to burn it to a DVD or send it to someone? Lightroom 3 added an Export Video feature that does just that.
show is ready to go, test it out by clicking the Play button. If everything looks good, then click the Export Video button on the bottom left of the screen. This kicks off the process of exporting your slide show, including intro screens, ending screens, photos, timing, music (basically everything you just saw onscreen) to a video format for sharing.
If you have two monitors, you can take advantage of dual monitor support and make things easier. Again, this isn’t without its quirks, so read on to see the trick to getting it to work with the Slideshow module. STEP ONE: To bring up the second monitor, choose Window>Secondary Display>Show. This puts a second, limited interface with slide show controls on the second monitor. If it’s not set to Full Screen mode, the slide show won’t appear anywhere on there. STEP TWO: No sweat. To enter Full Screen mode on the second monitor, choose Window>Secondary Display>Full Screen. Now you’ll see the slide show as an option at the top left. STEP THREE: Click Slideshow at the top left and some new options will appear at the bottom of the monitor that let you control the slide show. Here’s what they are:
Override does what the name implies—it overrides any settings you set in the actual Slideshow module and uses the
When the Export Slideshow to Video dialog appears, you have a couple of choices. Aside from where to save the video file, your main choice is what size you want the video to be. You have some smaller options for sharing on the Web or via email, but you can go all the way up to 1080p if you want something really big. Click Export when you’re done and your slide show will be exported to the location you selected, waiting for you to share it. ■
STEP TWO:
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STEP ONE: When your slide
USING TWO MONITORS
107 ALL IMAGES BY MATT KLOSKOWSKI
adobe photoshop
lightroom section
› ›
UNDER THE LOUPE
Hide and Go Seek
Rob Sylvan
X Y
Every week I hear from someone who’s struggling to find something that has seemingly vanished from Lightroom, such as a tool, panel, or preset. To help you avoid panic and frustration, I’ve compiled a list of the top ten things that seem to go missing (or appear out of nowhere) of their own accord and how to put everything back to normal. . . . . 10. Individual panels: It’s possible to hide many of the
you want them to go away, just press the J key, which will show/
individual panels completely from view. We’re not talking
hide the clipping indicators in the Library or Develop module’s
about collapsing the panels, but outright removal from the
Histogram panel.
panel group. If you find some day that a certain panel has vanished from the interface, all you need to do is go to
4. Adjustment Brush mask overlay: Speaking of colorful
Window>Panels and select the wayward panel from the
overlays that won’t go away, if you’re applying an adjustment
menu to bring it back. In addition, you can hide (or show)
via the Adjustment Brush tool and a colored overlay seems to
a panel by Right-clicking a panel header and selecting the
have become a permanent part of the image, just press the
panel from the contextual menu that appears.
O key to hide it again. While you’re at it, you can cycle through the colors of the mask overlay by pressing Shift-O.
9. The Library Filter bar: Normally positioned above the thumbnails in the Library module’s Grid view (G),
3. Custom presets/templates: If it seems as though all your
the Library Filter can be hidden or shown by pressing the
custom presets and templates have vanished, the most likely
Backslash key (\). Hiding the bar does not turn off the filter
cause is a box in the Lightroom preferences. Choose Lightroom
being applied.
(PC: Edit)>Preferences, click the Presets tab at the top, and uncheck Store Presets with Catalog and see if that doesn’t bring
8. The Toolbar in any module: This is an easy one to
them right back.
misplace and return. Just press the T key to toggle it into and out of view. If your Toolbar is visible but certain tools
2. Entire batches of photos you know you imported: In my
aren’t showing, click the drop-down menu at the far-right
experience, if you launch Lightroom and discover that it doesn’t
end of the Toolbar and select the tools from the menu.
have the same photos as it did when you quit your last session,
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the most likely suspect is that the wrong catalog was opened. By
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7. The Crop Overlay guide: When you’re using the Crop
default, Lightroom is set to open the last catalog used, but if for
Overlay tool (R), you should see a guide overlay appear
some reason the Lightroom preference file got corrupted, it will
on top of your photo to help create a stronger composi-
automatically revert to its default settings and only look for the
tion. The overlay can be hidden and revealed by pressing
default catalog in the default location. If you know where your
the H key. You can also cycle through the different guide
real catalog is located, then use the File>Open Catalog command
overlays by pressing the O key. If your Toolbar is showing,
to open it directly; otherwise, search your hard drive for all .lrcat
you can also control the tool overlay from there.
files and open the one with the most recent date.
6. Toolbox pins and circles: While we’re discussing tools,
1. The Close, Minimize, and Maximize buttons on the top
the same tip above applies to the Spot Removal tool (Q)
of the Lightroom interface: This is the all-time number-one
circles, Red Eye Correction tool circles, Graduated Filter tool
thing that I’ve been asked about since Lightroom was first
(M) pins, and the Adjustment Brush (K) pins. If any of these
released. Lightroom has three different screen modes—Normal,
tools are active but something is missing, hit the H key to
Full Screen with Menu Bar, and Full Screen—and you can cycle
toggle visibility.
through these modes simply by pressing the F key.
5. Highlight/Shadow clipping indicators: This is one
I think many people discover these hidden shortcuts by accident
that can accidentally appear and take you by surprise, so
first, so don’t worry if it has happened to you because you’re
if you’re seeing a red overlay on the brightest areas of
in very good company. Once you know them, they’re excellent
the photo or a blue overlay on the darkest (or both) and
tools to use in your workflow. ■
adobe photoshop
lightroom section
› ›
Seán Duggan
X X Y Y
LIGHTROOM Tips & Tricks Summer’s here, so for this round of Lightroom tips we’ll focus on
I recommend saving the new catalog to a separate portable hard
taking Lightroom on a road trip. We’ll begin by making sure that
drive. Download the images that you take on your trip to this por-
our existing keywords are imported to our new road trip catalog,
table drive (and, of course, having a second portable drive along for
then cover the process of integrating the separate road trip catalog
image backup is also recommended).
into our main Lightroom catalog once we return. The steps in these
Once you’ve created the new catalog, choose Metadata>Import
tips are geared toward a situation where you have a primary com-
Keywords, navigate to the keyword text file you just saved, and
puter, but will be using a laptop and portable hard drives for travel.
click Choose. All of the keywords from your main catalog will be added to the new one. Now you’re ready to hit the road and start
ADD TRIP-SPECIFIC KEYWORDS
When you travel, consider creating a brand-new catalog just for that
taking photos.
trip. It doesn’t make much sense to use your main Lightroom catalog
BACK HOME AGAIN: MERGING THE CATALOGS
for a specific trip. A separate catalog is lean and mean and runs fast.
When you return from your trip, it’s time to import the images from
Before you create this
your trip catalog, as well as all of the changes you made in that cata-
new catalog, however,
log (keywords, Develop module settings, Collections, etc.) into your
go to the Keywords List
main catalog. By keeping both the trip catalog and the image files on
in the Library module
the portable hard drive, this will be an easy process.
of your main Lightroom
Connect the portable drive to your main computer where your
catalog and add key-
primary Lightroom catalog is located. Open the main Lightroom
words that are specific
catalog and choose File>Import from Catalog. Navigate to the loca-
to the places you’ll visit
tion on the portable drive where your travel catalog is stored, select
on the trip. For example,
it, and click Choose.
my location-specific
In the Import from Catalog dialog, click the Show Preview check-
keywords are kept in a
box in the lower left if you want to see thumbnails of the images.
keyword group called
One of the most important settings in this dialog is found under
“Places.” Within that
File Handling, which controls the location of the images that will be
are subgroups for different regions (North America, South Amer-
imported. Assuming that you want to move the images over to your
ica, Europe, etc.). Right-click on the correct keyword group and
primary storage hard drive (or the internal drive on your computer),
choose Create Keyword Tag Inside [group name] to add a new
you want to choose Copy New Photos to a New Location and
keyword to that group. For my road trip, I added new keywords
Import. Choose the hard drive location where you want to move
to the groups for Nevada, Oregon, and Idaho—the states I’d be
the image files.
passing through on my drive. EXPORTING AND IMPORTING KEYWORDS
Keywords in Lightroom are catalog-specific. So when you create a new catalog, it will have no keywords. To export your keyword list from your main catalog, choose Metadata>Export Keywords, select a location for the text file, and click Save. › › p h ot o s h o p u s e r › j u n e 2 0 1 1
Now, create a new catalog for your trip by choosing File>New
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Catalog. Because this catalog will travel with you on your laptop,
Click Import and let Lightroom do the rest. Any work that you have done on your trip in the Develop module, or specific keywords you may have added, or grouping your images into Collections will all be preserved and integrated into your main Lightoom catalog. ■ ALL IMAGES BY SEÁN DUGGAN
reviews
› ›
PRODUCT REVIEWS
NIK SILVER EFEX PRO 2 Photoshop and Lightroom Plug-in Creates Amazing Black-and-White Images Review by Steve Baczewski
Nik Software recently released Silver Efex Pro 2, updating their powerful black-and-white conversion software with impressive new features and special algorithms for finer tonal control and faster processing. They’ve added new presets with image thumbnail previews, and now there’s a well-designed History Browser to let you compare your current image with previous states and possibly pick up from an
which also offers frequent webinars and teaching videos. Their
earlier point. Emulation of classic film types has been expanded with
Web support is exemplary.
more controls for increased accuracy. The finishing section has been
On the right side of the image window is the goods—an
updated—you can now add borders and endlessly adjust them until
expanded, all-inclusive toolset for manipulating your grayscale
you’re content. New stylized print tones have been added, and along
images. Formerly Brightness, Contrast, and Structure (detail) were
with Vignette and Burn Edges controls, you can effectively direct the
uniform controls that globally adjusted the image. This has been
viewer’s eye to any part of your image.
expanded, with subsliders that refine specific areas. Brightness can
But the main refinement is a higher level of tonal control and
now be applied separately to highlights, midtones, and shadows,
quality. Photoshop and Lightroom have very good black-and-white
adjusting a specific tonal range with precision. The new Dynamic
conversion tools but not like Silver Efex Pro. The new algorithms
Brightness slider allows adjusting the overall brightness without
target specific areas both globally and locally increasing tonal sepa-
losing detail and blowing out the highlights and shadows.
ration, giving your image more depth, and all with a remarkable
Contrast has also been broken into finer increments with sliders
ease and precision that’s truly user-friendly. The amazing U Point
that let you amplify and accentuate highlights (Amplify Whites) and
technology that allows you to create precision masks has been
shadows (Amplify Blacks) separately without clipping while preserv-
expanded with new sliders that now let you amplify black-and-
ing the midtones. The new Soft Contrast slider looks for specific
white contrast or add color back into your image with the creative
tones and increases the contrast separation dynamically. The Struc-
Selective Color slider.
ture sliders are all about bringing out texture and detail in an image
Silver Efex Pro plugs into Photoshop, Lightroom, or Apple Aper-
by looking for fine lines and increasing the contrast. Now Silver Efex
ture. The interface looks essentially the same. The large centered
Pro’s Structure sliders let you separately control highlights, midtones,
preview window can be configured to let you compare before and
and shadows. And the new Fine Structure slider goes down to an
after views. On the left are 38 thumbnail presets of your image,
even finer level to create texture without discernible artifacts. More
which are now organized by styles: Vintage, Classic, Modern, etc.
than before, Silver Efex Pro milks an image for more tonal separation
These are excellent as a point of departure. You can also create and
and dimensionality.
add your own presets or download new ones from Nik’s website,
My only criticism of version 2 is that there’s a visual lag time when
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moving many of the tonal sliders. There’s a pause as you wait for the
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image in the preview window to catch up to your adjustment. Silver Efex Pro 2 is a beautifully designed, comprehensive start-to-finish, professional black-and-white laboratory with all the tools you need for global and local tonal adjustment. Download the trial version and see for yourself. ■ Company: Nik Software, Inc.
Price: $199.95 (Upgrade: $99.95)
Web: www.niksoftware.com
Rating: ◆ ◆ ◆ ◆
Hot: Increased level of tonal control; easy to use Not: Sliders could work smoother
› ›
GET THE SCOOP ON THE LATEST GEAR
OCTODOME NXT: EXTRA SMALL LOCATION KIT Lighting Kit for the Photographer On the Go! Review by Laurie Excell
For the active photographer who needs a portable light solution, Photoflex has introduced the OctoDome nxt: Extra Small Location Kit. Included in a single, easy-to-carry bag is everything you need to get started with a one-light studio. Beginning with the StarFire digital flash, which has three operating modes—Manual, Slave 1, and Slave 2—as well as power adjustments for complete control of flash output, the kit also includes the FlashFire Wireless Kit, which can fire off-camera flash from 160'. The OctoDome itself is an 18" softbox that’s very versatile with three levels of diffusion: simply use the OctoDome alone, add the baffle to further soften and control the light, or add the front diffuser for additional softening. The deep front allows room for
with the results. The light was soft, controllable, and produced some
additional grids, etc., to be added for greater control.
very nice portraits, as well as doing a great job for products.
To support the setup, Photoflex includes an 8' LightStand, along with a compact, extrasmall stand that can be used for a background
For those who already have their own dedicated flashes, you can buy the OctoDome nxt: Extra Small Kit separately. ■
light. Add to the kit all the hardware to get started and you can be shooting on location within a very short time. I found getting the correct exposure to be quite easy, without the aid of a flash meter. I simply fired a test shot, adjusted the settings on both the camera (ambient) and the flash to get the look I wanted using both the baffle and the front diffuser, and was very pleased
Company: Photoflex Inc.
Price: $549.95 (street price)
Web: www.photoflex.com
Rating: ◆ ◆ ◆ ◆
Hot: Compact; lightweight Not: Assembly of hot shoe adapter a bit tricky
NIKKOR AF-S 85MM F/1.4G A Legendary Lens Updated Review by Laurie Excell
Nikon’s legendary 85mm f/1.4 lens has undergone a complete update. Designed as the ultimate portrait lens, the 85mm f/1.4G is that and more. It’s a tack-sharp telephoto lens that works splendidly in low light and has great bokeh when used wide open. New to the AF-S 85mm f/1.4G is a totally new optical design, with Nano Crystal Coat and Nikon’s Silent Wave Motor (SWM), making it not The lens is designed to work on FX bodies but works very well
porating Internal Focus (IF) in its design is a benefit to users as there
on DX bodies, with the crop factor giving even tighter composi-
are no external moving parts, which means you don’t have to worry
tions. The SWM allows you to reach up and take control of the
about pulling moisture into the lens in wet conditions, and you can
focus quickly and smoothly without fumbling for the manual switch,
use a polarizing filter without having to constantly readjust it as the
which can be the difference of refining focus in time to capture a
lens focuses. Overall, this is one beautiful lens that is a must have
spontaneous moment. The rounded 9-blade diaphragm provides a
for the discerning portrait photographer or anyone in need of a fast
smooth, out-of-focus background while making your subject pop.
medium telephoto. ■
Nikon’s Nano Crystal Coat helps to reduce ghosting and flare in tough lighting conditions. The 77mm filter size is consistent with many other pro Nikon lenses, which allows me to carry one set of filters in the field. Its magnesium construction and weather sealing allows you to shoot in even the most adverse conditions with confidence. Incor-
Company: Nikon Inc.
Price: $1,699.95
Web: www.nikonusa.com
Rating: ◆ ◆ ◆ ◆ ◆
Hot: Tack sharp with excellent bokeh Not: The price puts a dent in your pocketbook
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only sharper than its predecessor but also quicker and quieter.
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reviews
› ›
PERFECT RESIZE 7 PROFESSIONAL EDITION Image Resizing Plug-in for Photoshop Review by Daniel M. East
onOne Software has rebranded Genuine Fractals, the industry standard for image resizing, as Perfect Resize. The new version has quite a few improvements to make enlarging your images easier and faster, but most importantly, look substantially better than what you can do with Photoshop alone. Many features on users’ wish lists were addressed by onOne to create a real creative tool versus what was considered a utility plug-in. The output quality is better than ever, and given the improvement in quality of poster printers for small studios, professional photographers will get excellent results from nearly any DSLR with less time and money spent on reprinting test prints. In addition to the new name, some great features were added. One, in particular, is Tiling so that nearly any printer (that supports full-bleed output) can be used to assemble large posters. Cropping, Texture Control, Film Grain, and Gallery Wrap are all features that are easy to employ from within the workspace after launching the plug-in from the File>Automate menu. Getting the sharpest, most accurate output is easier in this new update with the addition of a Loupe viewer and Smoothness control that help to dramatically reduce visual artifacts. The onscreen viewing may be deceiving, depending on magnification, but the prints are very good and lose the stand-way-back-tolook-good effect often required with increasing image resolution.
Perfect Resize 7 is available individually or as part of the Perfect Photo Suite bundle and is an excellent value—either way. onOne Software offers free support, as well as online tutorials, so it’s very intuitive for all levels of users. The Professional Edition is extremely useful, but if you don’t need CMYK support, gallery wrapping, or support for Lightroom and Aperture, a Standard Edition ($159.95) is also available. The industry standard not only maintains its title but also raises the bar for creative professionals. ■ Company: onOne Software
Price: $299.95 (Upgrade: $99.95)
Web: www.ononesoftware.com
Rating: ◆ ◆ ◆ ◆ ◆
Hot: 64-bit compatible; tiling output; clean print output; less artifacts and noise Not:
TOAST 11 TITANIUM EDITION FOR MAC The Next Generation Disc Authoring Suite Review by Daniel M. East
In spite of a few minor criticisms, version 11 continues to make Toast the industry standard for burning CDs, DVDs, and Blu-ray discs; managing your multimedia for storage or online hosting; and in some aspects, managing your files. Longtime Toast fans will notice a new startup assistant for selecting the type of project. A very simple, clean layout for this inviting user interface is a refresh› › p h ot o s h o p u s e r › j u n e 2 0 1 1
ing change, but power users may wish to turn this feature off by
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unchecking the box at the bottom-left corner of the window. New users will find video and PDF tutorials under the Help menu. There’s a noticeable improvement in performance on the software side (given that burn speeds are limited to the capability of your drive), and Roxio has added social media sharing of your video files via Facebook, YouTube, and Vimeo with conversion, editing, and audio effects before uploading. Toast also exports video formatted for iOS devices, such as an iPad, but the software could be more space-limitation aware of all of its export types and online hosts in the same way it is for physical media. To add still more value, Toast 11 can capture audio from your system or online.
The only bumps in the road occurred with burning an MP3 CD in that an iTunes library stored on an external drive would not show up in the Media Browser. Also, as simple as it is to move from iTunes to Toast, when dragging-and-dropping the titles to the disc creation window, the software doesn’t recognize when those audio files aren’t in the MP3 format. It will burn the CD regardless of this issue, but the disc will only play the MP3 file types on your player. In spite of these minor issues, Toast Titanium 11 is a great product that continues to set the standard—bar none. ■ Company: Roxio
Price: $99.99
Web: www.roxio.com
Rating: ◆ ◆ ◆
Hot: Fast; easy; great features and value Not: Doesn’t recognize all file types to match disc media; doesn’t recognize iTunes library on external drive
reviews
› ›
NIKKOR AF-S 28–300MM F/3.5–5.6G ED VR All-in-One Lens for FX-Format DSLRs Review by Laurie Excell
Nikon has answered the call of FX (full-frame) camera users to provide a lens comparable to their ultra-popular NIKKOR AF-S 18–200mm f/3.5–5.6G VR II DX-format lens with their new AF-S 28–300mm f/3.5–5.6G ED VR. All it took for me to order one was a day spent wandering Las Vegas and hassling with changing lenses and the bulk and weight of a backpack.
With a minimum focus distance of 18", I can move in tight for close-
The new 10.7x zoom gives me everything I need for a casual day
up details easily. Add a lock switch for the zoom, and I can now carry
of shooting in one lens. I can photograph the sweeping landscape in
the lens over my shoulder and not have the lens barrel drift to its
one frame and zoom in for tight details in the next without having
longest focal length. I simply flip the switch and I’m back to shoot-
to switch lenses. Talk about flexibility and the ability to move about
ing with the full zoom range. The AF-S 28–300mm f/3.5–5.6G ED
unencumbered with too much gear. With current travel restrictions,
VR is a compact, lightweight, versatile, all-in-one zoom solution. It
it’s a great lens for those who need to travel light and yet need the
even has a 77mm filter size like Nikon’s pro lenses. ■
versatility of many focal lengths. The VR II technology has two VR modes: Normal and Active. Active mode is designed for shooting from a moving platform, such as a car or boat, to help avoid camera shake, which results in blurry images. The lens incorporates two extra-low dispersion (ED) and three aspherical elements, assuring sharp, distortion-free images.
Company: Nikon Inc.
Price: $1,049.95
Web: www.nikonusa.com
Rating: ◆ ◆ ◆ ◆
Hot: Great focal range in one lens Not: What’s not to like?
TYPEDNA 2 Much More Than Just a Font Manager Review by Jay Nelson
The text-handling tools in Photoshop are mostly adequate, assuming you know which fonts you want to use and have them activated. But what if you’re exploring and you want to try combinations of fonts that aren’t currently active, and maybe get a little advice on which of your hundreds or thousands of fonts complement each other? Or maybe you’re almost happy with a font choice but want to see others like it? That’s where TypeDNA comes in. TypeDNA has several features that make it worth far more than
› › p h ot o s h o p u s e r › j u n e 2 0 1 1
its $39 price. It’s a capable font-management utility, with all the
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basic features of any font manager: you can group fonts into sets,
TypeDNA. It can also show you which fonts are used in the current
see detailed information, view character sets, flip through font
document and the current selection.
samples, view by font foundry, see only serif or sans-serif fonts, etc.
For a greater sense of what TypeDNA can do, check out their
However, if you prefer to use a different font management utility,
interactive demo at their website (www.typedna.com/fontman-
TypeDNA will work alongside it.
ager), which lets you step through every feature by clicking the
What makes TypeDNA unique is that it analyzes the shapes
forward and back buttons at the bottom of the page. ■
and other details of all your fonts so it can suggest alternatives and combinations. I was pleased by its suggestions. It also adds a panel to Photoshop CS5, InDesign CS5, and Illustrator CS5 that helps you explore, activate, and apply your fonts. It also adds unique features: you can apply an inactive font to a selected text object or group, or create a new type layer using the text and font currently selected in
Company: TypeDNA
Price: $39
Web: www.typedna.com
Rating: ◆ ◆ ◆ ◆
Hot: Recommends font alternatives; affordable font manager Not: Requires Adobe AIR, Flex, and Flash to function
reviews
› ›
ENCRYPT STICK 5 3-in-1 Portable Privacy Software Review by Ron Duncan
Are you a secret agent on a clandestine assignment? Or perhaps, just want to plan a secret getaway for your significant other. Whatever the case may be, here’s an inexpensive way to aid in your covert operation. Encrypt Stick installs quickly and easily on a USB flash drive turning it into a “Digital Privacy Manager.” This allows users to create encrypted and hidden vaults on a wide variety of devices—local or network drives, external hard drives, other flash drives, etc. The
Encryption for the vaults, Password Manager, and Private Browser
software runs directly from the flash drive, so it leaves no evidence
is based on a patented 512-bit polymorphic algorithm, which ENC
on the host computer (PC and Mac versions available). Licensing is
claims has never been hacked! Encrypt Stick has a free version
one per flash drive, so be sure to install it on a decent drive as there
which restricts flash drive and vault storage capacities, and only
is no transferring to another drive.
allows use of the Private Browser for 30 days. The full version pro-
The Password Manager enables users to securely manage passwords for online accounts such as banking, shopping, or social
vides unlimited use of these features. And now, I’m off to a meeting with WikiLeaks. ■
networks. Setup is relatively easy and the use of a virtual keyboard protects against keylogging software. Password Manager works in conjunction with the Private Browser, which has features such as bookmarks, tabbed browsing, and full support for JavaScript and Flash. And yes, www.kelbytraining.com worked perfectly—in case you want to sneak a session in at work.
Company: ENC Security Systems Inc.
Price: Free (limited); $39.99 (full)
Web: http://encryptstick.com
Rating: ◆ ◆ ◆ ◆
Hot: Easy to use; portable Not: Currently, no Linux support
PORTER CASE PCI Deluxe Camera Divider Case with CART Review by Laurie Excell
With airline travel getting harder and harder these days, I needed an alternative for my camera gear in the event I was forced to gate check it—something I don’t like doing unless absolutely necessary. I decided that a case that would still fit in the overhead of the larger planes was important, so I only had to gate check on the smaller commuter planes. Enter Porter Case with their line of hard-sided, injection-molded polypropylene, wheeled cases. I chose the PCi Deluxe Camera Divider Case with CART, as it looked like it would carry everything I needed,
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while providing protection when the bag was taken out of my con-
118
trol, and the wheels would take the stress off my back. Plus, the case
The case has three latches with one built-in TSA lock, giving me added
configures to work as a dolly, allowing me to stack other cases on
insurance that my gear will not be tampered with while out of my
top of it while wheeling my luggage to and from the car—a very cool
control, and it has a gasket to seal against dust and moisture.
feature for us overburdened travelers. I have to admit to some trepidation on giving up my equipment for the first time, but the Porter Case came through with flying col-
With the TSA lock, divider system, and an expandable accordion portfolio in the lid for miscellaneous items, the Porter Case is my case of choice when traveling these days. ■
ors! The hard-sided case protected my gear from the impact of loading and unloading it from the cargo hold. The divider system allows me to adjust the slots to accommodate my equipment, with padded dividers between each item further protecting my precious equipment. The oversized wheels work smoothly on smooth, flat surfaces, as well as over rougher terrain, making it a good location case, as well.
Company: Porter Case
Price: $347
Web: www.portercase.com
Rating: ◆ ◆ ◆ ◆ ◆
Hot: Great alternative for gate checking precious equipment Not:
BOOK REVIEWS peter bauer
› ›
WELCOME TO OZ 2.0:
From Snapshots to Great Shots
A Cinematic Approach to Digital Still Photography with Photoshop
By Laurie Excell with John Batdorff, David Brommer, Rick Rickman, Steve Simon
By Vincent Versace
If I were to recommend a single book to a budding photographer
This hardly counts as an update to the author’s earlier book of a
› › p h ot o s h o p u s e r › j u n e 2 0 1 1
COMPOSITION:
120
who had never studied photography formally, this one would be
similar name—there’s so much different (both new and removed)
on the short list. The title doesn’t tell the whole story—there’s far
that I’d classify it as a totally different work. (Even if you own the
more here than a discussion of composition. The author starts with
first version, you’ll benefit from this “2.0” release.) Like the first
a look at her photographic equipment; does a wonderful job of
version, the author shows you how he creates his incredible images.
making clear the relationship among ISO, aperture, and shutter
He explains his workflow and the techniques he uses, but goes
speed; discusses the different types of light; and only then begins
beyond the simple “how-to” to explain the “why.” And that’s
looking at elements of composition. The four co-authors address
what makes this book different from so many others. By introduc-
subjects including black-and-white and sports photography, posi-
ing the theory behind what he does and how he does it, the author
tive and negative space, and the organization of space in a photo.
better enables you to apply his techniques to your own work. The
Each chapter starts with a pair of photos with on-image notes by
associated website includes the image files with which the author
the photographer that explain how the images represent the con-
worked, as well as links to free software downloads, including Nik
cepts to be discussed. Each chapter ends with assignments, tasks
Software Color Efex Pro 3 Versace Edition and FocalPoint 2, worth
for the reader to perform to reinforce the chapter’s lessons.
hundreds of dollars
Publisher: Peachpit Press
Publisher: New Riders
Pages: 258
Website: www.peachpit.com Price: $24.99
Pages: 292
Website: www.peachpit.com Rating: ◆ ◆ ◆ ◆ ◆
Price: $49.99
Rating: ◆ ◆ ◆ ◆ ◆
d e pa rt m e n t
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PHOTOSHOP TIPS
COLIN SMITH
In this issue, let’s focus on performance. What follows is a combi-
DRAGGING IS NOT A DRAG
nation of tips that will help you fly in Photoshop. You’ll learn ways
Tying into the previous tip, this tip saves memory. Drag is your
to get the most out of Photoshop and your hardware, how to
friend. You can click-and-drag layers to copy them. Drag images
work on huge documents, reduce the stuff that slows you down,
and layers from one document to another, or within documents.
and add more of the stuff that makes you fast.
You can even drag masks and layer styles between layers or different images. The point is always drag when you can because
MORE HISTORY THAN YOU THOUGHT
it takes up no memory. However, every time you choose Edit>
Have you ever gone to File>Open Recent hoping to find a previ-
Copy or Edit>Cut (Command-C [PC: Ctrl-C] or Command-X
ous document that’s really hard to find on your drive? Then you
[PC: Ctrl-X], respectively), you’re copying the layer or the image
see that only a few files are listed and the one you’re looking for
to memory and thus unnecessarily hogging RAM and slowing
isn’t in the list. You may or may not know that you can increase
down your workflow.
the maximum number of recent files to 30 at the bottom of the File Handling preferences (Photoshop [PC: Edit]>Preferences>
CROP OUTSIDE THE BOUNDS
File Handling). What you probably didn’t know is that as soon as
Did you know that even though you can’t see something in your
you increase the Recent File List Contains option, those additional
document, it still adds to your total file size. This is especially true
documents are added to the list right away. Hopefully, that miss-
when it comes to canvas size. Say you linked a few layers together,
ing rouge image is included.
started moving some around, resizing others, etc. Sounds like a typical workflow, right? The shocking thing is that stuff that goes off the edge of your document still counts toward your file size. The solution is this: Every now and then, make a selection around your entire document, or press Command-A (PC: Ctrl-A). Choose Image>Crop and watch your file size go down. (You can set your view option to Document Sizes by clicking on the arrow at the bottom left of your window.) Just make sure that you’ve finished moving those layers around before applying this option because once it’s gone, it’s gone. DRAG IMAGE TO LAYER
Have you ever wanted to open an image into Photoshop from Bridge and add it as a layer to an existing image rather than open it as a new image? If you’re in Bridge and double-click an image, it will open as a new document. If you click-and-drag the image from Bridge into an open Photoshop document or its title bar, the image will come in as a smart object on a new layer. Okay, this is where it gets good. If you’re a CS5 user, use Mini Bridge to build PURGE OFTEN › › p h ot o s h o p u s e r › j u n e 2 0 1 1
Have you ever been working on a multilayered file and applied a
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filter only to get an out-of-memory error? What did you do? Did you restart your computer to find that you could now apply the filter? Maybe you shut it down and made a trip to the store to buy more RAM. Here’s a little-known tip that will get you right past that annoying error message (most of the time). Go to Edit>Purge and you’ll see four options: Undo, Clipboard, Histories, or All. Photoshop actually keeps a lot of information in memory in case you want to undo something (same as history). If you hit the copy command it stores stuff in memory. If you choose Edit>Purge>All, you can free up significant memory and now you can run that filter on your large document.
› ›
p h oto s h o p t i p s
up a collage quickly, as it has the same behavior as its bigger and
section. Try one of these as a starter and then experiment to
older sibling.
find your own settings. You’ll be surprised at how such a small thing can make a difference.
SMART OBJECT AS A PLACEHOLDER
Smart objects have many uses. They maintain quality by using
GOT GPU?
placeholders with references to other files. One way to increase
One of the cheapest ways to get performance gains out of a
speed in a layer-intensive or large document is to make use of
slower computer is to upgrade the GPU. GPU stands for graphics
smart objects. Try building up different portions of your image in
processing unit, a.k.a. the video card. There are a number of fea-
several documents and save them as PSDs. When you’re ready
tures in Photoshop that take advantage of the faster processor on
to composite them all together, use smart objects. Make rough
the video card. GPU advances were introduced in Photoshop CS4.
layout comps as layers and convert these layers to smart objects
This takes the load off the CPU (main processor) and frees up
(Right-click on the layer in the Layers panel and choose Convert to
computing power for other things. You can purchase a powerful
Smart Object). You can even convert blank layers to smart objects
GPU replacement for a fraction of the cost of a new computer.
to use as placeholders. When you’re ready to replace them with
At the time of this writing, NVIDIA (www.nvidia.com) makes
the real, full-resolution portions, Right-click on a layer containing
the best GPUs for use with Photoshop. Make sure you go to the
a smart object and choose Replace Contents. Navigate to one of
Adobe site and do some research on the different GPU models
your PSDs and it will be added to your document—much more
that are compatible with your version of Photoshop before taking
painless than working in one huge file. You can always see all the
the plunge.
layers in each smart object by double-clicking the layer thumbnail and editing the original PSD.
RAM!
While we’re discussing hardware, there was a saying that went around, “You can never have too much RAM.” Actually, this wasn’t really true because Photoshop was unable to access more than 4 gigabytes of RAM until recently. With the 64-bit versions on both Mac and Windows, Photoshop can use an astounding 256 terabytes of RAM (technically, much more than that—up to 4 petabytes—but CPUs have a limitation). Windows 7, however, only allows 192 GB and you can install 64 GB in current Mac Pros. The tip here is to make sure you have at least 8 GB of RAM to maximize your Photoshop performance and to notice any improvements with 64 bit. Install even more RAM if your budget allows it. MULTIFILTER
puters back in the day. (I’m not going to say how much back
Photoshop speeds up its screen redraws by saving a low-resolu-
in the day or I’ll date myself.) One of the slowest filters you can
tion image that you look at while working. This is known as
run in Photoshop is the Filter>Blur>Radial Blur set to Zoom at
a screen cache. By default, Cache Levels is set to 4 in Photo-
the Best quality. If you try running this filter several times, you’ll
shop (PC: Edit)>Preferences>Performance. If you turn it to a
be waiting a while. Perhaps you know that you can apply the
setting of 1, the cache is turned off. Generally speaking, if
previous filter by pressing Command-F (PC: Ctrl-F). If you need
you’re working on high-resolution paintings with a pen tablet
to apply a filter several times, press this keyboard shortcut for
and few layers, change the setting to something larger than
each time you want to apply it. You don’t have to wait for the
4 for better performance and faster screen updating. It goes up
filter to take effect to press the shortcut key again. The keyboard
to 8. Experiment and see what works best for you. On the other
cache will save your shortcuts. In fact, I used to apply several
hand, if you’re doing a lot of Web and multimedia projects
processes on the keyboard and walk away and let Photoshop
with a lot of layers but low resolution, try reducing the cache
catch up. This is still true today while working on very large files.
to around 2. Photoshop CS5 has introduced three presets to
Try adding all your shortcuts followed by a Command-S (PC:
help simplify the process: Tall and Thin, Default, and Big and
Ctrl-S) to save it at the end. (Hey, a 4-GB file takes a really long
Flat. These options appear as buttons in the History & Cache
time to save.) ■
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Here’s an interesting tip that I picked up from using slow comCACHE FLOW
COLIN SMITH—an award-winning designer, lecturer, and writer—has authored or co-authored several books on Photoshop and has created a series of Photo-
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shop training videos available from PhotoshopCD.com. Colin is also the founder of PhotoshopCAFE.com. ALL IMAGES BY COLIN SMITH
Photoshop user
June 2011
I N D E X
O F
A D V E R T I S E R S
For advertising information, please contact Kevin Agren, V.P. Sales, at 813-435-2370. email: kagren@kelbymediagroup.com 4 Over, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 www.4over.com
Digimarc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 www.digimarc.com/profit
[P]
[A]
[E]
Peachpit Publishing Group . . . . . . . . . . . . . . . . . . . . . . . .15 www.peachpit.com
Epson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 www.epson.com
PhotoshopCAFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 www.photoshopcafe.com
ExpoImaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 www.expodisc.com
Photoshop World Conference & Expo . . . . . . . . . . . 115 www.photoshopworld.com
[F]
PrintRunner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 www.printrunner.com
Adobe Photoshop Seminar Tours. . . . . . . . . . . . . . . . . .28 www.kelbytraininglive.com
Adorama Camera, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . 27, 87 www.adorama.com
Alien Skin Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 www.alienskin.com
Fotolia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 www.fotolia.com Animoto Productions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 www.animoto.com
Anthropics/Portrait Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 www.anthropics.com
Artistic Photo Canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 www.artisticphotocanvas.com
I.T. Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 www.itsupplies.com
B&H Photo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 www.bhphotovideo.com
Kelby Training . . . . . . . . . . . . . . . . . . . . .111, 117, 119, 121 www.kelbytraining.com
BOSS LOGO Print & Graphics Inc. . . . . . . . . . . . 126–127 www.5000cards.com
[C]
[L]
[R] Really Right Stuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 www.reallyrightstuff.com Red River Paper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 www.redriverpaper.com
[S] Shutterstock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC www.shutterstock.com Stuck In Customs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 www.stuckincustoms.com
LensProToGo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 www.lensprotogo.com
[M] MacMall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 www.macmall.com
[T] Tamron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 www.tamron.com Topaz Labs, LLC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BC www.topazlabs.com
Manfrotto Distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . .43 www.manfrottodistribution.us
CAR-FRESHNER Corporation. . . . . . . . . . . . . . . . . . . . . . .71 www.carfreshner.com › › p h ot o s h o p u s e r › j u n e 2 0 1 1
iStockphoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC–3 www.istockphoto.com
[K]
Big Stock Photo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 www.bigstockphoto.com
124
[I]
[B]
Bay Photo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12–13 www.bayphoto.com
Professional Photographers of America (PPA). . . . . . 130 www.ppa.com
[W]
Mpix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 www.mpix.com
Westcott. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 www.fjwestcott.com
[N]
[X]
Nik Software, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 www.niksoftware.com
X-Rite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 www.xritephoto.com
[D]
[O]
[Z]
Dahle North America . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 www.dahle.com
onOne Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29, 109 www.ononesoftware.com
Zoo Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 www.zooprinting.com
Cotton Carrier Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 www.cottoncarrier.com
Creative Juices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 www.bigposters.com
While every attempt has been made to make this listing as complete as possible, its accuracy cannot be guaranteed.
d e pa rt m e n t
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PHOTOSHOP Q&A I have Photoshop CS4 and I just bought a new Nikon D7000. Unfortunately, Photoshop can’t open my RAW files and there are no upgrades available on the Adobe site to upgrade Camera Raw for CS4. Do I have to upgrade to CS5 to get the newest Camera Raw, or is there a workaround?
Let me get this out of the way right up front, you should upgrade to Photoshop CS5. It has a ton of great features (more than 100) that have been added to help photographers, and lots of the features are easily worth the cost of the upgrade. Plus, NAPP members can use the discount on the members’ website to save on the upgrade. However—so this answer doesn’t completely sound like a commercial—you can use Adobe’s free DNG Converter application (www.adobe.com/downloads) to batch convert an entire folder of RAW files to Adobe DNG (digital negative) files. Then the CS4 version of Camera Raw can open the files and you can make all of the necessary adjustments.
I want to use the Pen tool (P) to create an outline I can save and use as a selection, but every time I use the Pen tool it creates a new shape layer that’s filled with a solid color. Is there a way to set the Pen preferences so it just creates a path and not a new shape layer? The Pen tool has two primary modes, both of which create Bézier curves. It can be used to create filled shape layers that exist in the Layers panel and have characteristics that can be affected by layer effects, or it can be used to create paths that are stored in the Paths
(PC: Shift-Alt-Ctrl) and reboot Photoshop. Keep holding those keys down until you get a dialog that asks if you want to delete the Adobe Photoshop Settings file. Just click Yes and see if Photoshop behaves properly when it launches. If it does, then all you have to do is reset some of your preferences within Photoshop. If not, then you need to do the full uninstall and reinstall routine.
› › p h ot o s h o p u s e r › j u n e 2 0 1 1
panel (Window>Paths). Selecting which mode the Pen tool will use is done in the Options Bar. The first icon represents Shape Layers mode and the second represents Paths drawing mode. If you’re new to this, it helps to know that, unlike a shape layer, when you create a new path, Photoshop creates a new, temporary Work Path in the Paths panel, but it’s possible to accidentally delete that path unless you save it. To save a Work Path, just double-click on it in the Paths panel, give it a name, and click OK.
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LARRY BECKER
Recently, I contacted Adobe tech support for help resolving some issues with Photoshop hanging and crashing, and I was told to uninstall and then reinstall my copy of Photoshop. I’ve done that before and I will again if I have to, but is there anything else I might try first? A lot of times if you’re having problems with Photoshop, deleting the preferences file will eliminate the problems without going through a full reinstall. Quit Photoshop and then hold down Shift-Option-Command
I’ve used layer styles to create a drop shadow on an object and it looks close to what I want, but the shadow is an equal distance from the object at the top and bottom. I’d like to have the shadow tucked in a little more at the bottom of my image and sticking out more at the top. Is it possible to manipulate the shadow separately from the object? It’s possible but first you have to put the drop shadow on its own layer (at which point it’s no longer a layer style and can’t be adjusted with the layer style controls). To do this, Right-click on the name of the effect in the Layers panel and then choose Create Layer from the menu. You’ll get a warning dialog because some layer styles can’t be properly converted into standalone layers. Just click OK because a drop shadow can be converted with no problems. Now use Free Transform (Command-T [PC: Ctrl-T]) to manipulate the shadow. I’m not sure if my Adobe software is automatically checking for updates and I want to make sure I have the most current versions of all my software. Do I have to poke around on Adobe’s website to see what’s been updated or is there an easier way? The easiest way is to just launch Photoshop and go to Help>Updates and the Adobe Application Manager will automatically launch and look for updates. ■