ut UNDER b WHAT’S NEW IN s THE LOUPE Rey hae har Part Need Cerner) IMM | Sere eeWhat's better than NAPP for Photoshop training? {NOTHING} WHEN IT COMES TO PHOTOSHOP® TRAINING, NOTHING BEATS NAPP. Our members get an annual subscription (10 issues) to Photoshop User magazine, plus 24/Tonline access to thousands of Photoshop tutorials, exclusive retail discounts, three online Hel ks, and a helpful member nmunity NAPP is the most affordable way to improve your skills and stay on top of the latest the industry has to offer. Join Today & Get a Bonus Gift | Call 800.738.8513 or Visit www-PhotoshopUser.com/learn-photoshop IN: PP "ert troy tesa The Word Bet PhFINALLY, A BOOK THAT CUTS THROUGH THE BULL AND SHOWS YOU EXACTLY HOW TO DO IT. J00K womens ere eee bees iS ee er eee aS See eee, eer eeeoo FEATURE 42 > FEBRUARY 2012 BREAK ON THROUGH TO THE OTHER SIDE Photoshop CSS Extended offers some basic 2D tots that can yield really impressive 3D art with afew simple and clever tricks. ‘And the subtle use of 30 in your 20 designs can take your work toa whole other dimension. n this article, Corey Barker shares some things he's discovered through experimentation that, hope- fully, will help you think a litle more creatively when using 30 in Photoshop. And it you haventused 3D yet, maybe you'l see its worth exploring for youre. en Corey Barker DEPARTMENTS Y Y REVIEWS Fomtretdtor ~— 6 | 92 trageprintg About Poiostop UserMagaine 10 | 93 paricttayrs2 Continingwites 12 | OA gaeeme NPP Mente Communiy 14. | OF eae necks wer verteGaley 18 | OF soo FomteHp Desk 80 Wacom hing PratoshopTins 82 TT rotates Protostop 08A TOG | 98 Protshop Book Revs COLUMNS Y Desicnmakeover 24] 50 BEGINNERS WORKSHOP Feelng Baler? Blending anes 52 cLassic EFFECTS DOWN&DIRTYTRICKS 28 Classic Carbon Fiber Background Call Duy. MG Cove 54 FROMBERTSSTUDIO. Watecoorétet GA Creating Ribbed Fabio BiingaBoedlyot 38) 56 BEYOND PHOTOSHOP 2.50 llustreions with PepousséCOLUMNS Y THE SMALL BUSINESS DIGITAL PHOTOGRAPHER'S AND FREELANCE COACH NOTEBOOK Design Your On Success Comparing Cops PHOTOGRAPHY SECRETS ¥ LIGHTROOM CREATIVE POINT OF VIEW Inspired by At History UNDER THE LOUPE Customizing the Defaut Seng for RAW Phoios AFTER THE SHOOT Creating Panoramic Photos LIGHTROOM TIPS & TRICKS WHATS NEWIN LIGHTROOM4 660 BETA ‘Adobe recently announced the public beta of Lightroom 4. So head to Adobe Labs, downoad the bea, then tum to page 6 2s Rob Sylvan takes you ona tour ofthe biggest and best features. Then, when you're dane readin the feature her in the magazine, head ‘to NAPP's Adobe Photoshop Lightroom 4 Beta Launch Center at ‘www photoshopuseconvightroom for in-depth caverae of all the new features in Lightroom 4 Beta. Fob Sylvan BUT WAIT—THERE’S MORE Y KEY CONCEPTS | CB DOWNLOADABLE CONTENT These const he baining of columns heres aso vison atl ‘Whenever you se this symbol athe end of nai, cor frcton sed int tora tere Kay Cores NAPP meer webpage means heer ether dunia practe ls or adatoral at ww phostopusercomeycaceps, cane for NAPP members t ww photoshopser com? memibvers/magazin, oe ® @ Layermasks _Pentool Quick Selection too!FROMTHE EDITOR LIGHTROOM 4 PUBLIC BETA AND THE NAPP LAUNCH CENTER By now you've probably heard that Adobe released a public beta of Lightroom 4, I you haven't had 2 chance to download it (t's a free public beta, you can find the link at ‘our Adobe Photoshop Lightroom 4 Beta Launch Center at www photashopuser.com! lightrooma, where we've also posted a numberof videos that take you through all the new features. IF you'e not familar with what a beta version i's a prerelease version of the program, soit’s not quite ready to ship it may have some minor bugs, and it may not be optimized ‘or full speed yet, butt’ stable enough that you can download it, try it out, and see what ye think). Although the new buit-in Books feature is geting a lot ofthe attention from the ‘medi | personally think that the improvements tothe Develop madule ae the real star of the upgrade. Since the siders work differently than in preious versions (and sliders such as Fil Light are now gone), it does take litle getting used to, but once you do, you wouldn't think of going back to the old way-—it's that much more powerfull Besides the Books feature (which was one of the most-requested features on a lot of Lightroom users’ wishlists), Adobe aso included another one from alot of folks’ wish lists—oft proofing; but it's soft proofing done right, and this will make an awful lot of people happy. Although | didn’t get everything on my wish list (| was holding out hope for a really robust makeover ofthe Slideshow module and even more video features), the one thing | didn't see coming—a more powerul editor in the Develop module—does help to make Lp for it. OF course, when Lightroom 4 actually ships, well have ful coverage herein the ‘magazine, but for now, make sure you check out page 66 in this sue fra fist look atthe beta by Rob Syiven, and vst our online Launch Center and check out the videos. Herein the magazine, our feature story this issue is from Corey Barker, and he shows, you how to work the 3D features in Photoshop into your regular 2D work. you've ever ‘thought it would be cool to incorporate some 30 into your images, but weren't sure where tostart, you have to check out Corey's festure story, starting on page 42. Last issue, we kicked off a new column called “Photography Secrets." This issue's installment (p. 62) is by a good friend of mine who is@ hero to landscape photographers everywhere—Mr. Bill Fortney. Over the years, Ive been very fortunate to teach a number Cf omlocation landscape workshops alongside Bl, and Ive learned an awful lot from him. ‘So as you might imagine, not only ist an honor to have him here in the mag, but I'm ‘excited that you guys get to learn from him, too, and his article is well timed—tips and ticks for taking images in snow! ‘One mote thing: Keep an eye on the NAPP member website; we're developing some really exciting things there, and some of them will have already been launched by the time you read this. f you haven't been by the ste ina few weeks, i's definitely worth dropping by (more on this next issue). "hope your 2012 kicked off with a bang, and | hope you enjoy this new isue (and for ‘our photographers out there, | hope you check out Lightroom 4 Beta). Ally best, hy scott Kelby Ecitor & PublisherMPIX y Tahoe T= a Deen Ns ales Tu} Cem anou Reilsde meee Pea Kea ges lal hg Cuore lgeRe elena = i Ace ion BOM elated ee op ee Ve. peel acters et el noice mpix eee) Ereeen rie time)Everything for the Perfect Print. EPSON ae Sear Ultrachrome HDR Intuos 4 Wireless ean a anal Free Shipping*, Best Pics Photoshop ome 5 Number 2-PinednUSA APP Franasonal sation Pots Proesonae Scot Kelby, to chef Chri Main onaping Eaton Mike Mackenzie Serr Editor Kiem Gabriel, raf vector Dave Damstia,roducton Manager Taffy Clifor, Senor azocite Designer Contributing Weers Kevin Ames Steve Baczewsh- Corey orker-PeteBauet-Larry ‘Becker: Bruce Bicknell: Pte Colin- Dave Crors-Sein Duggan Daniel East -KatinEamann ill Fortney «Je Gamet Jessica Maldonado Nancy Maze» Gert Monroy. Scot Onstat- colin Smith Lesa Srider-Rob Syvan Erk Vietinck ake Widman Marketing Team Mary Lautnaits Manager Morting “om Castaneda Wendy Koala doLowe- Margie Rosenstein Web Team Tommy Maloney, Oectorof Web Deeopment dutin Filey Karey Jone Chri Kancerowis- Fed Maya Use Montenegro Ks Olds: Aaron Westgate Scot elo, Publier David Moser, Execute Publisher amy Becker xen Director the APP aulPany chet rnacial cer kevin Agen W,Sles013-4392370 Jeanne ila, Averting Cort 800-728-8512 xt.215 Veronica Ronn Nel, DectorofCrevion/Dstrbution Costomer Serie feecbockaphotosopbiescom Letersto the ator tersophotshopusercon Letersto the Lightroom Elta: ightaomephatshopusercom ‘Membership Suggestone.Ibckerephotrhopurecom ora Wie Web including the Photoshop Halp Desk Photo Geer Desk and Advice Des war photownopusecom E555 and dbe uratr C531 ATC wae wedorheadines, Adobe yriod Pr for seat and Frieder.are you iStuck? acti miele Fx) COLUSA cacLATO ROO 63 rearne80U' PHOTOSHOP USER am MAGAZINE Photoshop Usermagazne i the oficial publication of the National Assocation of Photoshop Professionals (NAPP) is for members, by members, and isnot available to the public by subscription ‘Asa NAPP member, you automatically receive Photoshop User ‘elivered right to your door (or digitally) ten times a yer. Each issue features in-depth Photoshop tutorials written by the most talented ‘designers, photographers, and leading authors inthe industy ABOUT NAPP Y THE NATIONAL ASSOCIATION OF | MEMBER DISCOUNTS PHOTOSHOP PROFESSIONALS | saeayiheton2-sines armband isngoxray isedranictabascidinandbenotdsieatogrsaetr | gtyeand dem Ae Prat aig rvs a een Fadi 18 {wer rasan lage! phi a dgdinapngasuctin inte wate Koreas wade NAP gto nya ug Pein aca pes onicoert Te ois eared rte Psp Youonn irony BUS, 28 Gra Bierce see | Aes COMMUNITY NMPPdsiofesscalotxaon mentees | _NAPPmentes ane tambeomest ps nae ola Goommptebecpsscm bgetmorin. | oer Tope wehae tubes, reir Poshpanpngaty ume te TECH SUPPORT Fe iPhoto Lita, ard prt ere eqipert thea adore tom tied ope. NEWS & REVIEWS MEMBER 7% | titesstoncntetetox rer unis an payers BENEFITS ee MONTHLY E-NEWSLETTER PHOTOSHOP USER MAGAZINE. | Podratecisiey mendes lepyuitomedolenytiraren Tenisoestetest Procsep re tasdraguelnte ndsy, | Tbe ndisyad a NAPP eda. 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Choose from over Shadow, DeBand, DeBlock, DeNoise, Film Stocks, Deane eck eee ean PX nd MRC da oM ee earn enna ete Cr RES Tes Download a free 15-day trial today at tiffensoftware.com Fee Oceana i eared An tro enn a ae Pe aE Sree nt8 CONTRIBUTING Y WRITERS KEVIN AMES, cals vat pops cis sch s Westin Has, ATA and ox Coa is ur bok pbishety Pei Pes i The Digit Paty ‘apr Notstoo A Pos Guido Pronshp CS, Ligtvoom and Bie STEVE BACZEWSKI \satelace writer, peso phtogarhe phic dese, ae cans ‘en Hy asoteas clases in aston and ital ro ats photog Hs corpay, Sor Toot rations is ase bay, Cabo PETER BAUER isanAdobe Cried er tat dos computer grax canting rast \youp of copra lets is tes books Photoshop C5 fr Durie. He was ion he Poth Hal ot Fane n 2010. BRUCE BICKNELL iste und of iil Ble Poductons Hehasbesn anita on Abe's ito tenn and san insrurat Sess ads His ein Tiree, STC, DIC, a magaines tinue Peale and Nara Gere DAVID CREAMER |s prs DEAS Tring misting com) adn Ade Ceri Inu r mois TO progas Hees ben an avatiningat det rut publics incusing Mock Durer ad The Gourmet Real DAVE CROSS isan Adobe Cait nrc inPoshop C55 nd amen le Ph shop Halt Fane. Dats fork Taning Le ands his om sal goup wast Tapa lia eam more DaeCrosWonshogs.com, SEAN DUGGAN ie co-aor ct Real Wo Dipil Phage Crate gts aroan He eas wotshops on potty, Plotop Liteon, and rvs stoi online ting & cosating (Sear Duga. cm. DANIEL EAST isn aur, fetnoe wer, reser, ad corsa wih rote an 20a eperenoein toga, po-aiéo,and mating Dail abo ton arrest a The Ale Grup eam spt eva rue ou. KATRIN EISMANN ‘ste autor of Photshp estan &PetoctingandPtstop Mastin & Conpostingadco-atr ol Te Crate Dp Dao Kain Chai ot ‘he MPS niga Photo dearer the School ial sin NC. ED GREENBERG & JACK REZNICKI hea nen bog wan tech com whee you cane about ne took, Plate’ Sunil Man pubis by Lark Books. LAURIE EXCELL has 28 yas ofghtoepy and photographic unmet sakes execs. Her images nav been showcased in gales, Rudo calendars, Camping Lie Megan Anak publications and BT oul BERT MONROY iscnsiteednedl the ponescl dl at His ares ban sen incruntess Images took Hees seve ote uly fay nl canis, rin densa teks, rd gpa ounces TV Susur he nat. JAY NELSON isthe eta Ossi Tons Monthy, cowrng graphic design opts Sne 12. Hens all abot it pubihing ts 2 fort manage Lean more aa DesnTo'Maihly cam, SCOTT ONSTOTT istheauhor of Etaning Arche Drawings ard Mocs ith Potton ‘ares and edi dans cbt rd vies en Pots, Seth, ‘sacar AoCAD, Check is ete wn soto cam. COLIN SMITH isanawar-winnng digital aris, photographer, ander whats shoes "A books and has ceaeda series fining videos, Colin aoe ound the one esoutePotaopCAFE com and Pasiert of Sova Crema, LESA SNIDER ‘sect ers oSacgttooon beaut ol Pinstep C85 Meng Maa ard se. veo tang ites on KekyTaning om, She's ako arent ‘te Protas Wort Drea Tasman and of PbLesaca, ROB SYLVAN isthe aur of Tating Stack and Photoshop Liga 2 Dummies, op Desk Specialist ore NAPP, and an insur forthe Peet Petre ‘Séhol of Phar, TERRY WHITE iste Wohi Crave Suite Desi Evra debe Sst, ator 2 Sazets of ate rig, and oar ot ndesign CS1CS2 Kile ps ard The Phare Book Eaton Chek cutis eh tog it eryuitcom. JAKE WIDMAN isa ander to besinSan Franc. Hes ben ong irecin ‘oorgues nt gic i at 25 yrs row shark wens ald" dsingpbistng zn Prtstop wes jst apc soeA Wildlife Photography INSPIRATION BOOKS anb VIDEOS For PHOTOGRAPHERS Information, free sample chapters, and 35% off purchases with promo code peachpit.com/todaysphotog INDUSTRY NAPP TraiiNc MEMBER rormation COMMUNITY BY NANCY MASSE Where Il find notable schievements, quotes from Twitter, and inspirational n your fellow m .OM 4 PUBLIC BETA It looks like 2012 could be a banner year for ‘Adobe, and they wasted no time by kicking it Off on January 10 withthe announcement of the Lightroom 4 Beta Top-level features ofthe Lightroom 4 public beta induce the addition of video suppor, which allows {or pleyback directly within Lightroom, along with the ability to adjust video with a subset of the same controls used for adjusting images; a Map module {or managing images by location; a Book module ADORE ANNOUNCES for photo book creation; simplified Basic pane! adjustments, such as new Shadow and Highight $i slider controls, and additional local adjustments,” incuding Nose Reduction and Write Balance; the abity to emai drecty from Lightroom: and a whole lot more ‘Al he detals about the latest version of Lghtroom canbe found at the NAPP Lightroom 4 Beta Launch Center (se story below). Also, be sure totum to page 65 fora fist ook atthe beta by Rob Sylvan From @adamhS Ordered the 13" Macbook Air with accessories and saved over $200 thanks to @NAPP_news. ‘The membership has paid for itself many times over! NAPPUNVEILSTHE Given the close working relationship between NAPP and Adobe, i’s no sur- prise that the “Photoshop Guys” have been playing with the new beta version ‘of Lightroom for some time. The extent oftheir Lightroom 4 Beta knowledge ‘was revealed when the new NAPP Lightroom 4 Beta Launch Center (www pphotoshopuser.corrightroom4) went live minutes after Adobe's official public announcement. From @jetfonieus Submitted my customer service issue on the site and had an answer from Levi when | got back from walking my dogs. In addition tothe overview videos, tutorials, and important inks that NAPP mer bers have come to expect from our learning centers, there was also an entire day of live webcasts over at KebyTraning com, hosted by Matt Kloskowski and featuring special quest Tom Hogarty, Lightroom Product Manager ‘Tom and Matt went over everything the audience wanted to know about Lightroom 4 Beta, and then some. f you missed ary part ofthis special day of Ta lve webcasts a link to the replay on Kelbyraining.com can be found on NAPP's From @TaraRebeka Launch Center at www photoshopuser comtlightrooma. OMG @scottkelby is coming if you haven't downloaded the free beta to try for yourself, you'l find those 10 Phoenix! Oh [...] can get links there, as well. The Lightroom 4 Betais installed alongside your curent ver the day off? Gotta check our sion of Lightroom, so you can play with t to your hear’s content and not worry production calendar tomorrow! about altering your current library. All you need to do is create a copy or make a new folder of images to work from, As always, this new NAPP Launch Center is open to the public fora ited time, but NAPP members will avays be able to access it via the NAPP members’ ‘website at www photoshopuser.com,WE SHOULD HAVE KNOWN A few months ago, we announced the launch of a new digital magazine made exclusively forthe iPad (for now!) called Light It: The How-To Magazine for Studio Lighting and Off-Camera Flash, This announcement. was met with excitement from most and resentment from some. Note: Just to be clear, an Android version isin the works but it wil stil be a tablet-only publication. Ione thing was perfectly clear, it was that Scott Kelby and the development and eecitorial team responsible for Light le were defintely ahead of the pack. So much so that one of the top & trends predicted for 2012 in the PRY techvsocial media world is @ mass mavement from print to tablet (see PR Daily at httpufkel byhYScm4). Being on the forefront of ary emerging trend has its drawbacks, and just as bugs are drawn to light in nature, soit was forthe Light team. The overwhelming success of the intial launch (more than 40,000 downloads to date!) was tempered by a lite bug that interrupted the download if the iPad went to sleep. This Was quickly pinpointed and fixed, but then a hard-to-find factor in the ir-app purchase programming caused Apole torepeatedly reject sue #2. It wasn't until a "real Ive" person from Apple got involved thatthe bug was fixed and ise #2 was released in late Decernber. While al this took place, the editorial team stuck to its schedule and the programming team plunged ahead with new features and additions that made Light even better in terms of usability and interactivity. Atthe end of 2011, sues #3 and #4 came out on the heels of Issue #2, so everyone could get back on schedule Just when everyone thought it was smooth saling from here on out, Tunes updated its Terms and Conditions and aryone who had not accepted the new terms, or had not Lpdated their creit card inf in awhile, uncovered a new problem—the iterruptve mes sage from iTunes tricked the program into believing thatthe sue being purchased atthe time the Tunes notice appeared had been successfully downloaded when, in fact, ithad ‘ot This was a particularly difficult bug to squash because at fst, there was no rhyme ‘reason as to why some people were geting this error and thousands did not, but wth the help of our readers, the problem was uncovered and an update was submitted. Now, we're on the verge of releasing Issue #5 and pleased to announce that wh the Light it team was squashing these litle bugs, they were also making Light ft even better. Readers now have the bilty to add bookmarks and notes to each issue, making Light It an even more important tool for your camera bag. The team will continue to make improvernents ‘One thing that hasn't changed is the quality ofthe content. Each issue i iled with insights, instruction, and information from the biggest names inthe business, the people Who are doing amazing things with bght, and the product that they use and recommend, “To download Light tt magazine, visit http:/kel byightivApp. yuna ayia tings yh sein jour Caran” opus ec tsps, NAPP Fetetistsitdsouis ‘pifebsusisodora Fastonscanirenbes Discounts are always subject to change. International members may want to contact and verify dscount _aalailty oF review a dscount providers intaticnal ‘Shipping poly before crdeng an tem. Import duties and taxes may apy Bold = NewLpdated discount * = Limited-ime offerExpring soon += North Amerca/Canada only +f = ntematonalShipping Soop tt JHP Actions 1-888-SCAN-VAN KelbyTraining.com tt Action FX LayerCake ‘ActonRunner LensProtoGo ‘Adobe Lensentals ‘Adorama Camera Lighting in Layers ‘AdoramaPix RB Portfolio +t AKVIS +t Load com Alerno Car Rental Leis Alen Skin Lumiquest +t Animoto M-ROCK Apple Mactall Arise Photo Camas Mak S. 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MEMBERS ONLY NAPP members, show af your alent by uploading your awokto te Pros section. You coud be the Eto’ Choc: age ote ek wer (52 page 200 eent age ofthe Week winner). Visit wma Dooshopuser commer er insiran. We also have the best ommuity around. Visit he Forums selon and become part of he conversation. Hae a lookal wn postop fretersforu. SOCIALLY SPEAKING Friend us on Facebook, olow us on Tite, and ‘heck out informative blogs by indus ders. Be Ww NAPP www facebook con/PhotoshopUser @NAPP news, Scott Kelby ‘www scottkelby.com @scottkelby www facebook com/SKelby kelby/onGplus Matt Kloskowski ‘www lightroomkilertips.com @mattkloskowski www facebook. convThePhotoshopGuy kelbyiMattGplus Corey Barker ‘www planetphotoshop.com @planetphotoshop www facebook convPianetCorey kelbyiCoreyGpius Ratael “RC” Concepcion Gaboutre raw facebook comwebre kelbyircgplus Pete Collins @PeteCphoto www facebook convPeteCPhoto kelbyPeteGplus The Grid Live kelby/TVtheGRID @TheGridtive Podcasts and More ‘YouTube: YouTube.convKelbyMediaGroup Photoshop User TV: KeloyTV.comphoteshopusery Kelby TV: KelbyTV.com Official NAPP Gear Store: kel byINAPPaear DATACOLOR Everytime the topic of color calibration comes Up on The Grid, it's usually followed by the ' 8 f statement, “One of the products we recom- ‘mend because we've ued tis the Spyder from ° Datacolor.” Well 'm sure the "Photoshop Guys" are happy to know that one of their color ‘alrators of choice has just been updated—the Spyder family of monitor calibration devices s row available ‘According to Datacolor, “Spydera is designed for the way photographers work, combining an easy-to-use interface with { i - ie advanced levels of brightness and color spectrum color capture tech nology uses a seven-channel sensor, which = registers color in the same way as the human ‘eye, ensuring the colors on the screen are true-to-life, control. The f The Spyderd also promises to deliver "26% more accuracy and improved low lumi- nance performance over previous Spyder3 technology,” and is available in three models: Express ($119) for cost-effective, single-dsplay, out-of-the-box calibration; Pro ($169) has ‘mote contro’s and multipe-cisplay calibration; and Elte ($249) features high-level control, ‘multiple-display calibration (including projectors), and custom calibration capability, Spyder4 products are available at photography and c nationwide or onlin at http:/4spyder datacolor com, yisumer electronic retailers OVE OVERD3— NIKON HAS ANNOUNCED THE D4 In what can ony be deste asthe longest most desoptve pes release the worl has ever seen, Nikon has proudly elesed is new D4 DSLR, a surgical ooo a camera that promises tobe “the deft unficatin of speed and reckon We're not sure yetifit' abet make the Kessel Run in ss than 12 parses, but we're tld that “every aspect ofthe new Nikon DA DSLR hasbeen designed to emphasize rapid response and seamless operation to Help profesional photographers consistently capture incredible Content.” so chances are that wl ake point fe past ghispead without itch (kay, al kidding aie, highlights of the new Nikon Ds include a new 16.2-megaptel &format CMOS sensor, ISO range from 100-12,800, expandable from 50-204 800; 10 fps with full AFIAE, 1 fs wth AF locked; magnesium alloy body sealed to resist the elements accepts CF an new XQD memory car formats 91,000-pinel 30 Mi crossype points, with ne point that werk th ens speeds of 18 ard low. Non ao incorporated advanced video features, such as uncompressed HOM out ic and auc jacks ful 1080p in FX, DX, and 27x crop modes and fll anual conta of exposure The Nikon D4 DSLR reais for $5,999.95. and willbe avaible inate February 2012. you don't beleve us and would ike to read the longest most desciptiv pres release the word has ever seen lease vit htpsfpess Metering system; and 15, rikonusa.com. Bt5 E 3 Bs Ey 5 Turing your images into custom HD videos in just minutes, Animoto Pro is the tool top photographers have embraced to generate more visibility, get new clients, and increase sales.WHERE MEMBERS EXHIBIT THEIR WORK IDEN FORD ‘ARierson University grad fr photography, Ien's love of dance Dotography stems from his mother, Maka, a former Martha Gratiam dance. He credits Joe MeNally and Sion win-Childs, a Toronto choreographer who hited him to shoot th fist Toronto Dance 2 Danse festival where he met Caitin Griffin, featured in the “Brick Works” ohotos included inthis potolio wn idenfordphotogranty.com; iden@identordphatography.com NAPP. MEMBER GALLERY GREG DAVIS Greg became interested in photography and Photoshop around 2009 when rehabilitating from a third knee surgery. At first, Greg mainly took pictures of his children tut that has expanded to in- clude local landscapes, band photo shoots, and HR. “Im abways on the lookout ora rustic building or an old car. ty to envision it in HOR—what wil pop and what wont.” hitp//oregsvisuals smugmug.com; revelpromotions@gmail.com FLEMMING ROLAND For the last 11 yeas, Flemming has worked with some of the best ‘and most ‘alented ar directors and photographers in Denmark He especially enjoys working with type, creating shadows and lights, and big compostions and illustrations. The shown ilus- trations area collaboration with Euroman magazine's at director, ‘Sune Ehlers, Flemming and hs family reside in Denmark, north of Copenhagen ww rolandgrafik.dk; mail@rolandgrafk.dk yo ihe to have your work consid fo putin inthe NAPP Mabe Gly submitsanpls your atwokto heson@albymedagon comWhen it comes to filters, COMPROMISE Oem a lem Peres Dee me id See Cues rca ead Ce eto) and visionary filmmakers in Hollywood, even more so with the advent of the Digital SLR. eo Cee Tee te sec iets these innovative filters have helped create some Cee aed an ae a Rerolay 1.800.645.2522 Helping Create the eet eee 0TRAINING & EDUCATION FOR PHOTOGRAPHERS AND CREATIVES @ Kelhytrainingerve ‘The Oficial Adobeé Photoshop’ Seminar Tour Oficial Sponsors ¥ SEMINARS USER, las THE PHOTOGRAPHER'S PHOTOSHOP CSS POWER USER TOUR itn Dave Grass doin Photoshop expert and bes-seing author, Dave Cross, one othe planets ost renowned Photoshop gurus, forthe test, most-equest- ed, jaw-dropping Photoshop C36 tour of 2012! 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OKLAHOMA, OK Coxusiess Serves Cater Sanuary 25,2012TAMRON & — wwwtamron-usa.com8 BEFORE Preeti ET ve Fo ville, Kentucky, a town of about 20,000 people in the western part ofthe state. The Group's president, Renan Quijano, and hs wi are both pediatricians and work at the clinic, which also includes ‘one more pediatrician, a speech therapist, and a staff of about 12. ‘The dlnic “performs most pediatric services, checkups, develop: snded 11 years ago, the Pediatric Heath Group serves Madison: mental advice, immu ids from newborns upto 18 years ld ‘The Group's website, however, doesnt reflect the cl fessionalism or peope-oriented approach, I's based on a template izations, and so on,” sys Quiano, “We treat provided by their domain registrar and site host, according to Quijano, with the elevant information plugged in, “I's flat and blah,” complains Quiano, and ust looks like the generic website pears to have been designed for an old-fashioned, 640+480-piel display In a current browser that itis. Moreaver, the tempat ‘on a modem computer's display, the “live” part of the page floats in the mile ofa vast sea of gray. Most visitors tothe site are patients or families of patients (current or prospective). The Group promates the site anther ro chur and business cards and in local newspaper ads that encour ‘age people to “vst us on the Web.” Quijano would like people who follow up on that imitation to find something more inviting when they get there, He hopes to convey the idea ofa clinic that's accessible, with friendly staff and quale physicians, He'd also ike it to be easy for busy par through the to navigate, and to provide ways for visitors to intra login to ther accounts, send emails tothe staf, and soon ‘One moce thing i that Quijano would b tos other duties, so the design shouldn't the person maintain ing the st, in addition bbe so flashy that a busy doctor cant keep up with it. With all that in mind, we asked three designers to devise a treatment plan for the Group's website COVERS THAT ARE CURRENTLY NTHE MARDESIGNER Ce ea ean eee | AFTER | > My fist step inthe redesign process was to expand the canvas to ‘maximize impact. The orignal website hada tiny display window of only 600-px wide. Based on current World Wide Web statistics, | decided to optimize the page for a 1024768 display and use a liquid layout that enables the website to expand and contract with the user's browser window. ‘The next step was to replace the website's overwhelmingly ‘neutral color palette with one that’s mare inviting and kidriendy | started by creating a simple gradient background using sky blue {and fading to a shade of ght teal. The background is intended to ‘add color, while also maintaining alight and clean aesthetic look ‘that would appa to parents of young children | sampled green and purple from the ent’ original ogo and incorporated them into the website as highlighting colors for ele ‘ments such as the navigation bar and section headers. By using only colors from the cool spectrum, l effectively established a color palette that feels both colorful and cohesive. To ensure that the websites easy to use and navigate, I moved the navigation bar tothe tp of the page. Keeping in mind how vis: tors would use the website | combined the Services page with the Staff Bios. felt was important to keep the Services ink within the ‘main navigation, and allow uses to intuitively find the staff bos. Maintaining the kid-friendly theme, | added fun elements such “KEEPING IN MIND HOW as clouds and an airplane pulling the logo across the top of the VISITORS WOULDIUSE THE page. | used a rounded san-serif font called Bfrepla throughout WEBSITE, | COMBINED the page in various weights. | felt this was the perfec, kid-friendly THE SERVICES PAGE ‘ont because when bolded, it reminds me of magnetic alphabet WITH THE STAFF BIOS” letters had as a child! ABOUT THE DESIGNER SARAH SIMPSON, Sarah fa graphic desgnet and lusatr curently locaed south ofthe Chicago are, where she bes wth he equal creative husband, Corey, ‘nd thai ies, the! spa dogs. fer several years of ss shan‘uliing adminsrtve rls nthe auance ns, Sarah tured 0 {allege n 2008 to pure be bachelor’s deren graph desgn. Herlave of adtoraldawing and painting icy tonsfemed ino abounds teh for gap design, pagans, and pal hata Ieper 2010, Sarah and Corey decid to came thee ceate powers and esabshed the relance design ences under the moe, “A Happy ite Design Stud,” The par qui ound sucess woking in he etematonal marketplace with cent al ove the dle, including [Asal London and New Yok Hapoy ite Desn St offers senies npn and ayo design, lusvaten, Web graphs, and Warde: irlemetation. APPLICATIONS USED: Adabe Photoshop CSS and Adobe trator C55 8* DESIGNMAKEOVER DESIGNER cose ees ees ety lately went to work creating a new layout to fit the entire page, For one thing, that enabled me to eliminate the scroll bar from the criginal Services page so the client's information is always visible In addition ta improving the site's readabiity, | set up perma- nent links onthe lft side of the page to make it easy to navigate. ‘The client wanted easy access to email and alogin featur, so | made those prominent on each page. included the adress, loca- tion, and phone number at the top of every page for easy acces, aswell ‘With the strucute in place, | tackled the aesthetics. Since the Pediatric Health Group specalizes in treating newborns to teenage er, | wanted to represent that diversity with photography, Working in advertising design, ve leaned that the upper-left comer of «2 page is generally where a viewer wil ook fst, so placed the largest photo, with the doctor and baby, in that area to make the pediatis theme immediately obvious. | used a fun, chunky font fram Fontalcious called Cher forthe links, logo, and page tits. I balanced everything out with Century Gothic to complete a non- formal look. Final, chose bright colors and incorporated some movernent in the design. | ceated a cuving banner and placed the photos in rds to draw the eye from the left side ofthe page tothe right. | AFTER | > When | saw the Pediatric Heath Group's curent website, !imme- | PLACED THE LARGEST PHOTO, WITH THE DOCTOR AND BABY, AT THE The sparkles and sunburst inside the banner symbolize new life UPPER LEFT TO MAKE Shades of orange and yellow add warmth, while being comple THE PEDIATRICS THEME mented with Bue hues. IMMEDIATELY OBvious™ This new design embodies the spirit that the Pediatrics Heath ‘Group wants to convey a friendly, caing atmosphere with an experienced and knowfedgeabie stat ABOUTTHE DESIGNER STEPHANIE LEE Shane's asic endeavors began at age se while swinng pant patches fram th hardware sore. ramoed wth clo and composton Steahane became interested n rach desin in igh school after taking 2 desktop-publshng das. She graduated from the Univers of Mary \asington in Fredericks, Virgina, wth a Bacher of Arts degre wih acencenatenn graphic communication. Stephanie eeeved mast of her erence woking mn adverting asa eo desgner ora pubhing company. Curent, se woks forthe US. Marine Comps asa sal information spect ond has Ben fel n gap and webpage design fr 10 ear Bom and raed in Vegna, Stephane eoys spending tine with family sd fens and dling to the woes af potograpy, here dr, and fastion sts. "When lgacuated em college, a fiend gave me a hand-painted ceramic lage tat a) ‘Ass create the Wot hey Imagine, a lve by hat notin, No mater what youecesgnng, the sauces and possiblities ae endless,” ay Ststane, APPLICATIONS USED: Adobe Photoshop 4 and Adobe ilustrator C54 8DESIGNER cre ee aaa] | AFTER | > Lwas simuttaneousy intrigued and baffled about how to approach this project. As both a dad and a designer, there was an ongo- ing intemal struggle between form and function throughout the entre brainstorming and design process: My “dad” side insisted on eating a very antiseptic renin, inthe hopes of conveying trust, knowledge, and experience. On the other hand, my designer side is [st anidiot monkey who wants to make everything cool and fu. In the end, m still not quite sure which side won! But there area few values that | hope somehow came across. Fist, to satisfy the idiot monkey, e-—my designer sensilites, | dose a colorful "bokeh look (fering tothe background “star” effects, not to being out of focus), which | created in Photoshop, Some ofthe effects were achieved using Martin Wiklund's Rabies Star Brush Set Bacause the clients logo featured a boy and gi, | thought purple and blue seemed ike an appropriate color scheme. | did take some iver in simplifying the logo; hopeful, to better com- unica the “We Care” concent. | arranged the staff photos to communicate trust, familiarity, friendliness, and professionalism, #41 WAS ABLE TO REGONMI ‘The oversized navigation and the large, lean Evaluator Treat- - ‘ment/Testing icons (from BanzaiTokyo's MedICO set at www THE FORM VS. FUNCTION 3 ‘conspedia.corn) make the services easier to find. There’ a clear DICHOTOMY Tage are call to action va the phone number ontop, as well asa lftcolumn A FUN, KID-FRIENDLY ‘contact (appointment form. The fonts ae ll variations of Hevtica DESIGN WITH ACLEAN, Neve chase it most fori readabity, but l especialy lke the way PROFESSIONAL. PARENT- ‘the bold and lighter weights complement each other. FRIENDIQINTERFACE. A layout like this would port quite readily to WordPress or Drupal, which satisfies the need for quick, friendly updating Uitimately {and hopefully, | was able to reconcile the form vs function dichotomy to create a fun, kid-friendly design with a clean, professional, parent-riendly interface. ABOUT THE DESIGNER ‘CHAD Foust (Chad Web design at Setwater Sound in For Wayne, Inara, one ofthe gest online mus etal inthe world. He creates Graph Fc ad codes HIMIUCSS fr muliple e-commerce stes, era, ane banner abvensng, 35 well a5 aking on numerous freelance pokes, ‘most for nonprofits ad community groups. Hs cents have ranged fom government agencies, prisons, schools, churches ana dozens of Small busnesses throughout suburban Devot "in 2001 after graduating with a Bachelor of Science in music he went nto ministry for 10 yeas, lating the Creative Arts teams at ‘8 2,000-remberchuch in downriver Det. twas here he dacavered his ove for creating a, wheter muse. vide, lighting ard tage ‘desgn, graphics or Web, and early 201, he made the lap inta the marketng and advertisng fled. He has been rare to hs bea ‘fe, Deanna, fo nine yeas, nd they have two sons, ages ve and seven. SPPLICATION USED: Adobe Photoshop C52 g028 YDOWN & DIRTY TRICKS Call of Duty: MW3 Cover COREY BARKER This tutorial was inevitable the moment | saw the original Call of Duty: MW3 cover. | love the simplistic approach they used of compositing the subject over a white background with subtle elements. This is a surprisingly simple concept to reproduce. Let's have a look D STEP ONE: tall stats, of course, with a photo of a solder. Fortunately, found this one over at iStockphoto.com. Sadly, | don't know anyone who has full combat gear at his or herds posal, 50 this isthe next bes thing, Notice oo, thatthe subject ison a white background, which will make him easier to extract. LWAPP members may downlcad the files use inthis tutorial at htp members photoshopusercomlmagazinelisuetfebruaty -2012. AI fes ae fr personal use ont] STEP TWO: We're going to process this photo using HOR Toning, but before we do, we need to create and save a selection of the subject. The image must remain flat to run HDR Toning, so we can't extract the subject fist, as we'd normally do. We want to make the seecton fist because we're unsure what the HOR Toning effect will do tothe edges. Select the Magic Wand tool (nested under the Quick Selection ‘00! [Q] in the Toolbox) and make sure Contiguous is checked (on in the Options Bar. Click once on the white background, It will select the entire background. A couple of areas around his, left foot and between his legs were missed. Just hold down the Shift key and click on those arees to add them to the background selection, (Selecting these missed areas isn’t absolutly essential since his feet and legs won't appear in the final image, but if you're a sticker for deals, then go ahead.) If the Magic Wand tool has trouble selecting these areas, try rising the Tolerance in the Options Bar. Once the selection is. commen | SS made, goto Select> Sart =} Inverse. This wil fp the selection from the background to around the subject. Then, go 10 Select>Save Selection. Give the selection a name and cick OK. Press Command-D (PC: Ct-D) to deselect STEP FOUR: Go to Image>Adjustments>HDR Toning, We'll Use ths to add some grungy contrast to the subject. Every image will be different, so you'l went to play around with the settings. | always start by pushing the Detail setting all the way up to +300, {and then experiment with the other settings until find some- thing that strikes me. Click OK when done.STEP FIVE: Go to Select>Load Selection. When the dialog Pops up, goto the Channel drop-down menu and choose the selection you made earlier, Click OK. Press Command-< (PC: Ctr-C) to copy the selected subject —apemee to the clipboard [elon STEP SIX: Create a new document measuring 6x8,25* at 72 ppi. Press Command-V (PC: CW) to paste the copied subject, into the canvas. the subject is arger than the canvas area, goto EditeTrensformScale, Press Command-0 (PC: Cit.) to expand the document edges to see the transform handles. Hold down the Shift key and clck-and-drag a corner handle to scale the subject to fit inthe center ofthe carwas area. Once the subject is in place, pes tr to-commit the change. STEP SEVEN: Even though the HOR Toring greatly boosted the contrast of the subject, we still want to selectively darken some other eating a masking effec. Go into the Toolbox and select the Brush tool (8). In the Options Ba, click on the brush thumbnail preview to open the areas. For this, well use a cool trick | often use when Brush Preset Picker and choose a standard round, soft-edaed brush. Open the Brush panel {WindowsBrush) and make sure all the brush features are unchecked on the left ofthe panel Back in the Options Bar, change the blend Mode to Soft Light STEP EIGHT: Press D to set the Foreground color to its default color of black, and tum on Lock Transparent Pocels in the Layers panel (i's the first con next to the word "Lock.") Paintin areas you want to be darker. Because the brush is in Soft Light mode, it wil lave white areas alone, only darkening the gray areas, Here, we blacked out some areas in the face as well as some of the detail in the middle area, bearing in mind that the text will be placed here later. As in the orginal, we're "rying to achieve somewhat ofa shouerte effect while keeping alot of deta, as wel, STEP NINE: For a final touch on the subject, go to Fite Distort Diffuse Glow. Set the Graininess to 1, the Glow Amount 10 10, and the Clear Amount to 10. This will add a subtle soft low to the subject—not a crit litle something extra. Click OK when done, 3 element, but it does add a STEP TEN: Now let's add some atmospheric effects, Here, we have a simple stock smoke element that will work perfectly for this, We need to extract the smoke, so go to the Channels panel (Windows>Channel), hold down the Command (PC: Ct‘) key, and cick on the brightest channel the Blue channel in our example). This wil activate a selection, DOWN & DIRTY TRICKS8 DOWN & DIRTY TRICKS. STEPELEVEN: Press Commands (PC: Ctrl!) to copy the selected area to a new layer. Then, go to Image>Adjustments> Desaturate to remove the color STEP TWELVE: Use the Move tool (V) to drag-and-drop the ‘extracted smoke to the COD layout. Be sure to drag the smoke layer below the subject layer inthe Layers panel. Use the Move 100! to position the smoke at the bottom of the canvas area, and then use Free Transform to scale the smoke, if necessary STEP THIRTEEN: Let's add a subtle city scene in the background, Here, we have a cool city skyline that will do nicely. Press Shift Command-U (PC: Shift-Ct-U) to re- ‘move the color from the image, then bring it ver to the COD layout fle. Drag the cit ayer above the smoke layer, then change its ayer blend mode to Screen. Reposition itso that more of the city can be seen inthe area of the smoke. STEP FOURTEEN: Let's add another atmospheric effect in the foreground. In the original cover there's a scattered pa effect in the lower foreground area. To achieve ths eect, we're {going to use a photo that was recently taken ata fireworks show, At fist glance, it seems lke a bad shot and a useless photo, but beg to ciffer: I's actually perfect for this part of the effec. Start by pressing Shift-Command-U (PC: Shift-Ctr-U) 10 remove the color. Then, go into the Toolbox and select the Gradient tool (@) STEP FIFTEEN: In the Options Bar, click on the small down facing arrow to the right ofthe gradient thumbnail preview and choose the Foreground to Transparent grackent in the Gradient Picker (t's the second gradient). Press D then X to set white as the Foreground color. In the Options Bar, choose the Racial Gradient type and change the blend Mode to Overlay. STEP SIXTEEN: Stating atthe bottom of the sparks image, drag three or four gradients out from the same area to build up the highlights at the bottom. With the Gradient tool in Overlay ‘mode, the highlight areas wil become brighter and the darkest areas will remain dark use | continued on p. 32,LastoliteDOWN @ DIRTY TRICKS STEP SEVENTEEN: Drag this sparks image into the COD layout fle, and then drag ths layer to the top of the layer stack in the Layers panel. Press Command (PC: Cut-7 for Free Trans: form, then grab the top-midle control handle and drag it down to squash the image. Go to EitsTransform=Warp. In pmode ‘can drag the comer handles or even dick inside the gid area {and drag around to distort the sparks even more. As you do, the image will become blurred because yo This works because it gives the sparks a subtle hint of motion re stretching the pixels. blur. When done, press Enter to commit the change. STEP EIGHTEEN: Last, just change the blend made of the ‘and gray areas invisible, leaving 2 nice scattered particle effect. Pretty cool, huh? sparks layer to Screen to make 1 ‘As you can see here in the final image, i all tocomplete the effect. For the final text, go to http members photo- shopuser.convcategoryftu watch an exclusive video tutorial on 1s together ricely ial to how to create this final touch. mc os2Perfect Effects 3, the next generation ofthe incredibly popular PhotoTools, isthe fastest and easiest way to create images with impact directly from Lightroom, Aperture and Photoshop. You can even use it as a standalone application. Browse and quickly preview the Perfect Effects library of inspiring photographic effects on your image to find the look you want. You can even take ite step further and create your own unique style. Simply combine multiole effects and then use the advanced tools for complete contral aver how they are applied and blended together Creating professional looking images has never been this easy! Try Perfect Effects 3 today to experience how easily you can create images with impact. LEARN MORE ABOUT PERFECT EFFECTS AT onOneSoftware.com>> Key concerrs: G)iaermak @) aucrsetectontoo! YDOWN & DIRTY TRICKS FEL NELSON Watercolor Effect | saw this effect on a promotional poster for the movie The Other Woman. It’s a very natural-looking technique that gives the image a very soft, noncomputer-generated feel. While it doesn’t quite have the detall and interaction that occurs between actual watercolor paint and paper, it does a good job of capturing the essence of it. PD sterone: Open the image towhich you wish to.apply the effect. Double-dick on the Background layer in the Layers panel to open the New Layer dialog end rename the Background layer. The default layer name (Layer 0) is fine, so simply click OK. Click on the down- facing atrow at the top right of the Layers panel and choose New Group. When the New Group dialog appears, click OK. STEP TWO: Click on the Add Layer Mask icon (the grey square with the white circle) at the bottom of the Layers panel, Now, go the Edit menu and choose Fill. When the Fill dialog appears, choose Pattern from the Use drop- down menu, Click on the Custom Pattern thumbnail 10 open the Pattern Picker. Click on the flyout menu and select Text Only. Click on the flyout menu again, choose Artist Surfaces, and click OK to replace the current pat- teins. Choose Gouache Light on Watercolor from the list of patterns and click OK. Create a new layer (Layer 1) by clicking on the Create a New Layer icon at the bottom of the Layers panel. Move Layer 1 out of Group 1 by drag ging it down toward Layer 0 (you'll know you've moved it ‘out of the group when a black bar appears between Layer 1 and Layer 0 as you move it STEP THREE: PressD to set the default Foreground and Background colors (black ‘and white, respectively). Press Command- Delete (PC: Ctr-Backspace) to fill Layer 1 with the Background color (white). Click directly on Group 1, then cick on the Create ‘a New Layer icon to adda layer to the group (Layer 2). Click on the Foreground color swatch, choose aight mauve color (R227, G:200, 8.215), and ck (OK. Now, click on the Background color swatch, choose alight ray (R229, 6:227, 8.228), and dick OK. Choose the Gracient tool (G) {om the Toolbox. Click-and-Brust), click on Dual Brush in the list on the left, and choose the Spatter 27 pixels brush. STEP FIVE: Set the Foreground color to a plum color (R:155, G:63, > 8:130). Start painting random areas (on the layer, You'l notice that the fist few strokes wil appear as graysh-back (because the Flow is only set to 5%). The more you pant, the more saturated the color will become. Vary the brush size and amount of color you apply see examples). Set the Foreground color to a light ink (R212, 6:123, 8:167) and paint on the same layer. Notice how the new color begins to interact with what was alteady there. Again, vary the size {and amount of color you're applying, »* STEP SIX: Now, change the Fore- ground color toa light peach (R:237, 6:209, 8:206) and continue to paint, blending the colors on the same layer. STEP SEVEN: Create anew layer (Layer 4). Inthe Layers panel, change the layer blend mode to Color Bun ‘and lower the Opacity to 50%. Click fon the Add a Layer Style icon and choose Inner Glow. Select Color Bur for the Blend Mode, enter 70% for Opacity, choose black as the color, 196 for Choke, 4 px for Size, 60% for Range, and cick OK. Change the Foreground color to purple (R:181, G:59, 8:118). Once again, choose the Brush tool and paint in random areas, varying the shape and size ofthe brush. >>) DOWN 4 DIRTY TRICKS:DOWN & DIRTY TRICKS > > STEP EIGHT: Continue paint- ing on Layer 4 using pink (R:223, 6:169, B:198) and a light flesh color (R:232, G:190, B:202) NOTE: You can add additional layers (with the layer blend made set to Color Burr, with or without the Inner Glow layer style, to. add more depth and detail. In our ex- ample, we've added two layers, with the layer blend mode set to Color Burn, with no layer style applied. STEP NINE: Click on the original image layer (Layer 0) 10 make it the active ayer. Click-and-drag it to the top of the layer stack, ust below Group 1 (to add it to the top of that group). Using the selection tool of your choice (we used the Quick Selection tool [W)), make a selection of the focal point of the image the girl and flow= ers in our example). Click on the Add a Layer Mask icon at the bottom of the Lay- ets panel to mask away the background. STEP TEN: Choose the Brush tool from the Toolbox. Using a large, soft-edged, black brush with the Opacity set from 30-50%, mask away portions of the image unt you achieve the desired resits. We added some text and a sketched skyline image to complete the effect.Ws BN CARBON FIBER TRIPODS Fa Cae ee ee ee ee ee Fe cae pe rarer peepee aims gia lee WA \ ee es ent ret men nt red fo BB Ge & © Qreowrignt sur8 YDOWN & DIRTY TRICKS Building a Boxed Layout Although I've seen this layout technique a number of times, the ones 've differently. Ive come up with a cool and easy way to achieve a simi s of a single image with multiple images or individual p at 100 olor to black, and ther D> STEP ONE: Create a new document at around 9x12 pi. Press D to set your Foreground press Option-Delete (PC: Alt Backspace) to fl the Background layer with black, Press Command C: Ctr-R) o turn on your rulers and Right-cick on one ofthe rulers to set them to inches Select the Rectangular Marquee too! (M) in the Toolbox. Hold down the Shift key and dra 2 square selection from the top left comer about 3" down, STEPTWO: We need to add guides to the right and bottom ofthe selection. Click inside one of the ules and drag out to create a guide—it should snap to the edge ofthe selection (Once done, press Command: (PC: Ct-D) to deselect. STEP THREE: With the guides in place, we now know where to place the white ies that will separate the various boxes in our layout. Select the Single Column Marquee tool (nested under the Rectangular Marquee tool in the Toolbox) 3 on the vertical guide in the document and a single cok umn selection should snap right to the guide. Click the Create ‘2 New Layer icon atthe bottom of the Layers panel, and then press Shift-Delete (PC: Shift Backspace) to open the Fil dialog hoose White from the Use drop-down menu and clck OK STEP FOUR: Grab the Single Row Marquee tool in the Too! bbox and place a selection along the horizontal guide. Fill this selection with white, as wel STEPFIVE: Add another Single Row Marquee selection Underneath the fist one at about the 7” mark, and flit with Ite problem here. The line goes al the way itoff on the left white. There ‘across the document, but we want to cu side of the vertical guide. Select the Rectangular Marquee tool ‘and draw a selection over the area to be deleted. Again, the selection should snap to the edge of the guide. Press Delete (PC: Backspace). Now w have the basic frame in place for our layout. t would be good to save at this point! COREY BARKER n may have been approached lar look in no time at all. You can try this —————; - =‘STEP SIX: Now we'll goto our frst image. Open any image that you'd ike to use. Here, we havea high-res image of a Mini Cooper. Select the entire file by presing Command-A PC: CA), ‘and copy i tothe Clipboard by pressing Command-¢ (PC: Circ STEP SEVEN: Go back tothe design layout and make sure the layer containing the white lines i active in the Layers panel Choose the Magic Wand tool (nested under the Quick Selec- tion tool [Wi] in the Toolbox) and clck inside the large box in the lower-right corner. it should make a selection of just that box fit doesn't then it means that there's a breakin the line somewhere, Also, make sure Contiguous is checked on in the Obtions Bar, STEP EIGHT: Go to Ecit>Paste Special>Paste Into, This wil create a new layer, paste the image, and generate a layer mask based on the selection—alln one step. The result will be the car image contained within the box. Notice the layer mask is ‘ot linked to the layer, allowing you to scale and reposition the image without moving the mask. Go ahead and use the Move too! (V) to positon the image where itJooks best. If you need 1 resize the image, press Command: (PC: Ctr) for Free Transform and then Shift-drag one ofthe corner handles. Press Enter to commit the transformation ‘STEP NINE: Open another image. Here, we have a cool shot ofthe tallight of the car. Remember, you can certainly use mul tiple shots of the same subject or you can also use several pats ofthe same high-res photo. We'll go through the same process here that we dd inthe previous three steps to add the photo to the vertical box on the lower-left side. Make sure the layer with ‘the white lines is selected when making the box selection with the Magic Wand tool. Resize and reposition as necessary. DOWN & DIRTY TRICKSg DOWN & DIRTY TRICKS. ‘STEP TEN: For the final image, we used an interior shot of the car that will go inthe upper-right horizontal box using the same steps as before, We'll eave the top left box forthe logo {and the middle box on the right for some text STEP ELEVEN: For the logo, we want to doa litle more than just put it on a black background. Generate a selection of this block using the Magic Wand tool trick we've been using Once selected, create a new blank layer and press Shift-Delete (PC: Shift-Backspace) to open the Fill dialog, Select 50% Gray in the Use drop-down menus and click OK to fil the selection STEP TWELVE: Set the Foreground and Background colors to their default back and white, respectively, by pressing D on your keyboard, Then, go to Filter>Sketch>Halftone Pattern. Set the Size to 3 and the Contrast to 6. Also, change the Pattern Type to Dot, Click OK, and deselect. STEP THIRTEEN: Drop the layer Opacty to 259% in the Layers ppanel, Hold down the Option (PC: Alt) key and click the Add Layer ‘Mask icon (cece in a square) at the bottom of the Layers panel to ‘add a Hide Al clack) layer mask Switch to the Gradient tool (6), Press D to set the Foregrou ‘to white and the Background to black, the default colors when ‘@ mask is active. In the Options Bar, click an the gradient ‘thumbnail, select the Foreground to Background preset inthe Gradient Editor, and cick OK. Click on the Radial Gradient icon inthe Options Bar. Statin the middle of the square and draw ‘outa smal gradient, This will fade out the black background, revealing the halftone pattern STEP FOURTEEN: To finish, just drop a logo inside this square and center it. Then, use the Type tool (7) to add text in the empty box on the right. One last thing: make sure to drag the layer containing the white lines tothe top ofthe layer stack inthe Layers panel, This way, nothing will obstruct the lines, leaving a clean finish, m IT'STHE SMALL CAR aod BIG ON STYLE.THE FASTEST, EASIEST PORTRAIT TOUCH-UP SOFTWARE eae nee Re MOLT ae eae Coren ees Correo mettle stem coc ecru eae yet natural looking touch-up in minutes. No skill is required. Poe R el aia NmNOlys SARL Alm onsen NID okse vy oe eC eae ies Te Le) Md Na Nelg=cO)\ NM (carenI've always thought the best way to learn something is to see in it action, so let's ¢ get our hands dirty by attacking a couple 3D projects here in Photoshop. For this first . one, let's start really simple and build an effect using nothing but 3D postcards. This handy feature was added in CS4, and while rather simplistic in its function- ality, you can do some really remarkable 3D effects—not to mention that it's not as much of a processor hog as the other 3D features. After that, we'll go deeper and explore the new Repoussé feature, and discover how to integrate 3D into your Photoshop creative process. Hopefully, you'll start to see Repoussé as just another tool like layer styles or filters rather than a separate entity.STEP ONE: Here we have a simple 20 texture file. We want ‘to make this image appear as though it has some depth and ‘atmosphere through the use of 3D postcards and lights. Make 2 duplicate of the Background layer by dragging it to the Create ‘2 New Layer icon atthe bottom of the Layers panel, then go to ‘3D>New 30 Postcard from Layer. LNAPP members may dovmiload the files used inthis tutorial at htp:=lImembers photashopuser.commagazinefssue/febru- ‘ay-2012, You'l also find the completed file of this technique for you to reference. Al fies are for personal use only] STEP TWO: We need a graphic element to shine a light through to make a shadow. You can certainly use any mage or ‘graphic to create the shadow element. In this case, we're going tousea simple shape from the custom shape presets. Click-and- hold on the Rectangle too! (U) in the Toolbox to reveal ll the shape tools and select the Custom Shape too! at the bottom, STEP THREE: In the Options Bar, click ‘on the Shape thumbnail to open the Custom Shape Picker, then click on the small arrow at the top right and choose All from the presets in the flyout menu. Click Append in the resulting dialog, This will reveal ll the preset shapes in the Custom Shape Picker, | ike to do this because | never know what shape will catch my ‘eye. Locate the shape af the diagonal ines called Tie 2 and click on it to select it STEP FOUR: Make sure the Shape Layers icon is activated ‘ear the far left side ofthe Options Bar, and press D to set yur Foreground color to black. Then, hold down the Shift key to draw the shape proportionately from the top edge to the bot- tom edge of the texture image. 2698 [By Pectangle Toot @ Pounded Rectangle Tool @ Bliose Toot @ Potvg0n Toot / Une Toot'STEPFIVE: Convert this shape layer nto a 3D postcard the seme way you converted the Background copy layer in Step (One. In order for these two 3D postcards to receive ight and cast shadows, they need to be merged. Merging 3D layers puts them in one layer, but they're stil separate 3D objects that can be manipulated individually from within the 3D panel. To ‘merge them, click on the Shape 1 layer in the-Layers panel to make it active, Shif-clck the Background copy ayer to select both 3D layers, and then go to 3D>Merge 3D Layers ‘STEP SIX: Open the 3D panel Window3D) and goto the Mesh seton the second icon atthe top), Highlight Shape 1_0 and then select the 30 Mesh Rotate tol on the ft side ofthe pane! third tool dow. Go to the X setting inthe Options Bar and changeit 0-90. Tis wll tum the shape perpendicular to the background texture. it didn't disappear; it's just flat and Repoussé> Selected Path. You'l see the path shape extruded and the gray fill wrapped around the object. You'l also see the Repoussé «log open. Don't be discouraged by this massive panel; we're ‘only concentrating on a couple things here. [STEP FOUR: First, lok atthe toolbar onthe side. These tooks ‘alow you to manipulate the angle and positon ofthe shape while the Repoussé dialog is open. Grab the Rotate the Mesh tool at the top, then cick-and-rag onthe shape to moveit around. You can see the backdrop is taking shape. Click the Return to intial "Mesh Position icon (house) atthe bottom ofthe toolbar to reset ‘the object to its original poston. Then, hold down the Shift key ‘and click-and-drag tothe right totum the shape toward you. We ‘eed to increase the Depth ofthe extrusion to fil the sides ofthe ‘amas. inthe Extrude settings, change the Depth to 2.5, Ths will ‘ive us some excess forthe postoning, Last, click onthe Retuen ‘onal Mesh Position icon again to reset the positioning, We'll Totate it nto its final place using the 3D tools back in the main window. Click OK. ‘STEP FIVE: Now we have our backdrop piece. Select the Object Rotate tool K) in the Toolbox, and then in the Options Bar, locate the X, Y, and Z Orientation settings. Highlight the Z setting and set it 10-90 to rotate the object to face you. It still doesn't fit in the canvas area because it's sitting further back ‘away from us in 3D space. ‘STEP SIX: Cick-and-hold on the Object Rotate tool in the Toolbox and select the 30 Object ide tool from the yout menu Clidcend-crag the object othe right so t's more centered, and then drag down to sie the object forward in space towed you untlit completely fils the canvas area. You want the cuved front edge jst above the bottom edge like you see here intel te. oe else a Lee 5 ee * stoned = oa'STEPSEVEN: With the backdrop object in place, let's apoly the texture to finish it. Bring up the Layers panel and look at the 30 layer containing the backdrop shape. Under the layer, yout see a couple texture files sted. Double-click the Layer 1 Extru- sion Material to open that texture file in a separate window. 'STEPEIGHT: Open the background texture file you want to se. We're using the subtle stone texture that we showed you in Step One terture_1,p5d in the download fils). Switch to the Move tool (V) and drag-and-drop the texture into the Layer 1 Ex. ‘rusion Material file. Add the Shift key as you drag it over to drop it in the center. Use Free Transform (Command-T[PC: Ctf-T) to scale the texture if necessary to fit in the canvas area. Hold the Shift key and clck-and-drag outside the Free Transform bounding box to rotate the texture 90° clockwise so the grain ofthe tex ‘ture willbe horizontal rather than vertical inthe final shape. Press Enter to commit the transformation. When done, simply close ‘the Layer 1 Extrusion Materia file and save the changes. This wil ‘update the texture surface on the 3D object. 'STEPNINE: It might be necessary to adjust the scale and positon of the texture on the 3D surface. In the 3D panel, go to the Materials section by clicking the third ican atthe top. In the lst of materials, click on the Layer 1 Extrusion Materia ‘and go to the Diffuse setting just below, Click on the drop- ‘down menu to the right and choose Edit Properties Here's where you can adjust the U and V Scale and Offset. By changing these settings, you change only the scale and position of the texture on the surface of the 3D object, not the 3D object itself. These settings will vary depending on the texture, so it's easier to click on the arrow next to the number ‘and use the slider to adjust and eyeball the positioning. That's how | came to these numbers here. Perhaps you're thinking that this isa lot of complicated steps to get a simple backdrop, but the real advantage here is that all the legwork is done at the beginning, To get a dit- ferent backcrop, all you need to do is to reopen the Layer 1 Extrusion Material file, import a new texture, and with some ‘adiusting of the Diffuse Texture Properties, you can create a new backdrop in no time. This s way better than going back {and creating the backdrop all over again in 3D, ‘So now that we have the backdrop, we need to light it ‘Another great advantage isthe ability to create realistic ight- ing scenario. By default, Photoshop has aleady added three Infinite lights to create an overall ambient lighting effect. But ‘we're going to add a spottight, as well, to give the scene a litle more drama, vs Osea [oe Target: (Componte Le "ee a Te ee ——_—_— EE,eh oes a ‘STEP TEN: In the 30 pare, goto the Light section by licking onthe last kon atthe top. You'l see the te lfrite Lights inthe list fats, Goto the botom ofthe pane and click the Crest a New Light icon and choose New Spot ight if you don't ee the light; go tothe bottom of the 3D pane and cick on the Toggle Misc 30 Extrasicon (ye witha Imesh) and choose 3D Ughts to tun othe wiefames. the icons grayed ou, click on one ofthe tok on the let se of the 30 pane to actnateit) Th wl hep with he positioning STEPELEVEN: Use the 30 Light tools located in the 3D panel toolbar (fourth set of tools from the top) to reposition the light, Here we used the 3D Light Side too! to move the light to the ight and bring it forward a bit, then used the 3D Light Rotate Tool to make sure the ight s pointed atthe center Of the backdrop. The light is lve so you can see it move when you reposition the light source, Finally, in the 3D panel, set the intensity to 1.2, This will make the light brighter. In this ‘example, we added only one spotlight but we encourage you to play with multiple lights and other styles of ights to see how creative you can get jst with lightning, STEP TWELVE: From here, it's merely building the 2D ele- ‘ments on top of the new backdrop. You can place anything you want on the stage. In ths example, | started by bringing the bottle into the scene on a new layer above the 30 layer and scaled and positioned it in relation tothe scale ofthe backdrop. | continued to add cracks and other elements to give the effect of the bottle exploding, For the splash effect, | extracted a water splash from a simple stock photo then converted it oa 3D post- catd. then rotated multiple duplicates ofthe same postcard layer at ciferent anges to get more variation of the water explosion. STEPTHIRTEEN: For the blue color cast, | added a Hue! Saturation adjustment layer near the top ofthe layer stack. To ‘add your own color cast, click on the Create New Adjustment Layer icon (haf-black, half-white circle) atthe battom of the Layers panel and select Hue/Saturation. In the Adjustments panel (WindowAdjustrents), lick the Colorize checkbox and set the Hue to 215, Saturation to 25, and Lightness to 0. As 2 final touch, | added a 3D bullet | created using a simple path shape layer. ‘The main point 'm trying to make here is that the subtle use cf 30 can create a realstc backdrop for an image that's built in both 20 and 3D. The use of 3D to create the background yields a very convincing environment that can be altered ‘Quickly by simply changing the texture file If you have Photoshop C35 Extended, | encourage you to ive 30 a try. The bes strategy isto jump in without a definite ‘goal in mind and just play with the tools and features to get 2 feel for what they do. Ifyou dig deep enough, you'l find a ‘word of possiblities you never knew were there. IC esDo your images reflect your visio Available for Windows and Mae OS XY BEGINNERS WORKSHOP Lesasnioen Blending Images Perched atop your Layers panel is a drop-down menu that controls how color (pixels) on one layer inter- acts with color on another. By using these blend modes, you control how layers blend together. This issue, welll look at how to use blend modes to create a quick collage that adds visual interest to winter photos. > Before diving into blend modes, it’s helpful to think of the colors ‘on your layers as having three pars + Base colors: Thisis the color you start with, a color that lives Jn your photo mage layer) ‘+ Blend colons): Ths the color you're adding to the base olor, whether it's a photo or illustration on another layer, ‘a color you're adding to a new layer via the Brush tool, a Shape layer, etc ‘+ Result colors): This isthe color you get after mixing the base with the blend color using layer blend modes. t qe ae modes Blend modes are divided into categories based on their neutral color—a color that causes no change in that particular blend ‘mode. In the Darken category, Photoshop looks atthe base and blend colors and keeps only the darkest ones. Using a blend ‘mode in this category always results in a darker image than you started with, The neutral color inthis category is white, meaning ithas no effect on the blend color; white areas in your blend color just disappear. These modes are perfect for swapping a light-colored background for something darker. Modes in the Lighten category do the opposite; they produce a lighter image than you started with. The neutral color in this category is black, ‘making these modes perfect for swapping a dark background for something lighter. (" ui 'STEPONE: Open the base image for your collage, such as this snowboarder. This kind of project is @ great opportunity to use stock images in conjunction with your own. For example, & quick search for “winter background" and "snowflakes" on iStock- pphoto.com yielded the texture-rich beauties used in ths tutorial You can also create your own textures by capturing branches, pinecones, defocused lights, et. (WAP members may download the files used in this tutorial at http:members,photoshopuser.com/magazine/ {ssueffebruary-2012. All files are for personal use only. ‘STEP TWO: Choose Fle>Place and navigate to where the sec- (ond image lves on your hard drive. Click Place and Photoshop ‘adds the photo orilustration as a smart object, complete with 2 resizable bounding box. To make it smaller, press-and-hold the Shift key as you drag a corner handle diagonally inward. To ‘make it bigger, Shift-drag a comer handle diagonally outward, Step Four(Don't enlarge a photo more than 30% or you'll lose quality lustrations can be enlarged as much as you want.) Reposition the image within the document by clicking-and-cragging within the bbounding box (you can always use the Move tool V] to position the image later. Press Enter when finished [STEP THREE: With the snowflake layer active, use the menu at the top of your Layers pane! to change its blend mode to Linear Burn (or press Shift-Option-A [PC: ShiftAlt-AD. This mode ‘produces the darkest result color of any mad inthe Darken cate- ‘gor, and gives your image an extra dose of contrast STEP FOUR: Add a layer mask tothe snowflake layer by dlick- ing the crce-within-asquare icon at the bottom of your Layers panel. Photoshop adds a white thumbnail to the right of the layer thumbnail. Click it to activate the mask, ‘STEP FIVE: When using layer masks, painting with black con- eal the layer contents and painting with white reveal it. Think ofa layer mask as digital masking tape—painting with black is the equivalent of applying tape (thereby hiding what's under it), “while painting with white pees the tape off. To hide part ofthe snowflakes, paint with black. Press B to grab the Brush tool and, se the Brush Preset Picker in the Options Barto choose asoft- edged brush, Press D to set your Foreground and Background olor swatches to the default of black and white. Look at your color swatches atthe bottom of your Toolbox and press X until black ison top. [STEP SIX: Mouse over to your image and brush across the area you want to hide (the snowflakes infront of the snowboarder). Ifyou hide too much, press X to swap color swatches—so you're painting with white—and brush back over that area to reveal it Press X again to swap back to painting with black and continue hing snowflakes. To decrease the size of your brush, press the Left Bracket key Q), To increase the size of your brush, press the Right Bracket key (). Zoom into your image by pressing Com- ‘mand-+ (PC: Ctr-# repeatedly so you can fine-tune the edges, 'STEPSEVEN: To keep the overall mage from being to dark, lower the Opacity ofthe snowflake layer to 90%, [STEP EIGHT: Choose File>Save As and pick Photoshop fram the Format drop-down menu so your layers stay intact after clos- ing the document. Give your masterpiece a name and dick OK, Here's the exact same technique shown on a darker image with the texture layer set to Screen made (found inthe Lighten cate- ‘gory. As you can see, a quick change in blend modes can make 2 realy nice collage—fest! Until next time, may the creative force bbe with you all. co — BepeigheY CLASSIC EFFECTS Classic Carbon Fiber Background PETE COLLINS Oftentimes, the first step in any project is to set the tone with a background graphic. Carbon fiber is used in everything from racecars to over-the-top bathroom fixtures, soit’ a great material to use fora background. {Im going to show you how to make it into a seamless pattern that you'll want to use over and over. D sTePone: Start a new 400x400-piel document at 72 dpi Press Command-R (PC: Ctt-R) to turn on the rulers, and drag 2 vertical guide out to the center at 200 pores. STEP TWO: Click onthe Creste a New Layer con at the bot- tom of the Layers panel, and then use the Rectangular Merquse tool (M) to select the left haf ofthe document. ress Shft- Delete (PC: Shitt-Backspace to bring up the fil cialog. Choose '50% Gray in the Use drop-down menus and cick OK. STEP THREE: Press D to set the Foreground and Background colors to their defaults. With the selection stil active, go to Filter>Render>fibers. Apply settings similar to what you see here, or season your fibers to your own taste, and click OK. 'STEPFOUR: Now we're going to make the fibers look a litle ‘more ordered by adding a vertical motion blur to them. Go to Fiter>Blur>Motion Blur. Once again, you can choose whatever settings you lke forthe look you want. STEPFIVE: To imitate the weave of carbon fiber, we need to apply a couple gradients. Create a new layer and switch to the Gradient tool (G). Right-click in the document and select the Foreground to Transparent gradient in the Gradient Picker (your Foreground should still be black). Drag a gradient from the bot- tom to the center of the document. Repeat forthe top, except press X to set your Foreground color to white. k's best to have each gradient on its own layer so you can drop the opacity of each element inividually according to how it looks 'STEPSSIX: Click the top layer in the Layers panel and then Shift-click the fibers layer to select all three layers. Press (Command: (PC: Cir) to merge them together, and create a duplicate layer by pressing Command: (PC: Ct). Now go to Fiter>Other>Oifset. We want to offset this layer halfway hori- zontally and then halfway vertically across the canvas. Since our amass 400-pixes square, plug in 200 pixels for Horizontal and ~200 pixels for Vertical. Make sure thatthe Wrap Around option 's0n. This will alow the layer to be wrapped around so thatthe top and bottom create a perfect match, Click OK. vs ontSTEP SEVEN: Carbon fiber is very small, so we don’t need such a large pattern—the 400-pixel document just made it easier to work with. Go to image>tmage Size, tun on Resamoke Image, resize the image to 50x50 pixels, and click OK STEPEIGHT: Go to Edit>Define Patter. You can give ita fancy name ke Carbon and dick OK. (Iwas going to name it George, but then | started thinking about a lot of Bugs Bunny cartoons and got distracted, so | figured Carbon was safer) 'STEPNINE: Create a new document according to the size of Your project. We've created one fora 1,024x768-pxel Web docu ‘ment, Create anew layer and use the Fill dzlog to fillt with black so that if the carbon fiver i too light, you can drop the ‘opacity and let the black darken the image. Create a secand new layer fled with black to use for your actual pattern, 'STEPTEN: Double-click on the top black layer in the Layers panel to bring up the Layer Style clog, Click on Pattern Overlay in the list of Styles on the left. Click on the Patter thumbnail anc choose the Carbon pattem you just made at the bottom of the Pattern Picker. Adjust the Scale ofthe pattern using increments such a5 100, 50, or 25% to keep the image at maximum sharp= rness—odd numbers tend to make the pattern softer. Click OK. STEP ELEVEN: The key to making the carbon fiber look {900d isto ad lighting to it. Go back into the Layer Style dialog and add a Gradient Overlay. Set the Blend Mode to Multiply, lower the Opacity, click the Reverse checkbox set the Stye to Rall, and push the Scale to the max. You can dlick-and-drag inside the document to reposition the gradient. Click OK. Now ithas more depth STEP TWELVE: All we need now is some cool type, filed with the same pattem and rendered smaller, along with a shiny race- cat, and the image is complete. We can use tis background for 2 watch ad, technical or sports products, or anything that would look good with carbon fiber, which is almost anything—except ‘broccoli! And now that you have the patter in your gallery, it's ready to use again and again. cLassic EFFECTSKey concerts: @) rent! YFROM BERT’S STUDIO BERTMONROY Creating Ribbed Fabric ‘The creation of clothing can take many different directions, depending on the material. Some fabrics, such as sik can be shiny and contain reflections of surrounding lights; other fabrics, such as corduroy, can have ribbing. In this tutorial, youll see how the ribbing in various materials can be easily created. D> Keep in mind what I've said in this column many times—a solu- tion to one problem, with alight alteration, can be the answer 10 another problem. What you'll see here isn’t corduroy but rather the ribbing found on the collars and cuffs of some shits, like the one seen here, These two totally different fabrics can be created using the same technique. 'STEPONE: The fist thing you need to do is create a pattem that wil serve asthe ribbing ofthe fabric. Create a new docu ‘ment that's 4x4* at 72 dpi. Creating a single vertical fine will become the basis for this texture, To create the line, draw out 2 selection with the Rectangular Marquee tool (M). Press D to set your Foreground color to black, and press Option-Delete (PC: Alt-Backspace) to fill the selection with black ‘STEP TWO: Still Using the Rectangular Marquee tool, select part of the line plus white space of equal thickness to the eft ofthe black tne STEP THREE: Tum the selection into a pattem (Edit»Define Patter). You can name it whatever you wish. Note: The ad~ ditional space will determine how close the lines appear to each other. The larger the wihite space, the further apart the ribbing will appear. STEPFOUR: The next step assumes you've created the basic shape forthe garment in a high-res document (300 doi). The Pen tool (P) is what | usually use to create shapes. Click the Create a New Layer icon at the bottom of the Layers panel ‘Command:-cick (PC: Ctr-ctick) on the path inthe Paths panel (WindowsPaths) to create a selection, and fil the selection for the shape of the cuff with the desired color. Press Commmand-D (PC: Ctr-D) to deselect. step One step Two STEP FIVE: Create 8 new layer above the layer containing the cuff shape. Go to EditsFill and select Pattern in the Use drop-down menu. Click on the Custom Pattem thumbnail, select your new pattem atthe bottom of thelist, and click OK to fil this layer with the verticaly striped pattem. n the Layers panel, set the layer blend mode to Multiply to allow only the dark stripes to be visible, thus making them appear as indents 5 inthe fabric, Lower the Opacity sightly—enough to soften the (054 darkness ofthe stripes. Step FourSTEP SIX: Turn the two layers (cuff and pattern) into a Clip- ping Group to mask the pattem inside the shape of the cu. ‘This can easly be done by clicking in between the two layers in the Layers panel while pressing the Option (FC: Alt) key. STEP SEVEN: It’s now necessary to distort the pattern to follow the flow of the fabric. With the layer containing the pat- tem asthe targeted layer inthe Layers panel, press CommandT (PC: CUT to invoke the Free Transform command. Clice-and- drag outside the bounding box to rotate the pattern to follow the angle of the cuff Also, i you want to decrease the size of the stripes, hold the shift key and click-and-drag a corner point. Press Ente to commit the transformation. STEPEIGHT: You now need to add the distortion that hap: ens to fabric due to the shape of the garment, With the layer containing the pattem sill targeted, choose the Warp command (EcitsTransform>Warp). Manipulate the four anchor points and ‘adjust the handles to distort the stripes to follow the flow of the calf, Notice in his image that the three squares atthe top ofthe ‘warp grid have been squeezed hoxizontally. Ths will tighten the space between the lines creating the three-dimensional effect of the ribbing traveling around the wrist STEPNINE: If you want 10 soften thellines, you can apply 2 Filter>Blur>Gaussian Blur. You should keep the amount low so thatthe lines don't get too blurred and start to lose their effect. Another thing you might want to do is adda litle texture to the ribbing. A great fiter for thsi called Graphic Pen filterSketch>Grephic Pen). In ths image, you can see the settings that were applied to the ribbing to get @ rough edge tot. Note: These settings work well forthe specific sample be- ing created inthis tutorial; your particular settings will depend (nthe size and resolution of the image you're working on. ‘You now have your ribbed fabric! For anything that you're trying to create from scratch, i's important to have good reference material This can be either photographs or a subject posing for you—photographs might make it easier for both of you. The most important thing fs knowing how to use the tools Photoshop has to offer. Master them and there's nothing you con't do. > FROM BERT’S STUDIO Step Sic Step Eightose Y BEYOND PHOTOSHOP scott oNstort 25D Illustrations with Repoussé Repoussé makes it possible to inflate text, symbols, custom shapes, or drawn content into an intermediate dimen- sion somewhere between 2D and 3D. This technique can really breathe new lf into flat artwork. You can perform this type of 25D modeling and illustration only in the Extended version of Photoshop. D step one: Create a new document measuring 800x800, pixels 2t 300 pp. On a Macintosh, launch TextEdit and choose EditSpecial Characters. Select Gly in the View drop-down Bx + ere ‘menu, select Menlo in the Font drop-down menu, and scroll ig W a km ot me wt OF down the list to 2510. Back in Photoshop, pressT to select the Type tool, click in the center of the document, and select the Betas oe = sv ‘Menlo font in the Options Bar. Double-click the airplane alah ® eo cea in TextEdit’s Characters panel to set it in Photoshop. On a PC, a press-and-hold the Alt key, press~ on the numeric keypad, type 2708, and release the Alt key. Tip: Windows has an accessory program called Character Map that lets you visually explore font ‘lyphs ina similar way to Characters on the Mac. ‘STEP TWO: Double-click the type layer thumbnail inthe Lay- rs pane! to select the pasted glyph and increase the font size 10.222 pt in the Options Bar. Switch to the Mave tool and click- ‘and. drag the airplane to the center of the canvas. Step Two STEP THREE: Choose Layer>Layer Style>Color Overlay. Click — ‘the color swatch in the Layer Style dialog and select a medium oa ray in the Color ker. Click OK to close the Color ict. Clk the words “Bevel and Emboss” inthe list of Sls onthe ft = Seo the Layer Sil log toad thse. Incase he Size coe Side to 22 px and cck OK. The plane has shading that 50- a {gests rounded edges but the ilustration is stil 2D. STEPFOUR: Repoussé must raster- ize text layers but is most accurate ‘when working with paths. So Right- click the type layer inthe Layers panel {and select Create Work Path from the shortcut menu. Right-click again and choose Rasterize Type. You can have the best of both worlds. aiececa STEP FIVE: Choose 3D>Repoussé>Selected Path. In the Repousse dialog, set Depth to 0 because you don't want to extrude the path. instead, inthe Inflate section, set Angle to 90, press the Tab key, and set Strenath to 0.1 for a smooth inflation of the path. Select Night Lights from the Lights drop- down menu in the Scene Settings. SepBEYOND PHOTOSHOP. STEP SIX: Click the eye and mesh icon in the lower-left comer of the Repoussé dialog and toggle on both 3D Ground k Plane and 3 Light. Select Top from the View dropdown menu in the Scene Settings. Select the Pan the Mesh tool along the | left edge of the Repoussé dialog (third tool down), and click- ‘and-drag the airplane down unti it's just above the 3D ori Click OK. ‘STEP SEVEN: Repoussé outputs @ 30 layer that can be ma- ripulated with the 30 toolset. Choose Window>3D. Select the Camera Rotate too along the let edge of the 3D panel econd too! down), and drag upward to rotate the camera above the airplane, Select 30>Ground Plane Shadow Catcher and dick OK in the waming dialog. cy = Oo am ‘STEP EIGHT: Inthe Lights section ofthe 3D panel (at icon at ie samt the top), click on infinite Light 1 inthe lst of ight turn on the Create Shadows option, and set the Softness to 25%. Back in the Scene section in the 3D panel (fist con at the top, set the Quality drop-down menu to Ray Traced Final. Select the Light uv = Rotate tool (fourth tool down) and click-and-drag the ball atthe tend ofthe yellow ight glyph in the image so that a shadow ap: ppears below and behind the airplane on the ground plane, 'STEPNINE: Select the 3D Object Scale tool (nested under the [3D Object Rotate tool, which isthe top tool along the left edge of the 3D panel) and enlarge the airplane to fit the canvas. Se lect the 3D Object Pan too in the same set of tools) and center the airplane. Choose Layer>NewsLayer Via Copy. Click the Edit button in the 3D panel to open the 30 Render Settings dialog, Check the Enable Line Rendering box the second checkbox on the let) and dick OK. STEPTEN: Change he lla bend node nite es | —< a > panelotinesrugrtinthe memes BL Com 30 pene eck ihe Togale OS Mise 30 Exasiconinthe SS BS lower left and toggle off 3D Big weve Ground Pane and 30 Light Choose Layesew Fil LayerGrosent and clk OK. Select Racial om the Se dop down et Scale at 133% and check Reverse, Click OK Pes Conan PC: Cet) wie to move the Grace il Layer ayer ow he to 3D layer that zx ie backcop tthe station Use this technique to add interest and dimensionality to flat text lyphs, custom shapes, and other flat artwork with the power ‘of Repoussé and the light and shadow casting capabilities ofthe 30 toolset.8 Y THE SMALL BUSINESS AND FREELANCE COACH es n Your Own Success KER In previous articles, Ive encouraged you to think creatively about marketing your small or feelance business so you canattract more clients finding and exploting a niche to get more sales, and using free/donated work to gain visibi- ity. Now, let’ parallel these ideas and share ways you can attract new customers by offering something a bit unique, D> The great thing about this is that you'llbe taking advantage of ‘@ huge resource and using it ina cifferent way than you have inthe past. Since the majority of NAPP members (readers of this column) are either photographers or designers, but not necessafly both, I'l break this column into a couple of distinct pieces: Specifically il tak about design to photographers in a ifferent way than | il to designers. So let'sjump right in FOR MY PHOTOGRAPHER FRIENDS (One of the ways a business can ingratiate itself to customers is to offer some sort of keepsake or trinket. n fac, there's a whole industry, loosely called “advertising specialty,” built around this concept. These are the folks you go to for custom imprinted ballpoint pens, embroidered or screen-printed T-shirts, efigerator ‘magnets, rubber wristbands, and USB thumb ckives. While these things are nice (and they've been around for years at trade shows) if there's some way you can come up with a unique keepsake that's associated specifically with your product or service offering, that’s generally a better way to go. ‘As a result, specialized offerings are usually readily avaiable at photography trade shows. Things such as backlit or side-lt picture frames, high-gloss prints on metal, the obligatory canvas wrap, and crystal paperweights with photos printed on them ate all offerings I've seen at photography trade shows in recent years. Offering things like these specialty forns of image output toyour customers a great idea, but unfortunately, thsi often where output creatiity ends for most photographers. At those same corventions, there are usually breakout sessions for photographers interested in designing with Adobe Photoshop Cor Lightroom to improve their postproduction offerings. Honestly ‘though, when you consider how few people attend these sessions Compared to the greater photography market across the country, only @ small fraction of photographers are learning advanced post production techniques. What's more, mary photographers think (of using Photoshop or Lightroom as cheating, and they claim they want to gett ight in the camera, Ys, you should try to capture the best possible image, but there's nothing wrong with process ing and giving your client addtional options. That's why these asses are availabe at photography trade shows. Even if you just picked up @ few ticks here and ther, it's prety likely youll be @ standout performer in almost any local market across the county. ‘Over the past couple of months, Ive been doing presenta- tions at camera cubs across the U.S. teach several postproduc- tion techniques for retouching photography because | know that’s what camera club members expect fram Photoshop. Then, at the end af my presentation, IYake about eight minutes ‘and re-create a tutorial Corey Barker wrote in 2008 where he showed how to take an architectural photograph and blend itinto a ine drawing, This is something many photographers ‘would consider well beyond their capabilties. When I show the {tutorial and explain how it helped me get additional freelance work, can see the light come on for all the photographers inthe room. The same folks who proudly include the phrase “minimal use of Photoshop" on images they submit to w ‘ous contests can't wait to jump into Photoshop and re-create Corey's impressive graphic design, continued on p60Ose acensy Errante Peers ieee. | (RoE To A CaS) Ce ee ee eee ee er eee fo Bascal ohana ennabanwsercirenan res voper noe tat Quemseseea FOR MY DESIGNER FRIENDS. (Over the years, 've been a freelance designer, owned an ad ‘agency, worked internally at several companies as a designer, {and even provided on-site training to designers for most ofthe print shops and some of the ad agencies in my town, And in all this time working with all ofthese designers and working as a designer myself, ve never run across designers who had downtime winen they could just explore design concepts and experiment with their creativity. Sure, designers are usualy very creative people, and once they get comfortable with their tools (Photoshop, Mustrator, Wacom tablets, etc), they continue to eve sion new looks and designs, ‘and then discover how to create those designs using Photoshop or ilustrator. So, ust because they're extremely busy, it doesn’t ‘mean they have zero cre- avy tjust means that they don't always have enough time to,esearch al the latest trends in design. What's more, even if they see something that they ike in a magazine ad, on the Web, cn a billboard, or on a TV show, they don’t necessarily have enough time to explore the best way ta reproduce @ particular effect in Photoshop. ‘And here's a scenario | see pretty regularly: A designer sees a really cool, new look, or maybe a client asks for something specific that he's never done before. Even though he's upgraded to the latest version of Photoshop, he hasn't leamed many of the new features and functions that Adobe hhas added in the past few releases, so he wastes time using ld tools and techniques instead of using the quickest pos- sible workflow that takes advantage of the latest features in Photoshop. Long before | was executive director of The National ‘Association of Photoshop Professionals | frequently attended ‘one-day seminars taught by Scot Kelby. it was pretty common at the end of the day to hear designers say things lke, "I've bbeen using Photoshop for eight years and Ileamed more about Photoshop today than | have in any entire year of using i.” It's ‘ot that these designers were incapable of using Photoshop; it's that they only learned what they needed to get the job done. They never considered that @ new version of Photoshop ‘might also provide them with newer tools and quicker work- EVEN IF YOU JUST PICKED UPAFEW [PHOTOSHOP] TRICKS HERE AND THERE, IT’S PRETTY LIKELY YOU’LL. BE ASTANDOUT PER- FORMER IN ALMOST ANY LOCAL MARKET ACROSS THE COUNTRY. flows. t's another one of those times where you can see the light come on. FOR EVERYBODY Ironically, whether you'te a photographer who would benefit from learning some design techniques and treatments for your finished photos ina straightforward, step-by-step tutorial, or you're a designer who needs to learn best practices for design techniques to maximize your workflow, or you want to have a quick way to research some current design trends and how to re-create them using Photoshop, the solution is exactly the same: tutorials on the NAPP member web- site. Butit's more than just knowing about the existence ofthese tutori- ‘als. Most designers and photographers need to be alte more ‘open-minded and actually use these tutorias to their benefit, LEARN SOMETHING NEW [As a designer, maybe you're the Photoshop guru where you work and, because everyone always asks you the Photoshop ‘Questions, it may be hard to imagine that you might learn some- thing new in Photoshop from somebody else, But consider that the trainers at NAPP have a job description that includes research- ing the latest techniques and that we have inside pipelines to ‘Adobe so we get information about future Photoshop releases. We have tutorals ready about all the newest features when the new software starts shipping, (Or maybe, as a local photography expert, you abways shoot to.gett right inthe camera and you pursue the goal of minimal se of Photoshop. Honestly though, it won't be long before you come to the conclusion that your customers don't care hhow you got that shot. They jst want that greatdooking shot For example, hich dynamic range (HDR) photography can't be captured by a camera (okay, technically there are a few new cameras on the market that blend multiple exposures into HOR Images, but you have very ite control over which HOR look you'l get). Lots ofthe buying public loves HOR, so you'd better leam how to do it, or your competition wil be selling HOR to your former customers.DISCOVER THE POSSIBILITIES. Experience The Topaz Plug-in Bundle eR eee a eer most talked about suite of photo-enhancement software. GET YOUR 20% DISCOUNT FOR A LIMITED TIME ONLY AND FREE 30-DAY TRIAL AT: TOPAZLABS.COM/PSUSER syPHOTOGRAPHY Shot of e-overed aras wit an out of acu lve backround ikon D7000,70-a00nm AF-S VR ers, 0 200, 1800 at £9. Bl rroroersr sen rechuens 2012 THE KEYS TO A GREAT PHOTO Remember the four big keys to a great image: (1) A definable sut forthe subject, (3) control of the foreground and background, and (4) te right condi to make the image you hope to make. Let's take a closer look at each ofthese. ct, (2) appropriate ‘A definable subject: Can you name your subjectn just afew words or short phrase? you cant you probably don't know what the subject is, and if you dont know, your viewor has litle chance of figuring it out. If i takes @ paragraph or two to describe your subject, you haven’ narrowed itdown enough. Remember that you'ea storyteller and the story is nat complete without a clear, definable subject. Appropriate light forthe subjact Al light is great for some subjects, but not al light works with s. The purp subj 52 of ight on y sto show form and tex ture and to define the boundaris ofthe subject. ‘an workin subdued or litfused light and in specular light, as wel. Great light will help you show the beauty of yours ankfly, si Contro\ of the foreground and background: All subjects have an area infront of them and in back of them; we call tha foreground and background. As the artis, i's your job to decid it the foreground and background are adding to, or subtracting from, yoursubject and final image, Using angle of view and dept of fed, you can control lust how much affect foregrounds and backgrounds have on your fina image ‘imply ask yourself this question as you look through the vewinder, ‘What in this photograph is of the most interest and what i taking away from that?” Very bright areas that aren't important tothe photo wil distract vewers' eyes away from where you want them to look. Alvays keep unimportant bright areas out of the frame dice-covered grass and he wind is howling at 30 mi | think you know it's not going to work, unless you vere goin for an artistic lu 3. Candtions are usually hings that we nake or break our efforts o capture the image. Don’ fret over ‘work your way around! them to make the image you want to you fel any beter, we all have to deal with bad conditions from time to time, ery litle control over, but can 4 conditions, but be aware of them and ke, Nit makes Because soy ure carefull bright, monitor your ex ‘camera that have a histogram, adjust your exposure so that you mt push information too far right or len the histogram, Snow is white and your meter ral in tone; that’s what meters vations, you may want to dial i ‘some + compensation on your exposure compensation dial to get the snow wil end to underexpose it to make it more y to do, make things midtone. In sor back to white, Once you get your snow tothe proper degree of white, with etal, you can usually soot with light changes. ‘When working in snow conditions, simply consult your histogram ater every few shots to make sure your exposure is stil on the money stings, un ary morning snow Procesed wi Topaz Venice Viens. 150 Y ort ya wanes Kenney Pani tr 800, 1/250 at i, es06a DIRECTION OF LIGHT Asin all kinds of photography, reme’ to vatch the direction ofthe ight on your subject. Backighting with direct sunlight wil help you take ‘advantage of rim ight on subjects that are very common in sow soenes, When possible, walk around your subject to see which direction of light is mos effective: front, side, oF back. The light’ direction in relationship with the subjet can often make or break a photograph, THE EFFECTS OF COLD AND SNOW Working in cold weather requires some special preparation with your equipme ny keep a fresh battery in your pocket close to your body so when th ry dependent, so in the camera slo eit with a warm, fresh battery. As long as you still have plenty of charge, the cod bat- will renew its streng ss down (trom cold), you can re as it warms up in your pocket ‘As lng 2s your camera and ls have adjusted to the col tempera blems. If snowfall fs he tures, snow fling on them wil caus cvcasionaly use your hand to fan away excess snow and make sure no wis sticking tothe front a your lens. ln head wil help protect he lens from fling snow. in heavy snow, dont the inside o your camera bag colt much snow by leaving it en for extended periods of time. When you tum toa varm indoor emironment, shake the bag out wel so thatthe er cope ice Nor snow raped inside doesnt became puddles of wate around your oan ens BO 10, V5, Isa good idea to take you gear out first ind re We yas nko 57000, 70-2000 ACCESSORIZE ory that | use a lot fr snow photographs isa polar. t can y help deepen color by cuting reflections that might otherwise rab n your color saturation 350 important o use pads on your tripod legs, especialy i they'e old metal tripod c heat loves wl help, as wal can work for snow scenes, ke to hav met aut of you faster than you can imagine. Good Carrying and using av n pull the Wile any kind of equipmes at east tree lenses and a spare body. carry zooms in three ranges: wide 12-24mm), medium (24-120mm), and long (70-300mm). aso cary either adopter tot my 24~120mm lens, ora small micro lens. | use the Nikon Micro Nikkor 85mm /3.5 lot Isa handy size and works grat close-up workin the field A tripad and cable release ae also a must. I's never easy told a camera rock steady, and is@ lot harder you're shivering So bundle up, drive carefully, and go images for yours! rage ofa patch of every onaneverenna cere in ty. Niton 99g, fees 7000, 16-85 APS, 50 eo, sageseel ete STAY Lm st Lie “Itcomes down to this: you can spend 60-seconds using ExpoDisc to nail your white balance at the shoot, or you can spend hours ACO RD meal Scott Kelby, President, National Association of Photoshop Professionals (NAPP), 2011. —“ er) — Whether shooting still or video, JPEG or RAW, setting a ood custom white balance is the easiest thing you can do etd ROM UE sae Sm ears Pen ee ants etna source (an incident light reading). For most cameras, the rr ea ea coe asc Lee eRe eg imagesas shot. No special software, and no post processing required. The accuracy of a custom white balance depends upon the neutrality of the tool used to set the white balance. As inventors ofthe Digital White Balance Filter, we have eee RCN a ur ee RC tcLg of every ExpoDisc. Every ExpoDisc is assembled, tested and certified in our California facility for 18% light Ren Ree ese Lk ee set Se ee er ea Pere en ae enter ety econ nese aarpt con recaneton nn eee es eretae et)What's New in Lightroom 4 Beta ee Soe Coane De ee ee) features (a.k.a, answers to your prayers). Head over to http://labs.adobe.com to read the release Pe eet Pee nee ad will want to hear about, there are still many other new treasures to discover in this release. The Public beta program is open to everyone and it Coe ce neues Pe ee Ca ee Mn coca Dod posting more tips and tutorials as the public beta OE ea ia eee a a Lightroom 4 Beta Launch Center at www.photo: Re eee ae EEC Ser nec ts Prue Rene en can ee ene en ey SO Mu gc na aa ee eee Pee aCe cas ‘on copies of photos you want to test drive it with, Dee ome ee) Cee eee eee cre Pee eM nto ona edd Paes ee Pee cena See Coa with boring details, let's get on to the good stuff! eeeWalkthrough Tips ‘When you first enter a module, you'll be greeted by a series of quick tps that walk you though the essentials ofthe interface to gelyou oiented, suggest ging them a quick read, whether youte a Lightoom veteran or complete noob, You can turn them off or eal them at any time from the Help menu ‘Speaking of modules, you'll notice that there are two new ‘ones—Map and Book—in the Module picker. More on those later, ut | want to point out that you can now hide any module by Right-clicking the Module picker and removing the check- mark from the one you want to hide. Reverse the process to show again Video ‘Video support in Lightroom has taken a giant step forward. Not only are more formats supported for input eluding AVCHD), but you can now play video while in Loupe view (0). That alone is pretty cool but you can also trim the video's in and out points ‘and make a limited set of adjustments, such as Exposure, Con: trast, White Balance, Black and White, Tone Curve, Spit Toning, Process Version, and Calibration, | expect we'llbe seeing lot ‘more black-and-white video in the future You can also select a custom poster frame forthe thumbnail in Lightroom, or even save out a JPEG stil. There was also an upgrade to the video export options, so'you can save out copies Cf your newly adjusted video in H.264, DPX, or original, and at lower quality settings (this goes for Publish Services that support video, too) Process Version 2012 ach new version of Lightroom has made great progress in improving the contro we have for processing our photos. Pro- (ess Vetsion 2012 is the next evolution in that progress. This will Undoubtedly take ate getting used to for those familiar with the controls in Lightroom 3, but one of its goals isto simplify the most often-used controls in the Basic panel so there's less cveriap in how each slider affects the tonal range ofthe photo. Begin by using Exposure to set the overall brightness of the photo without as much regard for clipping highlights and shad ows, then use the Highlights and Shadows sliders to bring back important detain those respective areas, and fine-tune clipping with Whites and Blacks. Increasing the Contrast slider stil makes the brighter regions brighter, while pushing the darker regions darker (thus increasing contras), and the reverse is algo true. The effect ofthe Clarity sider behaves a lt this new process version when pushed inthe postive direction le differently in {pe change to negative Clarity), and does a much better job of ‘ot introducing halos along edges. Newly imported photos will be Process Version 2012 by default, but you can toggle back to Process Version 2010 (or ‘even Process Version 2003) via the Process drop-down menu in the Camera Calibration panel, or with the Settings>Process| ‘menu in the Develop module, New Adjustment Brush and Graduated Filter Controls When a photos sing Process Veron 2012 you'l find the same new Exposure, Highlights, and Shadows cntral in the Adjust ment Bush panel that ae inthe Basic panel, along with the adsiton of Temp, Tint Noe (Luminance ony, and Mor. The exon of white balence and noise reduction oon the Adst- tment rush may prove tobe my faves for tacking images shot in lowed ighting with igh 50Soft Proofing there vas a most requested feature snc Lightroom fst lec cut, ithad to be soft rooting. Request no mote because it has axtned! You can enable the Sof Prootng preview inthe Develop madul by checking the boxin the Toolbar, gong to ViewsSoft Proofing, or pressing the S key. Once enabled, you can choose 2 profile and rendering intent rom control lcated under the Histogram The Hstogram itself updates to reflect the destination Color space ard changes its Shadow and Highlight clipping warn- ings to Monitor Garut and Output Gamut wamings,AS3000 3 you make an acustment to tal the proof to the ouput tions, you'llbe prompted to create a proof copy (f you haven't already cicked the Create Proof Copy button), which allows you 10 preserve your previous settings in the master and the adjust- ments (along with the profile and intent) in a new virtual copy (the print profile name will automatically be added to the Copy Name field ofthe vitual copy). Map Module GS support has gone native, What was once relegated to third arty plugs has now been guen a module of very own, “Te rev Map module feature in Lightroom uses the Googe Maps AF to bring the word into your workflow. your photos ave GS nfo embedded inthe metadata, it wil be read ing import and autoratical be displayed on the ma. yout tke me and usea handheld GPS device, the Map modile can ao rake tse of GP racklogs and syne your photos o coordinates based on capture time You don't have to geek out with wacklogs though 2s you can alveys search fora location sing the Search Map fled and then crag-nEmai Ph ndows Live Mal or Yahoo. comes pactaged wth a number nmon photo size presets, or you can use the Export dialog Very sick What's New intightroom 4 Beta 10 Little Things That Are Huge Pick flags have gone global In earlier versions of Lightroom, Cee Neen eos ‘or collection you were inatthetime you applied it. This could be Cee en ae eee es ‘ated a collection wth those same photos and lost the flags when See ete ee en apply a fag, youl se that flag state everywhere you view that poe Tis one only apples to Windows users, but now tat Lightroom 4 Pea ett ne Peace oy Bee eR a) Cee ee eran or ad Cone ee eee ete ee De ee eee ra ‘out all but copyright, all but copyright and contact information, Cee ees ean es Cees ve always avoided using stacks in earlier versions of Lightroom because they only worked in folders, but now you can use stacks es ee ae Have you heard about Adobe's new cloud-based photo-shar- eee cor ace) nee or dd Cee ere C in ae ete CT eM eet have to do with Lightroom? Wel, now you can export rectly to Tn ee en Lightroom on Windows) eee eee cs multiple folders at once from the Folders panel. Prior ver- Pe tere ti COE ee eta CTE eee eRe) ‘destination folder in one fll swoop. Se or) nee ms that what you see when previewing a Lightroom Flash Gallery In Lightroom 4 should more closely match what the end user ee atc eed See en nd ee et etd eee ae etter) ‘Anew level of organization has been given to Develop presets. Nee ee ee ee smaller groups nthe Presets panel, and you'll se tis reflected eo oe See ete ee ed See eu ea click a preset in the Develop module, you'll see anew option need ialog, giving you an easier way to preview and choose Dene When shooting tethered, you can shrink the Tether toolbar CeO ee cc aed ao Oe ee De EU cc ein} De eee eae ee aa onan Ree St ae Bee ea ee de eed sometimes I'l make minor changes to photos that hae been De ea tal ee ee areas Re a errors No ears ark Up-To-Date to prevent that photo from being republished. mts8 UNDER THE LOUPE Settings for RAW Photos ‘ When you shoot in RAW mode, the photos are unpro: «essed by their very nature. What you see on the back of your LCD screen isa JPEG preview created by the camera Using the in-camera settings. As these photos are imported into Lightroom, you'll see that camera-generated JPEG beeing replaced by Lightroom's interpretation of the RAW. data based on the default LightroonvCamera Raw settings, plus any Develop preset settings you may have applied Set Default Settings to open the Set Default Develop Settngs dialog, Default settings are spectc to each camera model inthis ase a Nikon 05100, 50 if you'e using multiple camera model, you'll need to update the defauts for each model separately Tip: You can also hold the Option (PC: Alt) key and watch the Reset button change to Set Default and click that button to open the Set Default Develop Stings data. = ne seniamcei) aa (ee ‘STEP FIVE: Click Update to Current Settings to custom- ize the default settings to include the changes you made, ‘Note: While itstates the changes are not undoable, this just means that you can't revert back tothe Adobe defaults via the EditsUndo menu. You can always open this cialog ‘and click Restore Adobe Default Settings if ou want to revert back to the outof the-box settings. SYNCHRONIZING PREVIOUSLY IMPORTED PHOTOS From thi point forward, al newiy imported photos wil have your custom default settings applied to them automaticaly, ‘and whien you click the Reset button these are the settings the photo wil reset back to using. However, this change will not affect any of your previously imported photos because Lightroom doesn’t want to unintentionally undo any work you've alteady done. You'l need to manually apply these changes if dsited) to any previously imported photos Here's 2 quick way todo that: 'STEPONE: Select all photos to which you want these set- tings applied and press D to jump to the Develop module if you're not already there STEP TWO: Go to the Settings menu and select Enable ‘Auto Sync. Notice that when enabled, the Sync button at the bottom of the right panel group changes to Auto Sync. You can also enable Auto Sync by licking the small switch ‘ext to Sync to the up position STEPTHREE: Agjust only the settings you want to be applied to all selected photos at once. STEP FOUR! Disable Auto Sync by clicking the Auto ‘Sync button or unchecking Enable Auto Sync under the Settings men ‘Note® t's citicallyimportant that you disable Auto Sync when you're finshed so that you don't inadvertently apply settings to the wrong phates. ADVANCED SETTINGS Hf you go to Lightroom (PC: Ecit}>Preferences and cick the Presets tb, you'll sae there are aditional options to make the defaits speci to a camera serial number and to a camn- era ISO setting If you only have a single camera body for cach camera model you own or you want the same settings ‘applied to all bodies of that camera model then there's no need to tie the defaults to a serial number and you can leave that unchecked. you want to customize the amount (of noise reduction and sharpening (or other settings) based (on an ISO setting, then you might want to experiment with checking the SO setting bax and repeat the steps to custom ize the defaults for each ISO setting, Remember, this is only a ‘new starting point and you can always change any setting at any time inthe future. —- as gSure The Adjustment rush sat the heat of localized edting in Light- room (ie. edits that are applied toa specific area), Although it doesn’t offer the ultimate precision of manual masking tech- Fiques in Photoshop, depending onthe color and tonal character istics of the area you wish to affect, you can do some pretty ‘amazing things with this tool. Here ae a few essential Adjust: ‘ment Brush tips to help you work faster and more efficiently. GENERAL SHORTCUTS The shortcut to enter the Adjustment Brush panel is K. This same shortcut wil also dose the panel after you're done. To switch a brush to Erase mode, hold down Option PC: Alt as you use the brush, The letter O on the keyboard will toggle between show: ing and hiding the colored overlay of the brush mask CHANGE BRUSH SIZE AND FEATHER You can quickly change the size ofthe brush by using the same shortcut that changes brush size in Photoshop: tap the Left Bracket key ([) to make the brush smaller and the Right Bracket key (]) to make it larger. With a slight addition to this shortcut, you can change the Feather setting for the brush to make it harder or softer. Shift plus the Left Bracket key reduces the feather value, making the brush edge harder; Shift plus the Right Bracket key makes the brush softer, The two circles ofthe brush cursor reflect the hardness of the brush. The farther apart they are, the softer the brush, wiile the circles being closer together indicate a harder ledge. The space between the circles represents the feather zone where the brush coverage transitions from 100% to 0%, A higher feather setting will havea larger feather zone, Feathers 100 Feather= 40 FLOW AND DENSITY Flow is similar to the Airbrush seting on the Brush tol in Photo. shop. At 100, the brush reaches maximum density right away. {At lower settings, you have to brush over the same area multiple times to reach maximum density. This can be useful as it allows youto use alow Fow value anc gradually buld up an effect with repeated strokes. Density is similar to Opacity and limits the maximum density of the brush. If you have already made a stroke at maximum Density, you can scale it back and reduce the density ofthat stroke by brushing over it with a lower Density setting, When the Density is et to 0, the brush behaves lke an eraser. ‘TWO BRUSHES IN ONE ‘The A and B buttons allow you to create two different brushes that can be used with a single brush adjustment. For example, you might want to have a large, soft-edged brush with a high feather setting and then a smaller brush with a harder edge for more accuracy. Only the brush settings for Size, Feather, Flow, and Density apply to the A and 8 brushes (Le., you can- not have a B brush with a different combination of adjust- ment settings) EDITING ALL BRUSH ADJUSTMENTS AT ONCE, {As long as.a brush pin is active (you'l see a black dot in the center), you can edit any ofthe sliders to get it just right. But here's a cool tip that lets you adjust the strength of all of the sliders at once: Clck-and-hold on a pin and drag the mouse left or right to decrease or increase the strength of all the sl cers that make up that brush’s effect. (Note: Sliders set to 0 wil not change) DON'T FORGET TO SAVE APRESET Ifyou create a brush effect that you think you might use again (for example, a portrait retouching brush that softens skin sing a negative Clarity setting), save it asa preset so you can ‘quickly access it in the future. To do this, click the word "Cus- tom” in the Effect menu just above the sliders. At the bottom of the drop-down menu is the option to save the brush as 2 new preset. asonae ‘Starmess um aren) Dodge ante Jeet Wteingsonal instructor. Learn Online with the Pros Pee ae oak Pea er ey you exactly how the pros do it, step-by-step, from start to finish. They share their gear, setup, settings, BR Ue Rur acre ene ete OUT Learn lighting and flash with Scott Kelby and Joe McNally. Learn to shoot wedding portraits with legendary wedding photographers David Ziser and Cliff Mautner. Learn the pro's secrets to creating Fe Re a I ee ee ea ee light, and compositing with Jeremy Cowart, and so much more! i) a PERYEAR | PERMONTH Visit Kelbytraining.com to subscribe or for more info. TRU Oaeeion “a ee eag Key concerrs: @)tmermast @ cuictseectontot Y CREATIVE POINT OF VIEW Inspired by Art History KATRIN EISMANN Knowing and appreciating art history can be a deep source of inspiration for visual artists. t's fascinating to lear. about traditional art and apply well-established concepts to working with digital tools and techniques. This issue, ‘well delve into surrealism, and explore working with Photoshop smart objects to create a unique composite D> surrealism is often used as @ general catchall term to describe bizarre, unreal, or dream-like imagery that features the element of suprise, unexpected juxtaposition, and non sequitus. A non sequitur a visual or literary device thats unexpected, surprising, fr even shocking, In surrealism, reality isn't portrayed literally rather i's portrayed as an emotion without the contol of reason, ‘World War had soaked the European continent with bloo, and the “war to end all wars" had forever changed the estab- lished soca, political, and economic ystems. The darkes, rational aspects of war were exposed to the wexld through the press and film, Taking impetus from Dada, surrealist, including the artists Man Ray (1890-1976) and Méret Oppenheim (1913-1985), {and film makers Luis Bufuel (1900-1983) and Jean Coctesu (1889-1963), were part of a wide-reaching and influential art ‘movement, which explored shocking juxtaposition and the surprising use ofthe absurd. Man Ray's grave in Cimetiére de ‘Montpamasse in Paris isan oft-vsited site for art lovers, withthe headstone that state, "unconcerned but not indferent." ‘THE PHOTOSHOP SURREALIST Photoshop isa fabulous too! to apply high-end retouching, to deve into the finest digital darkroom techniques, and to create photorealistic composites. But with @ nudge from the surreal ists, it's a fabulous world to quiet the rational and reasonable ‘mind and allow your emations to drive the creative process. Best ofall, smart objects and smart fiters allow you to explore to your heart's content, without sacrificing image quality, to create istrative images of scenes that just couldn't exis ‘STEP ONE: To start a surreal composite, browse through your image archives and find a background plate that includes perspective and an empry space for a figure tobe placed. Before ‘opening the image in Photoshop from Adobe Camera Raw (ACR), press the Shift key to change Open image to Open Object. STEP TWO: Enhance or change the sky. In this example, | added a more dramatic sy by opening a clouds file asa smart ‘object and dragging it to the background file, Asis often the2se, | photographed the clouds by pointing my camera up, which doesn’t match the perspective of the background plate. Free Transform (Command [PC: Ctr with Perspective and Scale allows you to match the background perspective, and a layer mask with a gradient along the horizon line blends the sky in perfect. STEP THREE: Once the background plate is created, the fun begins. A composite will be more successful f the point of view and lens focal length match between the figures and background. In this example, | photographed the headless saint ‘rom a varity of points of view to ensure a match, and opened itas.asmart object. STEP FOUR: When working on 2 composite its better to bring the entve element into the image with ‘a mask rather than selecting and cutting an element out of the back- Sharpen>Unsharp Mast) to the saint and motion blur (Fiter>Blur> Motion Blur to the tree branches. The ability to ‘experiment with filter settings isa huge creative advantage that, smart objects allow. CREATIVE POINT OF VIEW ‘STEP SEVEN: Matching the color of added objects with the scene aids belevabilty—yes, even in sureal composites. | sampled the environmental color (inthis ase, iy blue) withthe Eyedrop- per too () and added a Solid Color adjustment layer (Layer>New FillLayer>Solid Color. | changed the layer blend mode to Color, ‘adjusted the layer Opacity, and most importantly, clipped the ler Fill ayer to the figure by Option-licking (PC: Al-clicking) on the thin line between the figure and color layer. Look AWAY (One of the best things to do when working creatively sto take ‘a break, Let the image sit, work on something ese, take a walk, 1 come back the next day. In this example, I wasn’t satisfied with the scene and wanted to add more non sequitur elements, 0 lopted to add fallen fruit to the barren landscape and gave the headless saint @ chewed-on apple and a leaf head. The offering of the apple draws the viewer in and insinuates the story of Adam and Eve, something | wasnt planning on creat- ing but something 'm very happy wath. Playing, serendipity, experimentation, and making mistakes is ‘one ofthe best ways to leam, so the next time you feel yourself rushing to undo a step in Photoshop, take a moment to look at your image with a fresh eye, Thankfully, they don't all need to make rational sense. mtY AFTER THE SHOOT Creating Panoramic Photos DAVE CROSS When you cantt capture the image that you want in a single photo, the Photomerge command will combine multiple images together automatically into a panoramic photo D> STEP ONE: Before running the automated Photomerge com: mand, make sure each ofthe individual photos is processed the way you want. To do ths, select and open all the RAW files in Camera Raw, and process the fist image. Click the SelectAll button atthe top left. ‘STEP TWO: Click the Synchronize button. In the Synchronize dialog, choose Everything from the Synchronize drop-down ‘menu, and click OK, Now whatever changes you made to the first image will be made to the other images. When you're finished, click Done in Adobe Camera Raw. (We don't need to| ‘open the images, ust apply the changes) STEP THREE: Photomerge can be run either from within Photoshop (File>Automate) or from within Adobe Bridge (or ‘Mini Bridge). prefer using Bridge so I can make sure Im using the correct files. To create a Photomerge using Bridge, select the images and go to Tools>Photoshop>Photomerge. (In Mini Bridge, select the images and use the Tools menu at the top right of the Content panel, The Photomerge dialog will open ‘STEP FOUR: There are a number of options on the left side under Layout that determine how the images willbe combined. Start with Auta because when it works, it generally gives you the best results. Also turn on Blend Images Tagether and Geo- ‘metric Distortion Correction, then dick OK. STEP FIVE: Photoshop will ake over, combining all the im- ‘ages into one document (on separate layers) and creating layer ‘masks to blend the layers together. Although it’s possible that you may see some very sight seams between the layers, it seems tohappen much lessin Photoshop CSS, SHOOTING TIPS Half the battle in ozting a panoramic photo is in how you take the photos. Thanks to the improved technology in Photoshop CS5,, you can handhold your camera and get a grea sul. n anutshel, here ae the tricks fo capturing the pieces that Photomege will combine together: 1. Use Manual exposure so that each image wl be exposed he same, 2 Shoot veticaly 3. Make sure theres an overap between each photo, ‘Step One ‘Step Four‘Note: Don’t judge the quality of the seams between layers unless you're looking atthe document at 100%—sometimes in the Fit on Screen view, there might appear to be noticeable ‘edges that are simply a result of the scaled down display. 'STEP'SIX: On occasion, using the Auto Layout option in the Phatornerge dialog won't work as well as you might lke, so you'll have to close the document and start over again using a different Layout option. Keep in mind that if you use a Layout such as Perspective, Cylindrical, or Spherical, you may get a straighter horizon line, but you'll have to do some cropping 10 make up for the edges it creates (as indicated by the small ‘graphics that represent the results you'll get) ‘STEP SEVEN: Even with Auto Layout, it's likey that the top {and bottom edges of your pano won't be perfectly straight (particulary when you handhold your camera). Once again, you ‘may need to crop the image with the Crop too! (C), or attempt to fil in some of the missing areas with Content-Aware Fill STEP EIGHT: Here's an example of the results of combining several images shot from a moving boat. Although the images were blended together nicely, there are large areas of missing information. Here's how we can attempt to fix this problem with Content-Aware functions 'STEPNINE: If you stil have multiple layers resuiting from the PPotomerge command, you can use the Spot Healing Brush too), with the Content-Aware option selected in the Options Bar. Click the Create a New Layer icon atthe bottom of the Layers panel to add @ new layer on top and make sure the Spot Healing Brushis set to Sample Al Layers in the Options Bar, Paint over the rissing areas one at atime, and hopeful, they/llbe filed in with ‘propriate pikes. Unfortunately, that works best for smaller areas (ike in the previous example, not large areas as inthis example. STEP TEN: In cases like this, you'll have to merge the layers together (Layer>Merge Visible). Then, use the Magic Wand tool (nested under the Quick Selection too! [Win the Tool box) to select all the transparent areas (by clicking in one of the transparent areas). Before using Content-Aware Fil go to Select>Modify>Expand and expand the selection by a few pik- els—this will help avoid a hairline border between the existing {and new pirels. Finally, go to Edit>Fil, choose Content-Aware in the Use drop-down menu, make sure that Preserve Transpar- tency isn't checked, and click OK. ‘Most of the time, the Auto option in Photomerge does @ great job—partculary if you have a healthy overlap when you're taking the photos. And if you think about it, even when Photomerge just does an okay job, it's stil way better than the altemative of trying to assemble the images yoursel.m | wow enorosorucen com8 Y DIGITAL PHOTOGRAPHER'S NOTEBOOK Single le feflex (SLR) cameras deliver images that are 3 units wide and 2 units high, or vice KEVIN Ames sa. This aspect ratio (3:2) truly makes no sense. At best, it's a throwback to the first silent movies where in 1909 the frame size was set to 18x24mm, a ratio of 3:4 Film 103 years ago was poor quality for still photography. D> So, in 1912 Oskar Barack doubled the frame size to 36x24mm for his 35mm camera, the legendary Leica. The 3:2 aspect ratio. became the standard for modem SLRs, both digital and film, Today, high-resolution captures allow cropping for the most pleasing result. The problem is comparing differently cropped versions easily. Here's one solution. (WWAPP members may download the file used in this tutorial at htt: simembers, photoshopuser.com/magazine/ssue/febru- .n°-2012. All files are for personal use only.) ‘STEP ONE: Open one of your own photographs or the one sed here, Alaska.tf, in Photoshop. Press D to set the default colors then U to select the Rectangle tool. Click the first icon inthe Options Bar to set the tool to create Shape Layers. Hold down the Shift key to constrain the shape to a square. Now, dag from somewhere near the top left toward the bottom right of your image. Stop before you reach the edge of the frame. Don't worry about what's in the frame, Release the mouse, The outlined area is filed with black 4 etosnop_fe_Eat_ image tae BD: mB a (G)}o\oomece7a- STEP TWO: A layer named Shape 1 i highlighted inthe layer stack in the Layers panel. ts vector mask i also active. Press the ‘A key to select the Path Selection tool also known as the black arrow too). Nex, click on t pe line around the black frame. Solid ‘anchor points appear at each of the four corners. Click the Sub- tract from Shape Area icon in the Options Bar. The photo now ‘appears in the black rectangle and black frames the photo. STEP THREE: Type Command-T (PC: Cir) for Free Trans- form. Click inside the image then drag the frame until the com: position works, Does the frame need to be larger or smaller? Hold down the Shift and Option (PC: Alt) keys then drag any comer out or in from the center. Press Enter or lick the Com: Radi @-mit Transform icon (checkmark in the Options Barto set the change. Double-cick the shape layers name inthe Layers panel and rename it "Square. STEP FOUR: Go to WindowsLayer Comgs to open the Layer Comps panel. Click the Create New Layer Comp icon at the bottom of the panel. Name the layer comp “Square” and click OK. 'STEPFIVE: Press V for the Move tool Hold down the Option (PC: Al key and drag the Square layer up inthe Layers panel to make a copy of it. Rename the Square copy layer “Vertical. Click the Square layer's Eye icon to hide it. Open Free Trans- form. Drag the top and bottom sides ofthe bounding box until there's about two-thirds sky to one-third ground. Commit the transformation for a strong vertical, Make a new layer comp named “Vertical STEP Six: Duplicate the Vertical layer and rename the new layer “Horizontal.” Hide Vertical then change the sizeof Hori zontal’ frame in Fee Transform to reflec the new name. Make al weer 2 third layer comp named “Horizontal (Window>Paths), click on an empty space to deselect and hide the path. Check each crop by dcking the Apply Next Selected Layer Comp icon (right arrow) at the bottom of the Layers ‘Comp panel. STEP SEVEN: Go to File>Scripts>Layer Comps to Files. Click Browse to set a destination, create @ new folder named crops,” and click Open. The filename prefixs the name of the original ile, Set TIFF as the FileType, and click Run, Photo- hop confirms that the making of the files was successful Click 0K STEP EIGHT: Click the Launch Bridge icon inthe Application Barin Photoshop. Navigate tothe crops folder. Selecta thre files by pressing Command-A(PC: ClIKA), Next, press Command-8 (PC: Cir) to display the three versions side by side. Which ‘one resonates for you? You can always go back to Alaska.tf in Photoshop and change ary of the crops, Just cick in the square to the left of e Layer Comps panel to make that ve comp and make your changes. Highlight that crop layer comp’s name in the in the Layer Comps panel, use the script to turn it nto a fil the Selected Layer Comps Only option in the Layer Comps to Files dialog After you've selected your favorite crop, remove the black frame with the Crop tool (), then send the fle to your printer, frame it, and enjoy! moYFROM THE HELP DESK pereneAveR How can | load custom brushes, gradients, and other things | download into Photoshop?—Darla Panel Preset Manager Shortaut File Ext > To:panLa FROM: NAPP HELPDESK Photoshop comes with loads of rushes and other presets, not all of which are shown by default in the various pane's. In addition, there are many laces onthe Web to purchase or get fee presets (Remember that if the name ofthe file that you download ends in zip it's 8 compressed archive. After downloading the 2ip file doublecickt to expand the content) There are thre basic ways to ad addtional tems to various Fhotoshop panels ‘+ Pace the fies into the appropriate Presets folder inside the ‘Adobe Photoshop folder and restart Photoshop. You can then add the content ofthe set to the appropiate panel through that panels flyout menu (Sets are listed inthe lower part of 2 panel's yout menu) + Open Preset Manager through the Edt menu in Photoshop, select the appropriate set fom the Preset Type drop-down ‘menu or use the appropriate keyboard shortcut to jump to that panel se chart below let), click the Load button, navigate to and select the st. * Open the appropriate panel in Photoshop, cick on the button in the upper-right comer ofthe panel to open the panel's out menu, select Load preset, Navigate to and select the set you want to add ‘When using the fist or thd option, youl be asked if you want to replace the current content of the panel. Your three options are ‘Append, which adds te selected set tothe exiting panel content; Cancel, which leaves the curent panel content unchanged; and OK, “hich deletes al presets inthe panel and adds only the selected set. ‘When using the second option, the Preset Manage also enables you to work with the individual presets within a panel. You can drag te items inthe panel nto the order that’s most convenient for you and even delete indvidual presets that you never use, streaming the panel content. Commandé-lik (PC: Circ) on individual re- sets to select a numberof them, then cick the Delete button. i you ‘want to remove a series of presets from a panel, click on the fst, hold down the Shift key, click on the last, then click Delete Presets that you delete from a panel ae removed from the panel, but stil exist inthe set from which they were loaded. Should you later discover that you actually wanted one of the deleted presets, simply reload that set. (Tp: When you obtain sets of presets from a third-party, Keep the original download ina location outside the Photoshop folder. That way they won't be lost when you upgrade or reinstall Protoshop ) So, which panels are managed through Preset Manager and what content do you add to that panel? Your cheatsheets to the left.IS FINALLY HERE ANDSRAWZPRO IMAGING EXPERIENCED ai ae as Cy Se Cl PoC nSCUs Intigh-End Gear _| One-on-One Shopping suo ame. LeU MoU mares are Ce Lue BY ey ee Ua eH Lam Keer COA este° 8 ¥ PHOTOSHOP TIPS couNsMm > Fasten your seatbets; this gong to be fast and fund, The have ft llth seings wil anser oe perfect a ong as both ocd news that not ony wilthese tis hlp you become faster, _Ugtoom and AC ae the est vesors, but theyll also help you become better in Photoshop. Amaze HOWTO CUT OUT AN OBJECT AND MAKE your friends, scare your enemies, and shock your in-laws with" CLEANEDGES, your newfound Photoshop skill All joking aside, !hope you You might have noticed that the Extract too! has been missing enjoy what | have for you in thisissue, and that these ts prove _in action forthe last couple of versions of Photoshop now. The Useful to you as you build your skits in Photoshop. reason? its been replaced by two tools: the Quick Selection too! {and Refine Edge command. The Quick Selection tool does a > printouTsHorTcUTS {900d job of selections, but the edges are hortd to say the least. Have you ever seerched the Web for keyboard shortcuts for Photo- This is where Refine Edge comes in. It makes the edges all rice shop? I'm sure you've found all kinds of lists. How would you and neat. creates a “guessing zone” around the edges of the like @ complet list that aso includes all your custom shortcuts? selection. Based on color and tone, it decides if things are ether | bet you won't find that on Google. You can very easly make foreground or background. You can actually ee the edge if you your own st. Choose Edit>Keyboard Shortcuts, Click Summarize like. Click the Show Radius checkbox. You won't see anything {and Photoshop will reate a custom HTML fil. You could print it until you drag the Radius slider tothe right. Notice how the cor ‘out or print toa POF for use on your mabile devices. rect radius size helps the edges a ton. At ths point, you want to tur off Show Radius and use the brush (Refine Radius too!) and Seren IN CAPmn Dae paint onthe ticky edges to tweak things abit more. Have you ever played around in Adobe Camera Raw (ACR) and ‘got your image almost perfect, then made a few more changes > BACKWARD COMPATIBILITY ANYONE? {and ruined everything? Try this: Choose the far right tab in the Do you get annoyed with the dialog that always pops up and Camera Raw cialog (it looks like a stack of squares). This isthe asks about file compatiblity every time you want to save a PSD? ‘Snapshots module. Here you can create history states that you Thsisaskingf you want to save your file in away where itcan be ‘an retuin to at any time when you're experimenting. Click the opened in earlier versions of Photoshop and other programs. You ‘new” icon in the bottom right when you get the image pretty can control this message with a setting called Maximize PSD ‘good and want to experiment without losing where you were— and PSB Compatibility from Preferences. You can find this option kinda like saving your progress ina game. At ary time, click the under Photoshop (PC: Ect)>Preferencesofile Handing inthe Fle ‘name of your snapshot to return the image to that state. ‘Compatibility section. Before you choose Always or Never, let me tell you what happens. if you choose Always, Photoshop will ave a flattened version ofthe image along with the layered fil. The upside is that it ill work with al versions of Photoshop ‘and many third-party programs because they can read the fat- tened file, The downside is thatthe filesize willbe larger and it will take longer to save the file. The choice is entirely up to you, depending on your workflow. f you do a lt ofcferent things, you may want to keep the option st to Ask, but atleast ow you ‘an give the proper answer, knowing what's happening, METADATA PRESET | know, it's realy tedious to add metadata to all your images; Sil creivaree Caner faw erievere TOUGHT. however, people won't be abe to identity you as the owner of ROOM PRESETS AND VICE VERSA the work if one of your images appears out in the wild without Do you have a huge collection of presets for Lightroom, but none metadata. There are numerous other reasons to add metadata for Camera Raw? Or perhaps the other way around? I's realy _that we won't get into here, but what | can provide here is @ easy to convert them. Just use any image as a virtual courier. quick and easy way to add @ ot of metadata information in one ‘Apply the preset to the image in Lightroom or ACR and open iti _or two clicks without having to retype it ll the time In Bridge, the other program. Save a preset from the image and there you create a metadata template: Click on the top-right comer of the continued on p.91x kK eo eons Beer ee NEW Gn TAKING THE NATION’S CAPITAL BY STORM es Bem Bene 68: wes See aS Nee ee eee eS aera ore THREE epee DAYS © OF | HE WORED'S BES 742 PHOTOGRAPHY. LIGHTING‘STATE UNION EXPERIENCE Moe oe ee nc ea) {and Photoshop training await you in Washinaton, DC. alae PA Le ce nen industry's best and brightest instructors. Seen eo eee acc ea Ty ene One Met te nec Ceres ta eee Seow MCU Cu) ete a CE eh ae eee ete Aare / an Fr ohteT Telemed. Tey Poe ns ener nee <. N Na ON AL 2 re aa Pe, NaS ret ld WORLD ” L ee mee ee al Sea ee tik Reed * * Sera Alan Hess PHOTOSHOP WORLI . Cece ena] eee eee IPHONE & ANDROID APP etry Cee Get the inside track to everything PSW-related with this Se ek Ses ese ya kd er ag asel Sea Rafael “RC” Concepcion CEL eee aL Jeremy Cowart Cau e TA un aa ANORAMA EPSON [inix’ e WY 4 4A EPSON [Miplix _ westcott Adobe Manfrotto} @depositphotos. A: AP lit ie Gz Pedeit*-<-~ PRE-CONFERENCE WORKSHOPS *s=> FRIDAY, MARCH 23, 2012 Get a head st with an opt LIGHTPAINTING 101 12:00 - 5:00 pm Learn all about Lightpainting, 2 technique that can be incorporated by all photographers no matter the ‘genre, with a hands on, step-by-step lesson..and then make your own lightpainted images. Black NAPP PHOTO SAFARI 12:00 - 9:00 pm Go back in time to Colonial America {as you learn hands-on tips and techy niques for photographing models, scenery and more, Peterson, McNally CREATING VIDEO WITH DSLR CAMERAS 1:00 6:00 pm In this on-location workshop, learn how. to create and work with video from your ‘camera-from practical shooting tech niques and essential lighting to easy editing strategies and online sharing, ‘Harrington x* kok PHOTOSHOP WORLD EXPO Va Mg SATURDAY, MARCH 24 1:00 - 6:00 PM ton the mind-blowing Photosho nal workshop. ep ON LOCATION WEDDING PHOTO SHOOT 12:00 - 6:00 em Take part in a" scenario and lear capturing dramatic images. ding techniques for THE ART OF THE PORTRAIT 1:00-5:00 pm Master your painting skills in ‘of mediums and styles to create a inspiring masterpieces Sirkis CHANNELS, SELECTIONS & MASKS, 1:00-5:00 pm Learn how to make and modify selections for a number of different then progress into building advanced composites. Barker QUALITY OF LIGHT IN DEPTH 1:00-5:00 pm Get a step-byst ation of light theory while learning how to control lighting for indoor and outdoor shoots. ‘Schmelzer p explani LOCATION FASHION SHOOT £00 -5:00 pm A “Take your fashion phatographyjto the next level wth this intensive workshop that includes a photo shoot with alive fashion model. See frstshand how to find angles, visualize the outcome of a shot, coach models, measure and creatively manipulate light, find the right compositions and more, Doorhot PHOTOSHOP FOR BEGINNERS £00-5:00 pm Learn practical Photoshop editing techniques including layers, : selections, masking, lghtening blemishes and popular effects. Snider REAL WORLD CONCERT PHOTOGRAPHY 1:00 - 5:00 pm Learn how to capture high-voltage concert images and overcome lighting challenges in thisive, = hands-on photo shoot. k Hess, Diussa 4 www kkk Kk kk kk kk ke kk kk Discover the latest and greatest photography, lighting and Photoshop: related products and services from the biggest retailers in the business. DCI Brperience new product demos live photo shoots and contests Get expert education through bonus classes right on the Expo floor. Plus, you'll have access to exclusive bargains and discounts available only to Expo attendees. SUNDAY, MARCH 25 1:00 - 5:00 PM MONDAY, MARCH 26 9:00 AM - 1:00 PM FOR ACOMPLETE LOOK AT THE CONFERENCE SCHEDULE AND SPECIAL EVENTS, VISIT WWW.PHOTOSHOPWORLD.COM/SCHEDULE.a = 0 rs MONDAY, MARC Fong RMT OW HESHIUE, NUON LASS SOROS, SES HW, GENERAL CLASS SESSIONS _ stintrtnstmnsnscmeta case urs sos UNE EDEN. ea 3 aay LIGHTROOM PLY br 1x45 -14saM to.4s - asm, tos -1asaM to4s-nasam toas-nasam INTROTOINDESIGN CSS TIMESAVING SCRIPTS, LUGHTROOM 3 ‘WALL FLASH BASICS REACTION, INSPRATION White PANELS & ACTIONS (CRASH COURSE MeNely ‘CONPOSITION SECRETS Brown oskowsh Doorhat 12:00-r00°M 1200-1900 1200-00 1200- :00PM 12:00- 00° \WHATYOU CAN REALLY DO MASTERING SMART LUGHTROOM CATALOGS HOT SHOE FLASH = PHOTOSHOP CSS SELECTING WTH3DIN PHOTOSHOP OBJECTS ‘SCOLLECTIONS THE NEXT STEP CONPOSITING Barter cress Concepcion Metoly Moskos 15-7a50M 615-735°M 615-715 615-715eM 6a5-7150M PAINTING WITH HLUrWooD EFFECTS LUGHTROOM FOR WEDDING/ CONTROLLING THE UNCON- MAKING A DIFFERENCE PHOTOSHOP Barker PORTRAIT PHOTOGRAPHERS SCIOUSEYE: EXTENDING WITH YOUR CANERA Monroy ser DYNAMIC RANGE Cowart Versace ea TY SLY be Las 15 -915AM i5-9:50M 15 -915AM 815-9:50M 15 915AM PLAYING WITH TIME THEDRAMATICPORTRATT DOUBLE SMART PROCESSING THE ART OF AVIATION LASTING IMPRESSIONS ost Grimes Tap0 Peterson Sisis '930-10:308M 9330-10308" 1930-10308M 930-10:308m 1930-10-30 (CREATIVE SUITE SPEEDLIGHTING CONCERT PHOTOGRAPH: TACKSSHARPI SHARPENING THE CREATIVE COMPOSITE INTEGRATION lock FROM CAPTURETO CLIENT PHOTOSHOP LIGHTROOM Kost Cross bess oskowsk 10.05 -masan 10345-1450 tos -1a5aM os -nasaM toss -rasaM DMN & DIRTY TRICKS GREAT PORTRATS: MORE SHARING SOCIAL: DIGITAL IMAGE RESCUE NOMH'S ARK: ANIMAL FOR DESIGNERS. THANJUSTGOOD LIGHTING. BRING PEDPLE BACK TO. Tap PORTRAIT SAFAR barter Glassman ‘YOUR WEBSITE Sins I Concepcion I 12:00 vo00PM 12:00 100M 1200 00M 1200 :00PM 12:00 vooPM (CREATING INTERACTIVE LIVEFOOD PHOTOGRAPHY NEARLY EVERY BEW BRINGING OUT THE PHOTOSHOP FOR TRAVEL PORTFOLIOS WITH Hoot! CONVERSION TECHNIQUE BIG GUNS {OTOGRAPHERS INDESIGN SS Cha KNOWN TOMAR Mctoly ely White Versace 485-550 4:45 -S:45PM 4:45 - 5AM 4:45 - 55M 4:45 -5a5eM CCONPOSITINGUSING THE ANATOMY OF A INTHE MOMENT LUcHT, GESTURE 6 THE CREATIVE LENS” SYSTEM PHOTO SHOOT cL PART REVOLITION Ccotins Diviale Mabe! Grimes 00-7000 6:00-700°M ‘600 -700°H1 «600-7000 ‘00 ~7:000 PAINTING EXPRESSIVELY —_LGHTPAINTIN HIDDEN GENS IN LUGHT, GESTURE. FROM DEA TO FROM PHOTOGRAPHS Block PHOTOSHOP CSS, COLOR PART I MAGE Davis Pughes Mase! Colins et Ly PHOTOGRAPHY A ba PHOTOSHOP A 15 -915AM g15-9150M 15-915AM 215-s:5aM 15 - 915AM (CAN JUST USE GETTINGSTARTED WITH SPORTS LIGHTING GETTING STARTED IN How MUCH COLOR IS LIGHTROOM? PREMIERE PRO ‘ConweRctaL sHoOT WLDUFE PHOTOGRAPHY —TOOMUCH? PARTI Cuerson Harriegton Black Paterson Margulis 199 AM -12:00M 1:00 am -12:000M 11900 AM - 120000 1ro0AM -12:00°m ‘00am -12:00em DEVELOP MODULE Morin DESIGNERS “THE CURRENT PATH TO [MAGE COMPOSITING OW MUCH COLOR Is INUGHTROOM 3 ToOUIT ‘A SUOCESSFUL ‘PHOTO ILLUSTRATION 00 MUCH? PART ost arian PHOTOGRAPHY CAREER _Diitsle Marga Cowart 100-2:00°M 1100-2000 00- 2:00PM 1:00 -2:00PM +:00-2:00°M IMPORTING 6. PHOTOGRAPHERS VIDEO ‘THE APPROPRIATE RESPONSE PANORAMIC STITCHING (CREATING OPTICAL NANAGING INAGES TOOLKTT Heiser Wilmore EFFECTS INUGHTROGM 3 arian Barker inte 215~315eM 2a5-235PM 215 ~ 315M 215~315M 215 - 315M LiGHTROOM CREATING TIME-LAPSE ‘MOVED BY LIGHT: A Desion {TRO TO PHOTOSHOP: LLERTIPS OWES ‘CONVERSATION COMPOSITION ‘AUTOMATION ety Farrington Hester Mail Gye CrossGENERAL CLASS SESSIONS FECTS TH FERS HABITS OF SUCCESSFUL BLESSINGS OFTHE PEL CREATING UNIQUE LOOKS fy Monvoy PHOTOSHOP USERS Peterson WITH PHOTOSHOP 1200- 100M 12:00- oop 1200-100 6m 1200-100 pM LUiT SHOOT I, PHOTOSHOP 101 TECHNIQUES FOR (ONE CLICK LIFESAVERS! peTOUCHIT Colins RETOUCHING SKIN Daas 68-7350 615-7350M 615-795 PM 615-735 PM WASTERING LONG EXPOSURE MASTERING ADJUSTNENT MAKE MONEY SHOOTING SOTHAT' HOW THEY 00, NIGHT PHOTOGRAPHY LAYERS STOCK PHOTOGRAPHY THAT Brown, Martin Wilmore Snier Gia e1s-915aM 18 -915aM 15-915 AM YOUCANTUNRINGTHE SELL QUALITY OF UGHT DESIGN ON A OIE Sehr USING THE PAD NA HOT SUM, COOL AGES CREaTVESHARPEUNG PHOTOGRAPHY WORKFLOW Mautner Caponigro {eas -Teas AM 10245 -1eaSAM, esas - 45am INTRODUCING ADOBE TWEET WTASUCCESS POINT CLK, Stoor cae a ae arian noni Bown 1200- 1000M 1200 - 00M 1200-100 M GOOGLE FOR TOFLASH OR NOT ‘THE PHOTOSHOP Son PHOTOGRAPHERS PRNEL © TOFLASH? PARTI loshowsht Concepcion Mautner Hatywo08 4:45-5:45 “45 -S:4SPM “445-5345 PM WHY YOU SHOULD BE ON NEASURING MANPULATING THE JOY OF FACEBOOK, TWITTER &. ‘CONTROLLING LIGHT COMBINING MAGES Gooste+ Doorhot ‘Snider ite 6:00-7.00°M 16:00 - 700M 600-700 PM BECOMINGA MARKETING MAKEYOURLIGHTING THE PHOTOSHOP FREAK emus EXCTING! HOWE PART Grimes Zeer Hatiywood 815 -95AM 618 -915AM 815-815 AM ‘THE WONDERS OF CANERA CREATING ADREAM WORLD REAL WORLD PHOTOSHOP RAW. SART OBJECTS Mervoy Brown 1100 am - 200 1100 am - 2000 100 AM 12:00 eM “TAKING YOUR HORIMAGES UNDERSTANDING COLOR —_—EXPOSURE SDOTCAMP TOTHENEXT LEVEL ADJUSTMENTS Guerdon Concepcion ntmore :00- 200m 1100-200PM 09-200 eM BLENDING, BLURRING ‘PRODUCT PROTOTYPE GAME CHANGERS: MASKING: PART POSFPRODUCTION {NEW THINGS Marguts Divitale Capenicro 2a5-215PM 215-315M 215 315M BLENDING, BLURRING {BOUGHT THE DESIGNSUTE. LEARNING TO SEE NASKING: PART Now WHAT? DiFeRey Marquis {Concepcion 2serPHOTOSHOP WORLD 2012 . _ EXPERIENCE DC (Our nation’s capital serves as the backdrop for this year’s Photoshop World Conference & Expo, and it couldn't be ‘amore (picture) perfect opportunity to absorb, emibrace and capture the essence of Washinaton D.C. From Capitol Hil to Georgetown, the District has a rich history and international culture that serves up inspiring moments and can't miss experiences worth capturing From visiting quintessential attractions in and around the National Mall to enjoying cuisine from around the globe, don't miss your chance to delight in the only-in-DC moments, For more information on Washington, DG, visit wuu.washington.org. OFFICIAL PHOTOSHOP WORLD ACCOMMODATIONS q ‘A special Photoshop World rate has been arranged at several hotels located near the Walter E. Washington Convention Center, where the conference will take place. To receive ‘any of the discounted rates, you must identify yourself as a Photoshop World attendee when making your reservation, For the complete list ofthe official hotels, rates and amenitites, please visit www.PhotoshopWorld.com/travelCONFERENCE HIGHLIGHTS MARCH 23-26, 2012 FRIDAY, MARCH 23 Let's get this party started! Mix and mingle with fellow There's one way to get a head start on the incredible indees and your PSW advisers at Ibiza Nightclub DC, photography, lighting and Photoshop training experience: Ielbe an all-star affair complete with a full buffet dinner four optional day-long workshops, which and two drink a live performance from best and brightest instructor fee required, SUNDAY, MARCH 25 ‘SATURDAY, MARCH 24 active he District of Columbia Host Committee cordially Gain invaluable insight and inspiration at this in invites you to attend the 2012 Photoshop World Opening _—anel discussion with some of toda’ leading phot Photos! raphers as they openup about their most awe-inspirin 00d for th works, rewarding careers and more. A can't miss event Keynote. Hosted by Scott Kelby, ‘and Adobe, the high-energy event sets the n entire conference. This year's keynote will include special __f0F all photogfaphers. ions, announcements and product demonstra tions from Adobe, the revelation ofthis year's Guru nere's no need to talk about Photo blue in the face att /ou won't learn a darn thing abou! pil youre Its vetting 's your chance to get your ‘and evaluated by some of the most highly inthe business, One day only and lute blast! Qu will have an ab fegarded author available on a first-come, first-served basis. Registe’ y for Ph ‘amazing experience! p World to take advantage of this { ete STAY IN THE KNOW WHILE ON THE GO! Text PSWORLD. ive Photos TEXT ales, incuing 5 ‘and important conference reminders/u 39075 saa aaa I discounts and offers, breakinFULL CONFERENCE UPGRADE YOUR PRICING EXPERIENCE NON-NAPP MEMBER = NAPP MEMBER, Get the Vi $898" Before February 17,2012 $499"Before February 17, 2012 0 the fll $698 After February 17,2012 $899After February 17,2012 PRO PASS. SREOISTER BEFORE FEBRUARY 17,2012 & SAVE $100, For $119, receive the hottest Photoshop World Gear, including ter Hours Party Ticket, NAPP Backpack and more. ONE-DAY CONFERENCE peat creators entire PRICING™ NON-NAPP MEMBER NAPP MEMBER $349 nt at Photoshop World with one ‘opening keynote, as wellas all conference hile supplies las. AFTER-HOURS PARTY TICKET* For $59, attend a wild night of Electric Cat, with fellow confer xd and music from attendees ctors d the PSW After Hours Party OPTIONAL PRE-CONFERENCE WORKSHOPS PRICING NAPP PHOTO SAFARI $299 REAL WORLD CONCERT PHOTOGRAPHY $199 ON LOCATION DSLR VIDEO WORKSHOP $199 ‘THE ART OF THE PORTRAIT $89*/99 LIGHTPAINTING 101 $199 CHANNELS, SELECTIONS & MASKING — $89*/99 (ON LOCATION WEDDING PHOTO SHOOT $199 PHOTOSHOP FOR BEGINNERS $89*/99 ON LOCATION FASHION SHOOT $199 QUALITY OF LIGHT IN DEPTH $89*/99 012& Save $100 FO KKK kk °s>» HOW REGISTER» * FOR YOUR CONVENIENCE, PHOTOSHOP WORLD OFFERS YOU FOUR EASY WAYS. TO REGISTER FOR THE CONFERENCE: = Sign up online at PhotoshopWorld.com/register. = Call NAPP at 800-738-8513, M-F, 8:30 am ~ 7:00 pm EST. '™ Download a registration form at PhotoshopWorld.com/form and Fax to 813-433-5015. . Download a registration form at PhotoshopWorld.com/form and mail to Photoshop World, PO. Box 1974, Oldsmar, FL 34677. lease note: Payment must be made in U.S. dollars by credit card, check, money ‘order or purchase order poe ee ee oe ed ya ME ero e2 rd } Walter €. Washington Convention Center See Ce‘Metadata panel to reveal the fyout menu, and choose Create Metadata Template. Fillit out, name it, and save it. Now select all the images you want to tag, cick the flyout menu again, go to either Replace Metadata or Append Metadata (depending if you already added keywords, et.) and select the new template you created, D> No MORE BLOCKY TYPE Have you ever created large tex in Photoshop and it looks all jagged and blocky? Chances are the anti-aliasing is set wrong Anti-aliasing is a technology where Photoshop blends interme- ciate colors to hard edges in type and vectors to make things ‘appear smoother. f your type rough, take a lok atthe Options Bar (with the Type tool selected) and youll see two lowercase "a's Next to them i a drop-down menu: It says None, chances ‘ate your type is realy blocky and jaggy looking. Sharpis great for altype sizes, espedally small type. Smooth looks good on larger type. There are four cferent settings you can try. | pretty much stick to Sharp > DON'T STAYIN JPEG TOO LONG | know a few peopl stil shootin JPEG. | also know that when you download a photo from a stock photo site, its almost ‘always in JPEG. This is because JPEG isa small ile. There's really nothing wrong with this, but when you start working on a [photo, you don’t want to keep resavng it as a JPEG. The reason is that a JPEG isa small file because it's compressed. You may ‘ot notice that i's compressed the firs time you open it, But the more times you save the file, the more it becomes dam ‘aged and a litle “crunchy” fairly quickly. The best thing is to save the file right away as a PSD or TIFF and then start working (on the fle The quality of your images willbe maintained much better this way. DP LiQuiFy SELECTION Isnt Liquifya great filter? It's so much fun to take images and ‘warp and distort them, The only issue is that this tools super processor-intensive.I takes along time to open a large image, ‘and even longer to apply your liquefying effect to the final photo when you clck the OK button, What if you only want 10 liquefy 2 small section ofthe photo (which is the case most of the time) and don’t want to wait while the entire image is processed? You can simply make a selection with the Rectangu- lar Marquee tool (M) and choose FiterLquify. Notice that only the selected portion of the image appears in the Liquiy filter. Prety nifty! D> SMOOTHER GRADIENTS: Have you ever had a stubborn gradient? One that has band: ing {ite rings around the areas where the color blends) that just won't seem to go away no matter how much you blur it? Here's the banding-off solution that works: Adda lite bit of noise (iter>Noise>Add Noise) to the gradient. Don't add a lot, just enough to break things up a litle. Now add the blur Fiter>Blur>Gaussian Blur. Notice how much easier i is to blend the gradient now. iPRODUCT REVIEWS IMAGEPRINT 9 ¥ Raster Image Processor for Professional Printing Reviewby Steve Baws ifyou dohigh our commer orf ar inet printing and want to use possibly the fines ICC profiles and page layout features availble, Coloyte's inagePint version 9 fs the bil ImagePrintis a ester image processor (RIP) designed to work wth Epson inkjet pines. lmagePrint overrides Epson's ver taking contol ofthe print hea with ts om proprietary sceen- ing technology and delivering variable sz ink droplets to the paper with visbly super resus Version 9intrasuces a noteworthy new ser interface. The centerpiece ofthe new interface tsa window called the Dash- board. The Dashboard remedies having to navigate to separate menus in previous versions by consolidating all the controls and Settings for making a print in asngle window. The resus commensese, space-saving werklow that makes printing fast and easy, Excellent video tutorials make learning the software steightfonvard From the Dashboard, you can navigate to your mages, select a printer, specty paper and pot, pick the media fed forthe printer, selector customize a paper sie, set margins, and work with advanced contol features such as setting crop marks, axing notations, and seting a shadow pont Frequent sed images cc folders can be saved 103 favorites Ist for quick acces Files appear in an image stp. One annoyance ithe erage stip uses small thumbnails. | hope in future versions they'll be sizeable for easier viewing and selection, The preview window isa creative playground for designing and arenging images You can tie, resize, step-and-repeat images, use templates for picture package layouts, and ade borders and artstic edges, alin a nondestructive envionment. New to version 9 shuffle, a feature that automaticaly arranges images to opivize page space. even arranges your images for a staight-cut path. A new wide gamut black-and- white toning feature allows you tous the ful clr range of the inkst to apply tints of any hue to highights and shadows A slider controls the balance ofthe tints and, when you're satsied, you can name and save the result for repeated use. Most significant, you can have mutipl mages ona page wth diferent tints. My favorite new features the paper valet. It ets you select paper profes ftom as by manufacturer based on your choke of ‘matte or photo black ink, and color or grayscale profile. lmage- Print then goes out to ColorByte’s website and downloads the profile. ImagePrint'sHbrary of paper profiles represents more than 29 paper manufacturers including Hehnerdhle, ford, Epson, Moab, and Museo. There are literally thousands of profiles and the effort that goes into building each profile is impressive. For ‘example, to minimize color shifts, each profiles broken down for splay lighting concitions—dayiight, fluorescent, tungsten, and rmixed—and frequently used profiles can be saved toa favorites list. tf profile isnt available, ColorByte will uld one for you Any of ImagePrints profiles can be easily brought into Photo- shop for soft proofing. The profile quality s very pressive, My fist take was how accurate the colors are—sky blue is sky blue {and nat some purple variant. | mention the blue hue because it'sknown to be difficult. magePrint naif it and it feels good to hhave that level of color predictability. The profiles create smooth gradients, lots of shadow and highlight detail, and there's a subtlety in black-and-white proiles that distinguishes fine diffe ences in tonality. ImagePrint isa tour de force that puts printing fon avery high level. Company Colrbyt Software Price Starting at 695 Wb: wuwicoloriytesoftwarecom mang ee eeePERFECT LAYERS2 ¥ Create Layered Files outside of Photoshop Roy ele Perfect Layers 2 from onOne Software isa Lightroom and per ture plug-in, as well asa standalone Mac OS X and Windows application, for layer-based image editing outside of Photoshop. Its familiar interface makes easy work of editing images with layers without requiring the overhead that comes along with Photoshop—and with a much lower price tag New features, such as etouch brushes and a fle browser, are part of version 2, and features from version 1, such as blending ‘modes, adjustment layers, color fllayers, and masking brushes are still there. Perfect Layers 2is great for mixing multiple exposures into @ single HOR-style image, or for creating effects by mixing pieces from similar images. 1was able to make edits quickly without i ever feeling tedious. The interface has a familiar feel that's easy to figure out since i's similar enough to image-editing tools we already use: tools are grouped in panek; layers can be toggled on and off; and the ‘masking setings include ea5y-t0-use slider control Perfect Layers also supports Wacom tablets, so you can con- trol brush settings simply by applying more or less pressure with your stylus, Edited images are saved as PSD files, so you can continue \werking with them in Lightroom or Aperture. Or, if you want to ‘make additional edits in Photoshop, the file layers are fully edt able there, too, The too's and interface are well thought out, and they should be because Photoshop User Editorin-Chief Scott Kelby helped esign the app. Perfect Layers 2 just add the layer tools Lightroom and Aperture users need to quickly make their images look even more professional, without too much pain in the pocketbook pein een photoback Prete ered th PREMIUM PACKAGE Se Cec Pee ee eee RA ce Tutorials, Pree en eu ogee y traits, weddings, seniors, customizable! Print at any lab! FREE webinars! SALE! ONLY $69.95 PLUS 15% OFF! SEE BELOW! CN oli) ian he Ea 15% OFF USE COUPON CODE: NAPP333 zi www.photobacks.com FREE Download: www facebook.comiphotobacks eee rent)PRODUCT REVIEWS SQUEEZE 8 ¥ Video Compression and Publishing Suite Review by Danie Eost I you work with video, chances are that Sorenson Squeeze is ‘one of your go-to items for compression and, asthe hardware improves, it makes sense that the software moves forward with it. Sorenson Squeeze 8 brings performance without limiting you ‘tomaking videos anchored to a desk. Getting your show on the road is what Squeeze 8 brings, because you can save your videos (ith a high level of quality) to almost any device in a huge range of formats. Mobile quality must meet the demands of end-users and the newer devices have far better displays. For the design professional, however, HD quality doesn’t take a back seat either, andit’s where Squeeze 8 rally shines. Using cloud technologies, Squeeze Server, Sorenson 360, or your own storage, Squeeze 8 makes it incredibly easy to share your output by exporting one source to almost any format— Flash, QuickTime, MP4, H.264, and many others—while accom- ‘modating another client that may already be using Microsott ‘Smooth. Squeeze's latest professional encoding support with adaptive bit-rate encoding is X.264, Apple HLS, Flash Dynamic, {and Microsoft Smooth are all supported, allowing for immediate streaming to almost any device at any connection rate. A nice ‘touch is that Sorenson isn’t abandning older formats necessary for professionals, enterprise, or older computer systems. Squeeze 8 adds completely seamless Squeeze Server integra tion so you can add jobs, presets, ites, and other settings forthe server to relieve your desktop processor, while speeding up the process dramatically. Another performance improvement comes, ‘rom Sorenson's Enhanced GPU acceleration, which (according to the compary) vill encode high-quality video at up to three times faster than previous versions Real-life testing confirms that the go- te-unch-and-come-back wat time is aw appreciably shorter, but stil degends on the overall ize ofthe source files. Preset bit ates start at 512 KB/S and go up to 2000 KBIS, but can be customized (a in previous versions. In Squeeze 8, presets ‘or Adaptive Bt Rate formats allow you to select a target rate and fine-tune each addtional data rate for best rests. You can create presets for Apple's i0S 5 and Android-based devices, as wel as by the generation ofthe product being used. Long-form videos frag- ‘ment every 6 seconds with keyframes evry 2 seconds. Short-form videos fragment and add keyframes every 2 seconds for videos that are less than 5 minutes, proudly presents {After dragging the preset to the bottom of the workspace, {yu designate a destination and server for processing, The ests ‘automated and appreciably faster than prior versions of Squeeze. Sorenson doesn't employ any specific security features that may slow down the process, but instead focuses on output quality. ‘Adjusting audio drift i akvays a challenge and sometimes there are problems where the video doesn't sync. Watermarking is another filter option that looks great when adding your logo in ‘whatever opacity you choose. Coming from a higher bit-depth to lower one converts in the background, automatically reducing banding and other down- conversion issues. AAite version of Squeeze 8 is an option that stil supports online formats, including Flash FLW, SWF, MPEG-4, WinMedia, QuickTime, and others, but it's priced at $199 for those who only require the essential. Even in this version, the quay remains. Sorenson seems to respond to customers, so the user experience is more comfortable and simplified, limited only by 8a given processor with its available RAM, By dropping the price cof Squeeze 8 to $599, Sorenson is that much more attractive 2s full purchase (or an upgrade; see the website for pricing). ‘To sweeten the deal, Squeeze 8 includes a 30-day satisfaction guarantee plus a complimentary account for the Sorenson 360 platform, Looking at similar options, Telestream Episode isthe only com petitor beyond offerings from content creation products by Adobe and Appl. If you're mobi, in a boardroom, at a canference, ce- ating DVDs, or just uploading to YouTube, the overall smoothness, image quality, aucio quality, and variety of platforms supported by Sorenson Squeeze 8 make it the hands down winner! mt Company Sorenson Media ‘Webs wwisorensonmediacom haing eee ePERFECT MASKS ¥ Masking for Photographers. evi sia Maldonado Perfect Mask 5 Perfect Mask 5 is the next generation of Mask Pro from onOne Software. It can be purchased as a standalone or as part of Perfect Photo Suite 6, and promises to make high-quality masks in usta few clicks Perfect Mask can be accessed directly from Photoshop, Lightroom, Photoshop Elements, and Apple Aperture. Because there's no masking in Lightroom or Aperture (with: uta plug-in), photographers who use these programs for the majority of their workflow would benefit most from this application. Likewise, Perfect Mask is a good stand- alone substitution for anyone who needs to mask photos but doesn’t own Photoshop, or who owns it but isn'ta whiz at masking. The interface is easy to navigate, fairly intuitive to.use, and makes quick work of masking. If Perfect Mask detects a solid-color backoround, it can remove it automati- cally. Sof you've shot on a solid background or a green screen, this isa great timesaver. This being Photoshop User, it's impossible not to compare any masking software to what's availabe natively in Photoshop. Ifyou already have and are comfortable with Photoshop, you likely already know an array of techniques that are on par with cor exceed the capabilities of Perfect Mask. Personally, I've used Photoshop for more than 17 years, so can make great masks very quickly. My comfort in Photoshop probably made the learning curve in Perfect Mask greater for me than it would be for someone new to masking Perfect Mask is an affordable masking tool for photog) pets, ether asa standalone or with applications they already ‘employ. onOne offers a free 30-day trial, so you can run it through its paces before deciding to buy. Price: $9895 (Upgrade:$6095), raing eo Company: enOne Software ‘Wetswowenonesowarecom ike ferorsirelNolior) Your One-Stop Image Solut WE VE GOT IMAGES FOR ALL OF YOUR IDEAS. SSS KS) RRM a ean) ee a coe) Suite 1700, Fort Lauderdale, FL 33301, USA eee8 HD HERO2 ¥ Professional Action Video in a Tiny Package eve by Bik letinok GoPro's HD Hero2 camcorder packs video recording capa bilities of 1080p/30, 960p/30, 960p/48, 720p/30, 720p/60, WVGAV60, and WVGA/120, as well as photo-capture cepa- bilities ingle, burst, se-timer, and time-lapse) at a maximum resolution of 11 megapixels. Andi’ alin a box the size of a cigarette lighter! The Hero? has a new olass lens for really sharp results, it supports 32-68 SDHC cards, has a new easy-to-use (but tiny) LCD interface, & mini-HOMI port, and LED recording lights on allsides. The HD Hero? is meant to stints sturdy, plastic hous- ing while shooting, but it can be used “bare” as well. In fact, cone of the most exiting new features, the 3.5mm external mic Port can only be used bare or with the optional skeleton hous- ing installed. The jack and the USB interface are unreachable with the waterproof housing installed. ‘The Hero2 supports viewing angles of 127° (ony at 1080p) and 170°, and slow motion of up to 120 fps in WVGA mode (848x480px) In 1080p mode, there are thee viewing angles WACOM INKLINGY Digital Sketch Pen and Receiver feet BeBe The Inkling isa digital nk pen and receiver clip combination that allows you to draw or sketch anywhere and ditize those sketches, Simply lip the receiver to your notebook o ketch pad and you're eady to rock! The receiver captures al ofthe information from the pen Push the button onthe receiver to ad new layers and setup the drawing for export to Photo- shop lilustrator, or Sketchbook Pro. This alone is cool enough butt does have some drawbacks, even on the sketching side The Ul takes some getting used to andi’ hard to get realy 400d results with shading using a pen, but with repetition that may work self out Whi not necessaly a new concept (Cigtal Scribe i good example), Wacom does focus more on the artistic side than text recognition, so don't expect to take perfect noes with it, This maybe jst abit anoying but’ a trade-of that | can ve with for rows The portabilty ofthe Inking is amazing. Compare carrying pen and receiver that come ina smal case to busting out Your laptop and a tablet and you get the idea. The pen wil fee somewhat fair to al of you Wacom tablet users, sit’ simirn shape and fel to choose from: narrow, medium, and wide; but the camera speed is imited to 30 fps. Using the Hero2 is easy although the LCD screen i tiny and the buttons are somewhat difficult to operate with the water- proof housing in place. Yet found the GoPro HD Hero2 to be ‘a professional camera by any standard, except for one thing: in poor light conditions, noise becomes intolerable. Company GoPro ne Pie $29899 Web wwrwgopro WY 2 elo) Ce} Assignments TEN PHOTO ASSIGNMENTS: To Develop Your Photagraphc Skis 8 Amanda Quite youre asettavht photographer, ake a ook at this book Ten simple photo “esknments” wl help you beter undes- stand your equipment, color, exposure composure, and ight Each section stars with an ntoducton and includes two assignments, careful thought ox and ote point. For each assignment, the author explains what youl need provides 9 checkst of recommended hardware, sofware, and othe sup ‘plies; explains the purpose of the assignment; then lists the steps. inthe procedure have kd 10s scsions fe formats for ital photography and aspect ratio—ciiea concept or shotogaphes. You might find the authors toe dogat nd spot afew minor enor for eral, in iu 5.1 the images are side by ste, not op and bottom). The book's images are uit sal, but youl be evalatng your on photos on your Computer rather than ring onthe shots on the pages WEDDINGS: From Snapshots to Great Shots By Suzy Cement As the author states in the “Introduction,” wedding photogra~ phers “preserve the power and grace..for the couple and their loved ones, for generations.” That's not only a lat of responsibi- ity, its a task that more and more photographers are taking on. ‘Wedding photography i very competitive field these days, and the crowd won't thin itself out. If you need to make yourself stand out from the rest, you can either cut your profit margin dangerously thin or provide 2 far superior product. If your port- folio and samples can blow away prospective clients, you'll have ‘a better chance of beating out that self-taught, digital-Rebel- ‘wielding, do-the-job-almost-forree “wedding photographer.” This book looks at every stage, from equipment selection to providing final product. Don't skip each chapter's “Poring Over the Picture” section fora look inside the author's mind. And do the chapter assignments! blsher Rocky Nook Pages 10 Pablicher Peachplc Press| Pages: 228 Website www.rockynook | took a picture and it has a bad color cast Is there a Auick and easy way to fx this? Yes, usualy its as simple a adng a Levels adjustment layer, cick ing on something that ought tobe light gray withthe gray point Eyedropper, and magically it fixes your image | shot this image through a hotel window that had a harsh green tnt. Just add a Levels adjustment layer (Layer>New Adjustment LayerLeve «gab the mice Eyedroper tol onthe seo the Adjustments panel and cick on a place in your image that should be medium light gay, ike the side ofthis white building with a sight shadow nit One cick baances the entire image Is there an easy way to save my signature in Photoshop so that | can quickly drop it onto finished images? Like many things in Photoshop, this can be done in quite a few ifferent ways | generally like to have a vey large copy of my signature saved asa brush shape. That way | can scale it to the appropriate size and just click once to put my signature where | want it. Start by creating a new blank document with a white background that's 2,000x2,000 pies. Using an aporonriate-sized black, hard-edged Brush (8), write your signature as large as you LARRY BECKER The fter you're looking for is called Diffuse Glow. You'l find it under Filter>Distort>Diffuse Glow. The only thing you have to watch out fori the Diffuse Glow dialog isthe Graininess slider. Set that to O and then adjust the other two sides until you have the amount of glow that you're looking for. ‘an on the 2,000-pinel document. (This is easier with a tablet than itis with a mouse) Now all you have to dois Selec>Al, and from the Edit menu, choose Define Brush Preset. In the dialog that appears, give your new brush a name (lke "Signature"). Now, {any time you choose the Brush tool, you'l find your signature at the end of the list of available brushes, You can aso use the Left {and Right Bracket keys to make your signature smaller or lager, respectively. Just hover your brush in place where you want your signature and click once. have some JPEG images that were taken in low light, s0 they have lots of noise. | thought | remembered Scott. and Matt saying that the noise reduction in Photoshop is much better these days than it used to be, but my results with the Reduce Noise filter aren‘t really all that ‘great. Am | doing something wrong? \While the noise-eduction capatiites bul into Photoshop are much better than they used tobe, the ely great nese reduction i avai able in the Adobe Camera Raw dialog. Since your images are JPEGs, you need to open thase JPEGS as Camera Raw files. Simply use the Fle>Oven command, navigate to your fle, click oni onetime to Fight it, click on the cop-down atthe vey bottom ofthe Open cialog next to the word "Format," choose Camera Raw from the Ist, and click Open. Once you'e in the Camera Raw dialog, choose the Detail tab (the third tab over) and side the Luminance slider in the Noise Reduction section to the right. Generally, 20 t0 25 i ‘8 goad place to start. f you have color noise, as most night shots 4, you'll want to side the Color slider tothe right as well. Again, {a value of 20 to 25 is usually a good starting point. Just push the Luminance and Color sider tothe right enough to fix your prolern bbut no more, One last note: I's very important that you 200m into {2 100% view while working with noise reduction because you want tosee all ofthe pies.Creativity inspires OT eT shtestock“A.big part of our business includes fine art photography installations: including this project to create eight 6-11" canvas prints. Needing oe er Rest aa ee ancien ee Ry Cee ee a Ee ea ae RT eee} we needed. It was easy and intuitive, and the results look like they were shot on 4x5. We get many compliments and referrals from the Pon IE RNa Ca ey oe — Simon Griffiths www -simong.com al TT oe | er ee ples yourself and try Blow Up 3forfree.