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T H E A D O B E ® P H O T O S H O P ® “ H O W- T O ” M A G A Z I N E





Reduce your contact sheet workflow to drag-and-drop ease

Digital Camera Workshop: Beyond Photoshop:
Explore an awesome new way to rotoscope

Mastering the ins and outs of selfpromotion in photography

What is DNG and why should you care? Under the Loupe: Using third-party plug-ins for your online galleries u Lightroom book reviews
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Woohoo!” Trujillo Departments 8 | About Photoshop User Magazine 10 | From the Editor 14 | Contributing Writers 16 | Photoshop News 18 | NAPP Member News 72 | From the Help Desk 106 | Photoshop Q&A 108 | Photoshop Design Showcase Reviews 98 | Nikon D700 99 | ContrastMaster 100 | Lensbaby 101 | Autodesk Stitcher Unlimited 2009 102 | EZcube Light Box 102 | Casio Exilim EX-Z300 103 | Nik Sharpener Pro 3 103 | SANYO PLV-Z700 104 | Photoshop Book Reviews . you can see the future and stand on the bleeding edge of automation technology. By way of example. Today.—Drew “Dr. we can take Photoshop and truly make it our own. through automating the process of creating contact sheets.Features 36 | The Future of Automation in Photoshop In the past. we were relegated to standing on the sidelines and observing as our favorite program continued to evolve.

and more.—John Paul Caponigro 60 | Beginners’ Workshop Concluding his series on patterns. Here’s a unique way to save time and create a killer look. it means there’s additional material for NAPP members at www.—Colin Smith 52 | Photoshop Speed Clinic Been searching for the PDF Presentation feature in Photoshop CS4 to no avail? Matt shows us where it is and a whole lot more. Kevin gives us more professional printing tips. this time through the use of smart objects. Ensure you stand out from the others with this recipe for self-promotion.—Jim DiVitale 64 | The WOW! Factor By using smart objects you can build a set of instructions to make Photoshop handle your images nondestructively.—Dave Cross 62 | Digital Camera Workshop Today. and find out how we created the iconic helmet for Photoshop World 2009.—Matt Kloskowski 56 | The Fine Art of Printing John Paul gives us an exceptional education on what it means to offer unique print Contents 70 | The Copyright Zone Learn what to do the next time you’re shooting at the zoo and some security guard gives you the stink eye.—Bert Monroy 110 | Photoshop Quick Tips Save custom settings.photoshopuser. —Corey Barker . Corey updates this grand technique with smart objects to maximize versatility. 68 | Classic Photoshop Effects The video wall effect never goes out of masking around trees has sent more than one artist to the insane asylum. drag to select.—Jack Davis and Linnea Dayton 66 | Digital Photographer’s Notebook Back by popular demand. Here’s how to ensure you don’t go next!—Ben Willmore 74 | Beyond Photoshop Rotoscoping video can be a time-consuming process. speed up your scrubby sliders. and things to consider before doing so.—Ed Greenberg and Jack Reznicki Columns 22 | Down & Dirty Tricks Command the light when designing with silhouettes. learn how to do a hotbranded type treatment. Bert covers masking basics to prepare us for the more technical aspects of hiding visual elements. selling your artwork is highly competitive.photoshopuser. Dave makes some seemingly daunting technical information on patterns more accessible.—Kevin Ames 108 But Wait—There’s More: Wherever you see the symbol at the end of an article. more than ever.March 2009 | www.—Sherry London 50 | Graphic Secrets Do you pause (or even flinch) when asked for your business card? Here’s everything need to know to usher yours into modernity!—Lesa Snider King 130 | Photoshop Beginners’ Tips These are some killer tips this round: Resize images that are too big to see.—Scott Kelby. and Corey Barker 47 | Photoshop Mastery Rest assured. and rediscover some frequently used keyboard shortcuts. reinstall your presets. add a quick sepia tone. Felix Nelson.—Scott Onstott 48 | From Bert’s Studio Using his next masterpiece.


This means our great-grandchildren will be able to open our DNGs in 100 years’ time. long after the proprietary formats are unsupported. we showcase the versatile photography of Doug Levy. Victoria Bampton explains the pros and cons of DNGs.Photoshop Lightroom Section Contents Feature 78 | To DNG or Not? DNG.2. Matt explains what they are and how to use them. not proprietary. or Digital Negative.—Rob Sylvan 90 | Lightroom Book Reviews 92 | Under the Hood Camera profiles are new to Lightroom 2. 88 | Under the Loupe There’s a variety of third-party Web gallery plug-ins for Lightroom. Learn where to find Web galleries and how to install them.—Victoria Bampton 82 | Lightroom News 84 | Featured Photographer This issue. is a RAW format unlike any other because it’s publicly documented.—Matt Kloskowski 96 | Lightroom Tips & Tricks 97 | Lightroom Q&A 84 . and how to work with them.

com to get more info. by members.photoshopuser. $129 Canada. As a NAPP member. photographers. NAPP also offers special educational memberships.and money-saving content • Registration discount to Photoshop World Conference & Expo—the biannual NAPP convention and the largest Photoshop event in the world • Monthly e-newsletter produced just for members Find NAPP membership details at www. NAPP is open to any individual using Photoshop in a casual or professional environment. 8:30 a. There’s no faster. to 7:00 p. and is not available to the general public by subscription. or call 800-738-8513 Monday–Friday. NAPP has become the largest graphics and digital imaging association in the world with more than 70. and education. Photoshop World Conference & Expo Discounts on hardware and software Discounts on seminars n at i o n a l a s s o c i at i o n o f p h ot o s h o p p r o f e s s i o n a l s The National Association of Photoshop Professionals (NAPP) is a dynamic trade association and the world’s leading resource for Adobe® Photoshop® training.m.S. 008 . you automatically receive Photoshop User delivered right to your door eight times a year. EST.PHOTOSHOP USER NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS Photoshop User magazine is the official publication of the National Association of Photoshop Professionals (NAPP). Each issue features in-depth Photoshop tutorials written by the most talented designers. and leading authors in the industry. It is for members. news. Founded in 1998.000 members worldwide. and $99 International (digital delivery). and more affordable way to get really good at Photoshop. Go to www. Photoshop User magazine cover image by Doug Levy. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 NAPP Membership Benefits: • Annual subscription to Photoshop User magazine (eight issues annually) • Members-only website with time. Join today for only $99 U.


Hynes Convention Center in Boston March 25–27. he demonstrates how Adobe is loosening the tethers and making Photoshop more customizable than we ever imagined possible. you can knock another $100 off your registration fee (NAPP members already save $100 just for being a member.” and whether or not you should engage in this practice with your own artwork? John Paul gives us an exceptional guide that you’ll want to keep on hand for years to come. Rob Sylvan shows us how to add Web galleries to the Web module’s Engine panel. Woohoo! made exclusively for Photoshop User. we embraced the opportunity to fulfill some reader requests. After transplanting the plug-in and installing some software. “The Fine Art of Printing. she explains the pros and cons of using the DNG format and how to use it in Lightroom. Woohoo!” Trujillo’s class on automating tasks across Creative Suite 4.” “rare editions.” Have you ever wondered what that “AP” scribble on some prints means? How about the difference between “limited editions. and learn what it means to stand on the bleeding edge of technology. through the use of Adobe AIR and Adobe SwitchBoard. we have a special three-page edition of John Paul Caponigro’s column. 2009. This is a great opportunity to learn more about automation and the inner workings of Photoshop. For instance. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Issac Stolzenbach Managing Editor 010 . This meeting spurred our desire to answer the question “Where did the Contact Sheet II plug-in go?” and it’s where the idea for this feature was born (it starts on page 36). In it. We have a feature called “To DNG or Not?” by Victoria Bampton that begins on page 78. Nowhere in the world will you have the opportunity to see the far-reaching and diverse set of Photoshop instructors that we have waiting for you at Photoshop World. Rob is going to review a slew of Lightroom books. I approached him with a challenge to reduce the number of steps involved in creating contact sheets.A Few Words from the [Managing] Editor [managing] The Inner Workings of Photoshop Under the surface there is a brave new world To attend the Adobe MAX conference is to witness the convergence of art and science. The Lightroom section is really hopping this issue. 2009. and you can read how Lesa Snider King stepped up to this challenge on page 50. Well folks. so he’s given us an in-depth piece on how to zero in on the perfect print settings using smart objects (page 66). we were inundated with requests to help folks learn how to use Photoshop to refresh their business cards. it starts on page 90. too. And. All the best to you and yours. First. he shows us how to return the Contact Sheet II plug-in to Photoshop CS4. Then. Then Kevin Ames received lots of accolades from readers for his last article on pro-level printing. First. time to get in gear! This issue is packed with info that will ensure NAPP members stay one step ahead of the pack. Speaking of creatively compelling conferences. Starting on page 56. In this issue. so altogether that’s $200 off). which is truly a pleasure. you can check out an AIR application and a script Dr. and we hope to see you there. the time-consuming process I encounter when artists submit their work. On page 88. for the next couple of issues. We hope you enjoy this issue at least as much as we enjoyed putting it together. the Photoshop World Conference & Expo is headed to the John B. after attending Drew “Dr. Truly unique and inspirational ideas emerge from this nexus of designers and developers. NAPP members have it made: If you sign up before February 20. This issue.


ISSN 1535-4687 . Full Line of Supplies (Call for Catalog) FREE shipping on all orders over $99 1. 235 HOW TO COnTACT THE nAPP: Membership info: info@photoshopuser. and Adobe Illustrator CS3. Production Designer Contributing Writers Kevin Ames • Steve Baczewski • Victoria Bampton • Corey Barker Peter Bauer • John Paul Caponigro • Rafael “RC” Concepcion Dave Cross • Jack Davis • Linnea Dayton • Jim DiVitale • Daniel East Laurie Excell • Mark Fleming • Ed Greenberg • Dave Huss • Lesa Snider King • Matt Kloskowski • Doug Levy • Sherry London • Bert Monroy Scott Onstott • Chris Orwig • Jack Reznicki • Colin Smith • Rob Sylvan Drew “Dr. Kelby Media is the premier source for instructional books. Director of Circulation/Distribution 800-738-8513 ext. Mail: 333 Douglas Road East • Oldsmar. Jean A. in the United States and/or other countries. Associate Designer Christy Winter. All rights reserved.P. Creative Director Dave Damstra. Lightroom. Any use of the contents of this publication without the written permission of the publisher is strictly prohibited. Production Manager Taffy Orlowski. and follows the most stringent standards for educational resources.photoshopuser. Director of Information Systems Annie Cushing • Justin Finley • Tommy Maloney Fred Maya • Aaron Westgate $150 in Stackable Rebates! Stylus Pro 11880 EPSON P-3000 Viewer and get PuBLiSHinG: Scott Membership Suggestions: Letters to the Editor: letters@photoshopuser. Photo Gear Desk..771. Traffic Director Felix Nelson. the Adobe logo. and live seminars for creative professionals. Suite #6 Rolling Meadows. FL 34677-2922 Voice: 813-433-5005 • Fax: 813-433-5014 Customer Service: feedback@photoshopuser. Senior Technical Editor Chris Main.Your Discount Imaging Source FREE shipping on all orders over $99! Stylus Photo R1900 MARCH 2009 Volume 12 • Number 2 • Printed in USA The official publication of The national Association of Photoshop Professionals EDITORIAL: Scott Kelby. Adobe InDesign CS3. and Photoshop are registered trademarks or trademarks of Adobe Systems. Executive Director of the NAPP Paul Parry. Inc. Publisher David Moser. Advertising Designers Veronica (Ronni) O’Neil. Technical Editor Kim Gabriel. 215 Margie Rosenstein • Nicole Procunier. $4000 Mail-in-Rebate! Purchase by 3/31/09 This seal indicates that all content provided herein is produced by Kelby Media. With EPSON's Economic Stimulus Buy a Stylus pro 11880 and get a COLOPHOn: Photoshop User was produced using Adobe Photoshop CS3. Kendra. DVDs.P. InDesign. Advertising Coordinator 800-738-8513 ext. Editor-in-Chief $150 Cash Back P-3000 Viewer Purchase by 3/28/09 Issac Stolzenbach. Adobe. IL 60008 All contents ©COPYRIGHT 2009 National Association of Photoshop 5100 Newport Dr. Woohoo!”Trujillo • Ben Willmore Web Team For a limited time purchase an Michael Ritchie. Managing Editor Mike Mackenzie.9665 www.800. Illustrator. Advertising Director 916-929-8200 Jeanne Jilleba. Associate Designer Dave Korman. Business Manager Larry World Wide Web including the Photoshop Help Desk. Acrobat. Executive V.S. Sales 813-433-2370 Melinda Gotelli. Some of the views expressed by contributors may not be the representative views of the publisher. Inc. Photoshop User is an independent journal. Chief Financial Officer Purchase by 3/31/09 ADVERTiSinG: Kevin Agren. Adobe Myriad Pro was used for headlines and text. not affiliated in any way with Adobe Systems. All other trademarks mentioned belong to their respective owners. Executive Publisher Kalebra Kelby.itsupplies. Lightroom Editor Barbara Thompson. and Advice Desk: www. V. online classes.


visit www. recently published by Peachpit Press. ED GREENBERG & JACK REZNICKI DANIEL EAST › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 BERT MONROY is considered one of the pioneers of digital art. SHERRY LONDON is author of Photoshop CS2 Gone Wild and has written a number of other books on Photoshop. graphic designer. Her images have been showcased in galleries. She’s an author for KelbyTraining.oreilly. PETER BAUER is the Director of the NAPP Help Desk and a featured columnist at Planet STEVE BACZEWSKI is a freelance and view his photography at www. Angela is working on several stock projects in addition to teaching workshops about Lightroom. Revit. is the Chair of the MPS in Digital Photography department at the School of Visual Arts in NYC (www. book and video author. Camping Life Magazine. then returned to his passion of editorial photography. has written and edited dozens of books and videos on AutoCAD.Photoshop’s Most Wanted KEVIN AMES creates evocative photographs for clients such as Westin Hotels. and consultant with more than 20 years’ experience in professional photography. COLIN SMITH is an award-winning Genuine Parts Company. Because of the large volume of questions and shortness of JOHN PAUL CAPONIGRO an inductee to the Photoshop Hall of Fame and author of Adobe Photoshop Master and receive a free subscription to his enews Insights. SCOTT ONSTOT T author of Enhancing CAD Drawings with Photoshop. Linnea is at work on The Photoshop CS3/CS4 Wow! Book (with Cristen Gillespie. travel. Check out his website at www. Check out his Lightroom tips and tutorials at http://lightroomers.sva.markflemingphoto. His publications include Adobe Photoshop CS4 How-Tos: 100 Essential Techniques and Adobe Photoshop Lightroom 2 How-Tos: 100 Essential Techniques (Adobe Press). Sore Tooth 014 .scottonstott. who has authored or co-authored 12 books on Photoshop and has created a series of Photoshop training videos available from PhotoshopCD. and Site Director for iStockphoto. Learn about his latest adventure at www. visit www . Illustrator. presenter/trainer. and writer. His In his spare time. His latest book is Photoshop CS3 for Dummies. is an internationally renowned fine artist and authority on digital printing. and CocaCola. pro-audio. Sherry also writes tips and product reviews for Photoshop User and Layers magazines. He teaches the digital arts worldwide. and Painter. Carter’s. He has served on the faculty of many well-known institutions. Mizuno USA. and BT Journal. Colin is also the founder of the online resource PhotoshopCAFE. To see her work. and marketing. and Europe. and is an author. 2009). It could even become the subject of a future column. as well as tutorials for Planet Photoshop. which covers all the new features in CS4 and nothing else. is The Digital Photographer’s Notebook: A Pro’s Guide to Photo shop CS3. Illustrator. Amtrak publications. KATRIN EISMANN author of Photoshop Restoration & Retouching and Photoshop Masking & Compositing and co-author of The Creative Digital Darkroom. For more inspiration. not everything can be answered personally. As an Adobe Certified Expert. and and writes for and author of Photoshop: The Missing Manual (O’Reilly).whereisben. he creates the free biweekly podcast.. CHRIS ORWIG a photographer. GO Magazine.thebestofben. DEKE M C CLELLAND is author of Adobe Photoshop CS4 One-on-One (http://deke. Scientific Atlanta. ROB SYLVAN a trainer and photographer. host of Peachpit’s Lightroom Reference Guide. His images have been featured in publications including Down East. is based in Albany. JACK DAVIS & LINNEA DAYTON Jack Davis and Linnea Dayton are authors of many books on Adobe Photoshop.chrisorwig. His latest book is Adobe Photoshop Lightroom 2: A Digital Photographer’s Guide. a digital nomad in his 40' motorcoach. has authored more than 18 books on digital photography and photo editing. and stock images. and AT&T. Peachpit Press. More at www. LAURIE EXCELL has 28 years of photography and photographic equipment sales experience. Ed Greenberg and Jack Reznicki can be reached at Igotaquestion@ and the video series Photoshop CS4 New Features and Photoshop CS4 One-on-One (http://lynda .divitalephotography. J IM D I VITALE is an Atlanta-based photographer and instructor specializing in digital photography. is the author of Photoshop Lightroom 2 for Dummies. Jack’s most recent book is How to Wow: Photoshop CS3 for Photography Pete does computer graphics consulting for a select group of corporate clients. His clients include IBM. is on the photography faculty at the Brooks Institute in Santa Barbara. and appeared on hundreds of TV shows around the world. Visit www . Audubon calendars. written dozens of But they’d still like to hear your questions and stories. He also teaches classes in traditional and digital fine arts photography. BEN WILLMORE is the author of Up to Speed: Photoshop CS4. kids. Ben spends many of his days on the open highway. LESA SNIDER KING is the chief evangelist for iStockphoto. Daniel is also founder and president of The Apple Groups Team support network for user groups. Check out her free tutorials at GraphicReporter. ANGELA DRURY is a photographer who specializes in floral. His work has been seen in countless magazines and scores of books. and Elements Techniques magazines. Check out her website at www. a Help Desk Specialist for the and catch her live Wednesday nights on YourMacLifeShow. DAVE HUSS with more than 25 years’ experience as a photographer. TEC America.I. Lightroom and Steve can be reached at freelance writer. professional photographer. Dave is a popular conference speaker in the U. Subscribe to his Digital Architect video podcast on iTunes and check out his website at www . 3ds Max. Her work has received many awards and has been featured in numerous shows. His fourth book. dekePod (http://deke. MARK FLEMING is an award-winning photographer who completed coursework in the photojournalism program at R. and consultant.


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paint. Check out www. Lightroom 2.1. and Leica D-LUX for information. which included improvements to Photoshop integration. Simply select the print sizes or specialty items that you want to sell. Why wouldn’t you? Blogs provide an easy and userfriendly way to get your work out there. Panasonic DMC-FX150. The tablet. c o m Wireless comes to pen tablets The Wacom Graphire Wireless tablet offers the user an unprecedented 30' of wireless freedom. processing. Draw.Photoshop News Adobe Photoshop Lightroom 2 enhances RAW digital photography workflow with powerful Adobe’s recently released Lightroom Panasonic DMCLX3. and improved performance with the 64-bit Mac OS X 10.1 or higher. visit www.wacom. RAW data-processing software must be upgraded regularly because of the frequent arrival of new cameras. Panasonic DMC-G1.qtm. For more details as well as Q-Flash dealer locations. Available for Mac OS X and Windows. Compatible with Bluetooth 1. Panasonic DMC-FZ28. Inc. Quantum’s new TRIO offers nonstop flash all day everyday The new Qflash TRIO QF8 from Quantum Instruments. This free Web service gives users the opportunity to install a widget that will manage and track the sales of images on websites or blogs.buythisimage. Latest | News Lightroom 2. Get started by visiting www. choose images to make available. you have a blog. and managing features. the Graphire is easy to install and even easier to operate.2 upgrade (free to Lightroom 2 users) adds RAW support for seven new camera models including the Canon EOS 5D Mark II. or mark up documents from nearly anywhere in your home or office with 512 levels of pressure sensitivity. makes editing wirelessly a pleasure. however.5 operating system.2 is the second half of Adobe’s one-two punch for support of RAW image processing. It also allows the user to configure modes and settings on remote Qflash units right from the back of the on-camera unit. The Graphire Wireless tablets work with most mouse drivers and adapt easily to both PCs and Macs. powered by either a rechargeable lithium battery or a universal power adapter. Now. p h ot o s h o p u s e r . The first came in late November with the release of Lightroom 2. This unit delivers nonstop (10.2 provides RAW support for seven new cameras Chances are that if you’re an artist with an Internet connection. › › w w w. ■ IMAGE COURTESY ADOBE SYSTEMS INC. The TRIO QF8 is capable of sending TTL commands to other remote Qflash units including other TRIOs. Make money with your blog 017 . Web module stability for Windows Vista 64-bit operating system.000+) flashes of studio-quality light from the convenience of the camera hot shoe. how do you turn blog traffic into revenue? The keen minds over at ExposureManager have a quick and painless solution: BuyThisImage. combines a dedicated portable Qflash head with built-in FreeXwire TTL radio adapter for digital cameras. Canon PowerShot G10. and you’re ready to go.

Plus. be sure to bookmark or add the RSS feed from www. and so much more. When Photoshop World is taking place. this blog will be the place for live reporting. roughly 95% of the SCOTT KELBY’S 100+ classes are brand new with some true WORLDindustry legends teaching them. And. 2009. Photoshop World just gets better every year. thanks to all the inspiration and creativity that will surround you. Photoshop World survival tips to help you make the most of your experience. Basically. what happens at Photoshop World…gets broadcast on the Internet ASAP. thanks to your ginormous Photoshop World workbook containing instructor notes from nearly every class—so you can take what you learned from class home and even learn from classes you didn’t take. our Expo just keeps getting bigger with more and more bonus classes available. of course. For example. . So. something went missing: the Photoshop World blog. even NAPP members who couldn’t make it to the conference can at least join in and keep up with all the latest developments as they happen. We’re pleased to announce. “after-hours” events. and pictures galore. marks the 10-year anniversary of Photoshop World and it looks to be the best Photoshop World & Expo yet! How do we know this? Simple. however. behind-the-scenes updates. for all the latest Photoshop World news. and wrap-up ceremony! Member News 018 Speaking of Photoshop World…the blog is back Last year. This way. that the Photoshop World blog is back—with even more in store for everyone.NAPP Member News Ten years running and better than ever All the Latest on Membership and Benefits By Nancy Masse › › p h ot o s h o p u s e r › M a r c h 2 0 0 9 ALL THE LATEST ON MEMBERSHIP AND BENEFITS This year. between Photoshop World Orlando and Photoshop World Las Vegas. Be on the lookout for guest posts from your Photoshop World instructors. and a heavy suitcase. we can’t forget the stuff that legends are made of: our keynote But best of all is what you’ll take away with you: a spinning brain.photoshopworld. the latest news. an enlightened sense. packed with new techniques.

photoshopuser. as we move forward with our new packaging. feedback. You’ll be glad you did. Adobe Photoshop CS4 for Beginners by Corey Barker. book and DVD releases. Watching Larry’s podcast not only puts you in the first-to-know category. And seriously. Also. Larry Becker. our reply for more info regarding any item on these pages or anything concerning your membership. NAPP News is now a podcast Recent NAPP Discounts To take advantage of these discounts. and openframed displays at a discounted rate from Tatung online. Tatung—U. There’s always someone online at the NAPP forums ready and willing to lend a hand. please send them to the NAPP Executive we hope you appreciate and understand our reasons behind the switch. Every week. Need it quicker than that? As a NAPP member. advice. Larry Becker. you really owe it to yourself to see what it’s all about. SiteGrinder turns you into an instant Web expert. and Adobe Creative Suite 4 Suite Integration by Dave Cross—we’ve switched from those bulky plastic boxes to much slimmer. While we do our best to answer these questions. B&H—B&H offers free 3–5 businessday UPS shipping to NAPP members (within the contiguous U. 019 › › w w w. c o m . DriveSavers—This data-recovery provider now offers NAPP members a 15% discount on its service. you get a discount on next-day and secondday shipping. Get a 5% discount off your entire order. p h ot o s h o p u s e r . The easiest way to find and add the NAPP News podcast to your iTunes library is to open iTunes and search for NAPP. Look in the Hardware section under the Discounts tab for special information to gain access to a private NAPP page on their site. DriveSavers even has a Digital Arts Division that specifically caters to Photoshop users and professional photographers. Plus. NAPP members can buy televisions. we’ve noticed an increase in questions from our members on everything from how to perform certain functions in Photoshop to what plug-ins would we recommend. heavy-duty paper sleeves. is available at a special 20% discount for NAPP members. the award-winning professional slide show software from Photodex Corporation that provides potential output to more than 60 different formats. links. too. there’s no better place than our forums. Although our new packaging does remove the title from the spine.Great news! The weekly NAPP News from NAPP Director. or if you just feel like goofing off. and more. our dedicated moderators are always there to ensure a fun. Join Jerry on this enlightening journey as he renders a professional illustration in Adobe Photoshop from start to finish. Beginning with our latest releases— Adobe Photoshop CS4 Selections and Masks by Dave Cross.S. Airbrush Action Magazine—Receive free shipping on Photoshop Techniques for Illustrators: Creating Arctic Kiss with Jerry LoFaro. NAPP members should go to the Discounts section at www.photoshopuser. Then. SiteGrinder—NAPP members enjoy 15% savings on this “must-have” Photo shop plug-in. Not only will you connect with fellow members. Larry gives the rundown on the latest from NAPP: news. what better way is there to goof off than to get in on one of the (often hilarious) Photoshop battles? If you haven’t been to the forums in a while or (gasp!) if you’ve never been there. at lbecker@kelbymediagroup. is now a podcast on iTunes. better advice. eStudioLighting—A complete source for studio lighting equipment in the photography and video industries. allowing you to generate powerful. monitors. scroll down to the Podcasts panel and. you’ll also get faster answers. and instantaneous feedback. Have you been to the forums lately? Environmentally conscious training You may have noticed a slight change in our Kelby Training DVDs’ packaging. If you have suggestions or ideas for enhancing your NAPP membership. but it’s also a great way to win cool programs. poof! there it is. “Did you check the NAPP forums?” If you’re looking for answers. Visit the NAPP member website (www. we plan to add even more recycled content to the paper (not the DVD!) as we continue to do our part for the environment. friendly. more environmentally friendly.S. nine times out of ten. professional websites right from Photoshop using the Photoshop skills you already have. discounts. and most importantly. cool contests. Photodex Corporation—ProShow Producer. plug-ins.) when ordering ■ Now that NAPP has spread its presence out into the world of social networking websites. and spam-free experience.

kelbytraininglive. Ben Willmore and other industry greats as they share their latest tips. Upcoming Dates: NEW YORK.201. Students (with ID) pay $149. productivity. CA March NAPP members pay $599. TX March 16. and manipulation techniques. and control simple lighting. And don’t forget the Tech Expo where you can get an insider’s look at the latest products and technologies. and creative secrets using Adobe® Photoshop® CS4. as Joe shows you how to set-up. BOSTON . 2009 Donald E. This seminar will teach you the hottest tips. CA March 19. 2009 John B. 2009 Arlington Convention Center › › p h ot o s h o p u s e r › M a r r c h 2 0 0 9 Adobe® Photoshop® CS4 for Photographers featuring Ben Willmore Enrich your images with valuable tips for everything from setup to printing your masterpiece. tricks. and skills.7323 020 Call 800-201-7323. 2009 Los Angeles Convention Center Joe McNally launches a nationwide lighting tour uncovering the secrets to using off-camera flash and on-location lighting to create the look you see in professional publications. IL March 30. tricks. efficiency. and fun with real-world insider techniques that make your life easier and free your time so you can do what you really want with your photography. Brown Convention Center LOS ANGELES. Maximum Adobe Photoshop® CS4 ® featuring Dave Cross Boost your for all the latest seminar or call 800. and discover how to truly utilize Photoshop’s most powerful tools and features. FL February 27. You’ll see the whole process unfold right there in the class. 2009 Tampa Convention Center ARLINGTON. ■ . in this seminar you’ll learn the Photoshop® techniques he’s developed to create You’ll learn the most up-to-date techniques and hottest tips for Adobe Photoshop CS4. TX March 6. Javits Convention Center HOUSTON. or register online at www. Dave Cross. powerful adjustment tools in Photoshop®. and techniques to maximize your creative talents! Upcoming Dates: TAMPA. SEMINAR REGISTRATION INFORMATION Regular admission is $99 • NAPP members pay $79 visit www. Photoshop Lightroom 2. 2009 South San Francisco Conference Center CHICAGO.photoshopworld. 2009 Jacob K. and illustrators alike! Upcoming Dates: SOUTH SAN FRANCISCO. ALL NEW realistic images that boggle the imagination! It’s the perfect seminar for Photoshop® users. Hynes Convention Center Registration Info: Advance Registration is $599 NAPP members pay $499 Regular admission is $699. Location Lighting Techniques featuring Joe McNally Photoshop® World Conference & Expo Adobe® Photoshop® CS4 Creativity Tour featuring Bert Monroy While you may not be able to draw like Bert (he’s truly the master). Visit www. NY March 13. position. Bert Monroy. Stephens Convention Center Adobe® Photoshop® Lightroom® 2 Live Tour featuring Scott Kelby or Matt Kloskowski Take your photography to a whole new level of productivity. LIVE TRAINING CS4 Training Join Scott Kelby. Photoshop® Hall of Fame guru Ben Willmore reveals key digital photography concepts. 2009 George R. and Photoshop CS4 Extended from a team of the industry’s most talented instructors.® NAPP SPONSORED UPCOMING SEMINARS TO LEARN THE LATEST PHOTOSHOP® TECHNIQUES FROM THE PROS The following conferences and seminars are produced by Kelby Training Live and sponsored by the National Association of Photoshop® Professionals. MA March 25–27. photographers.


leaving the darkest areas alone. we chose a photograph with a subject against a white background. but for this example we’ll create one from a photograph.Down & Dirty Tricks The hottest new Photoshop tricks and coolest special effects ■ BY COREY B ARKER Design with Silhouettes A little detail can say a lot. STEP TWO: Open the Channels panel (Window>Channels) and click on each channel to view them separately. made easier in our example because the background is white. and it will look pretty cool too. soft-edged brush (ours is 65 px). press Command-I (PC: Ctrl-I) to invert the values. With that in mind. With the new duplicate alpha channel selected. change the blend Mode to Overlay. In the Options Bar. it will only affect these lighter areas. as shown here. This issue. Combined with subtle light effects. go ahead and start with that. As you paint you’ll notice that only the gray area is affected. more complex backgrounds may require more masking time. Continue to paint. until the subject is totally white. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 STEP THREE: Grab the Brush tool (B) from the Toolbox and select a medium-sized. Press D to set the Foreground color to white. Look for the one that’s the darkest overall against the background. we create a sense of drama and mystery. This is because with the tool in Overlay mode. STEP ONE: If you already have a silhouetted image. adjusting the brush’s Mode as needed. click in the gray area. To keep it simple. we chose the Green channel then made a duplicate (Green copy) by dragging it onto the Create New Channel icon located at the bottom of the Channels panel. and start painting. 022 ©FOTOLIA/T.TULIC . we’ll make a compelling movie poster by crafting a silhouette effect from a photograph.

click-and-drag the tab for your new document onto your desktop to create two separate document windows. Now hold down the Shift key and press the Up Arrow once. Press Delete (PC: Backspace). then drag the alpha channel into the new document. p h ot o s h o p u s e r . Go to the Select menu and choose Load Selection. and drag it to the new document. click on the alpha channel. this will nudge the layer up 10 pixels. This will make the silhouette an active selection. STEP SIX: In the new document. c o m . set Use to Black. 023 › › w w w. In the dialog that appears. STEP SEVEN: Drag Layer 1 onto the Create a New Layer icon to duplicate it (Layer 1 copy). You can click the Background layer’s Eye icon to turn the visibility on and off to ensure the shape is filled properly. Note: If you’re using tabs in Photoshop CS4. STEP FIVE: Go back to the silhouette file. and click OK. reposition the shape toward the bottom of the document. What you should have left is a subtle white edge just above the selection. and click OK. go to the Layers panel and click the Create a New Layer icon to create a new blank layer. click the Channel pop-up menu.) Press Command-I (PC: Ctrl-I) to invert the white background to black. It will automatically go to the Channels panel.STEP FOUR: Choose File>New to create a new RGB document (ours is 7x10" at 150 ppi). (Note: Size will vary depending on desired result. Press Shift-Delete (PC: Shift-Backspace) to open the Fill dialog. With the Move tool (V). Click the Lock Transparent Pixels icon (circled) and press Command-Delete (PC: Ctrl-Backspace) to fill the silhouette with white. This will be our highlights. leaving a fair amount of room at the top. Hold down the Command (PC: Ctrl) key and click on the original silhouette layer’s thumbnail in the Layers panel to load it as a selection. select the alpha channel (Green copy in this example).

) Press Return (PC: Enter). then you’ll want to increase this setting. click just inside the bounding box. click on the Gradient Editor. Select the Radial Gradient in the Options Bar. Now press Command-Option-Shift-T (PC: Ctrl-Alt-Shift-T) two times to create two more copies at the same distance to the right. Controlclick (PC: Right-click) on the object.STEP EIGHT: With Layer 1 copy selected. and choose the Foreground to Transparent gradient. To apply the layer style to the new layer (Layer 2). If you’re working with a higher resolution file. Again. and press Return (PC: Enter). zoom in. and try again. continued on p. press-andhold the Option (PC: Alt) key and click-and-drag the ƒx icon onto it. so they don’t look too symmetrical. You should have eight lights stacked. click the Lock Transparent Pixels icon to unlock it. Press X to set the Foreground color to white. Command-click (PC: Ctrl-click) on the Layer 2 thumbnail to load the gradient as a selection. and choose Warp from the menu. this will need to be higher on a larger file. Control-click (PC: Right-click) directly on the ƒx icon and choose Scale Effects at the bottom of the menu. then choose Filter>Blur>Gaussian Blur. increase the Size (ours is 15 px). then click in the selection and drag it to the right of the original. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 STEP TWELVE: Create a second row of lights below the first by repeating the first part of Step Eleven. Press Command-D (PC: Ctrl-D) to deselect. Click on the color swatch to change the color of the glow (we chose R:255. Deselect if you have an active selection. we’ll keep it around 1 pixel). B:0 but feel free to experiment with other colors). Then just manually move the corner handles to give the lights a looser look. Set the Opacity to 100%. (Note: If you’re having difficulty dragging it. This should give you a row of four lights. Press Command-T (PC: Ctrl-T) to invoke Free Transform. STEP NINE: Click the Add a Layer Style icon at the bottom of the Layers panel and choose Outer Glow.26 024 . STEP ELEVEN: Now let’s do a quick step-and-repeat process. Click the Create a New Layer icon and drag out a small radial gradient just above the subject. G:156. STEP TEN: Grab the Gradient tool (G) from the Toolbox. and click OK. Press Command-Option-T (PC: CtrlAlt-T) to make a duplicate in Free Transform mode. To modify the size of the glow. as shown. Give this a very slight blur (because we have a small file.


STEP THIRTEEN: Press Command-J (PC: Ctrl-J) to duplicate these lights (Layer 2 copy). Draw a gradient from the bottom of the image to approximately three-quarters of the way up the image. and select Flip Horizontal. then go under the Edit menu. Choose Edit>Fill. and choose Gaussian Blur. Grab the Gradient tool. choose Linear Gradient in the Options Bar. Enjoy! ■ 026 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . STEP FIFTEEN: Click the Add Layer Mask icon at the bottom of the Layers panel to apply a layer mask. Finally. Grab the Lasso tool (L) from the Toolbox and draw a selection that will roughly be the area of the light beam (as shown). Use the Move tool to drag it to the other side so there are two sets of lights. lower the Opacity (we used 75%). such as 60 pixels. In the Layers panel. and press X to set the Foreground color to black. Now go under the Filter menu. This will give the light beam some fade. under Blur. Deselect. choose the same yellow color we used in Step Nine. and click OK. add some text to complete the design. STEP FOURTEEN: Click the Create a New Layer icon to create a new blank layer (Layer 3). then click-and-drag the layer to position it between the Background layer and Layer 1 in the stack. Give it a big amount of blur. under Transform. and click OK to close the dialogs. set Use to Color.


Go under Edit. Press Command-D (PC: Ctrl-D) to deselect. Press Return (PC: Enter) to apply the Warp. Choose the Lasso tool (L) from the Toolbox and make a loose selection around the first character (“R” in our example). Choose the Horizontal Type tool (T) from the Toolbox and enter some text (we used 77-point Copperplate Regular). paint in some imperfections around the outside of the type. Melting Brand That’s the best way to describe the text effect used for one of the logos on FX’s website (www. Textured. STEP TWO: Duplicate the text layer by dragging it onto the Create a New Layer icon at the bottom of the Layers panel. Choose File>New to create a new RGB document that’s 6x4" at 150 ppi.fxnetworks . Click on the Eye icon next to the original text layer to hide it from view. it’s an awesome look that’s just crazy cool. Select each letter individually and subtly bend and distort them until the entire line of type is affected (see example). branded look. even though it’s probably intended to be more of a badge or shield.Down & Dirty Tricks The hottest new Photoshop tricks and coolest special effects ■ BY FELIX NELSON Hot. Now. Controlclick (PC: Right-click) on the text layer copy and choose Rasterize Type. under Transform. STEP ONE: Press D then X to set the Foreground color to white. and choose for their television series Rescue Me. 028 . Add even more imperfections by smudging the edges of the type. Adjust the Strength value in the Options Bar to vary the intensity of the effect. Either way. › › p h ot o s h o p u s e r › M A R C H 2 0 0 9 STEP THREE: Choose the Brush tool (B) from the Toolbox. choose the Smudge tool (nested under the Blur tool) from the Toolbox. Move the Bézier points and handles to slightly bend and distort the individual character. and choose Background Color from the Background Contents menu. The type treatment has a very hot. Using a hard-edged brush.

G:29. and enter 400% for Scale. p h ot o s h o p u s e r . and 48° for Altitude. enter 500% for Depth. Scroll to the bottom of the Pattern list and choose Dirt. Click on the Highlight Mode color swatch. Click Append when the warning dialog appears. and click OK to close the Layer Style dialog. B:8). Click on the downfacing arrow next to the Contour thumbnail. and click OK. Choose Texture from the Styles list on the left. choose yellow as the color (R:252. STEP EIGHT: Duplicate your copied text layer (RESCUE US copy) by dragging it onto the Create a New Layer icon (RESCUE US copy 2). 3 for Size. choose yellow as the color (R:224. choose a reddish-brown color (R:155. B:53). Now. Click on the down-facing arrow next to the Pattern thumbnail. c o m . Click on the word Effects under this layer and drag it onto the Trash icon to remove the effects. Now. then move this new layer below your copied type layer (RESCUE US copy). 15 for Size. STEP SEVEN: Choose Satin from the Styles list. click on the down-facing arrow next to the Pattern thumbnail. Choose Emboss for Style. B:42). and set the Shadow Mode Opacity to 57%. G:8. G:232. Click on the Shadow Mode color swatch. Choose the Eraser tool (E) from the Toolbox and erase away portions of the beveled edge (as shown) to make it look irregular and imperfect. Click on the white color stop on the right. G:231. and click OK. Change the Highlight Mode Opacity to 100%. click on the black color swatch. and click OK twice. and click OK twice. STEP FIVE: Now choose Pattern Overlay from the Styles list. and Size to 14. Change the Blend Mode to Overlay. press Command-I (PC: Ctrl-I) to invert the image. choose Rock Wall. click on the black color stop on the bottom left. Change the Highlight Mode Opacity to 100%.STEP FOUR: Click the Add a Layer Style (ƒx) icon at the bottom of the Layers panel and choose Bevel and Emboss from the list. 029 › › w w w. and 48° for Altitude. 2 for soften. Enter 125% for Scale and +15% for Depth. then click on the white color swatch. 135° for Angle. 135° for Angle. B:60). STEP SIX: Choose Gradient Overlay from the Styles list and change the Blend Mode to Overlay. then click the right-facing arrow and choose Rock Patterns. Click on the Add a Layer Style (ƒx) icon and choose Bevel and Emboss. Click on the Gradient thumbnail and when the Gradient Editor appears. Click on the Highlight Mode color swatch. choose an orange color (R:231. 2 for Soften. Distance to 38. and set Shadow Mode Opacity to 57%. B:123). choose Gaussian (last one on the top row). Enter 500% for Depth. uncheck Use Global Light. G:116. Make sure the Opacity is set to 100%. choose a dark red color (R:116. and click OK.

Deselect then turn on the visibility of the Background layer and Layer 1 to complete the effect. click on the Work Path. just below the first text copy layer (RESCUE US copy in our example). Choose the Eraser tool from the Toolbox and. you’ll have to hide the Background layer and Layer 1 to see it. click the Paths icon.photoshopuser. Enter 13 for Width. erase away portions of the stroke to add some imperfections. STEP ELEVEN: Create another new layer (Layer 2) and drag it below Layer 1 in the Layers panel. then click the Load Path As a Selection icon. Press D to set the Foreground color to black. using varying properties in the Options Bar. enter . Choose Edit>Stroke. and click OK. choose Inside for Location. and click OK. In the Options Bar. (Because the stroke is black.) Choose the Eraser tool from the Toolbox. NAPP members may download these optional steps from www. Go under Edit and choose Stroke. ■ .25" for the Radius. STEP TEN: Press-and-hold Command-Option (PC: Ctrl-Alt) and click on the word Effects in the Layers and drag it onto Layer 2 to apply the layer style. Choose the Rounded Rectangle tool from the Toolbox. choose Inside for Location. 030 › › p h ot o s h o p u s e r › M A R C H 2 0 0 9 OPTIONAL STEP: We’ve added a textured background and flames to give the overall effect a little kick. enter 13 for Width. Press-and-hold Command-Option (PC: Ctrl-Alt) and click on the word Effects below the second text copy layer (RESCUE US copy 2). and drag it below the original text layer. Click on the Load Path As a Selection icon (the dashed circle at the bottom of the Paths panel) to load it as a selection. then click-and-drag around the text.STEP NINE: Click the Create a New Layer icon to create a new layer (Layer 1). and add some imperfections the same way we did at the end of Step Nine. In the Paths panel. and drag it onto Layer 1 to apply the layer style. Press D then X to set the Foreground color to white.html.


choose Neutrals from the Colors menu. Use the selection tool of your choice to make a selection of just the helmet. 1. 180 in the Highlight Input Field. This will give the helmet a more golden hue. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 032 ©ISTOCKPHOTO/JASON LUGO STEP ONE: Start by opening up an image of a helmet.11 in the Midtone Input field (the one in the center). 8 for Yellow. Finally. Enter 10 in the Shadow Input field (the one on the far left). Now choose Yellows from the Colors menu. What lighting setup was used? How was it shot? Is it a 3D model or rendering? The answer is pretty simple: It’s just a photo with a basic retouch and a few elements thrown in to achieve the effect we wanted. Choose Reds from the Colors drop-down menu. enter 5 for Magenta. Press Command-J (PC: Ctrl-J) to put the selection on its own layer (Layer 1). Press Command-L (PC: Ctrl-L) to bring up the Levels dialog. and 94 for Yellow. enter 27 for Cyan. make a selection of the face mask and put it on its own layer (Layer 2). STEP THREE: Click on the Background layer. . enter 100 for Yellow and 35 for Black. 3 for Magenta. and click OK to accentuate the shadow and highlight details of the face mask (see example).Down & Dirty Tricks The hottest new Photoshop tricks and coolest special effects ■ BY FELIX NELSON Photoshop World Helmet Retouch We’ve been getting questions about the helmet we’re using for our Photoshop World promotional materials. and click OK. STEP TWO: Go under the Image menu and choose Adjustments> Selective Color.

and make sure your “lights” get smaller and less opaque as they curve toward the middle of the helmet (as in our example). Move the points. and Bézier curves to bend the image. In the dialog. handles. Grab the Move tool (V). Move the flipped image down and toward the left. Change this layer’s blend mode to Lighten. STEP SEVEN: Click on the Create a New Layer icon at the bottom of the Layer panel (Layer 4) and change the layer blend mode to Screen. click on the Add Layer Mask icon at the bottom of the Layers panel. mask away the areas beyond the shell of the helmet. Press Return (PC: Enter) to apply the Transformation. Try to follow the curve of the stadium. c o m STEP EIGHT: Drag Layer 4 onto the Create a New Layer icon (Layer 4 copy). Choose the Brush tool (B) from the Toolbox and. p h ot o s h o p u s e r . Next. click-and-drag the stadium image onto the helmet document. Control-click (PC: Right-click) in the center of the bounding box and choose Flip Horizontal. . as shown here. STEP SIX: Press Command-E (PC: Ctrl-E) to Merge Down and then change the Opacity of this layer (Layer 3) to 25%. Go under the Filter menu and choose Blur>Gaussian Blur. just try to show a really exaggerated curve. 033 › › w w w. Reposition the stadium so that it’s over the right side of the helmet. Press Return (PC: Enter) to apply the Warp. ©ISTOCKPHOTO/ALEXANDER HAFEMANN STEP FOUR: Open an image of a stadium. Press D then X to set the Foreground color to black. enter 20 pixels and click OK to add a slight halo around the stadium lights. using a large. following the contour of the helmet.STEP FIVE: Press Command-Shift-U (PC: Ctrl-Shift-U) to desaturate the image then press Command-Option-T (PC: Ctrl-Alt-T) to make a copy of this layer (Layer 3 copy) and bring up Free Transform. Go under the Edit menu and choose Transform>Warp. Set your Foreground color to white and use a softedged brush to paint in some stadium lights. soft-edged brush set to 50% Opacity (in the Options Bar). It doesn’t have to match exactly. and move this layer (Layer 3) to the top of the stack in the Layers panel.

Use the Brush tool to paint in some gold reflections on the face mask (see example). Click-and-drag it into the helmet document. B:116). and click OK. if necessary. Change the layer blend mode to Overlay. ■ 034 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . of course). STEP TEN: Open a logo of your choice (we used the PSW logo. 42° for Altitude. Make a selection around the shell of the helmet (see example). This will complete the effect.STEP NINE: Click on the Foreground color swatch. 10% for Scale. enter 1 px for Size. Reposition the logo. Go under the Filter menu and choose Distort>Spherize. Now choose the Elliptical Marquee tool from the Toolbox. Command-click (PC: Ctrl-click) on the face mask layer thumbnail (Layer 2) to make a selection. giving the logo a shadow that appears as if it’s following the contour of the helmet. enter 20% for Opacity. This will make the painted-gold reflection look more realistic. Uncheck the Use Global Light checkbox. and click OK. choose a gold color (R:190. Then choose Gradient Overlay from the Styles list on the left. Press Command-D (PC: Ctrl-D) to deselect. Use Free Transform to resize and rotate the logo into place. Enter 75% for Amount and click OK. and lower the Shadow Mode Opacity to 50%. Create a new layer (Layer 5). G:172. 41° for Angle. STEP ELEVEN: Click on the Add a Layer Style icon (ƒx) and choose Bevel and Emboss. 77° for Angle.


such as the forces that cause motion. and he lectures all over the world on art and applications. Woohoo!” Trujillo Drew “Dr.› › p h ot o s h o p u s e r › m a r c h 2 0 0 9 By Drew “Dr. Woohoo!” Trujillo is a New Mexico-based artist and developer who creates applications that add to and leverage from existing features in the Adobe Creative Suite (primarily). MONICA HOOVER 036 . Through his applications. Woohoo integrates natural phenomena. in his artwork.

plugin file from the English/Goodies/Optional plug-ins/ Automate directory to: Hard Drive/Applications/Adobe Photoshop CS4/Plug-ins/Automate (PC: C:\Program Files\Adobe\Adobe Photoshop CS4\Plug-ins\Automate).html. the Contact Sheet II plug-in from Photoshop CS4. including the Contact Sheet II plug-in. (In CS3 it was found under File>Automate>Contact Sheet II. depending on what settings you chose and how many images are involved) containing a series of thumbnails based on the images. First. Adjust the Width. so make sure your backups are up to date.] Like many Photoshop users. and closing the contact sheet. we need to get our hands on the necessary data. We’ll bring Contact Sheet II back to life in Photoshop CS4. restart it now. the process will end and you’ll be left with a single Photoshop document (or documents. photographers. Moreover. and closing the series of images located in the folder you selected. saving. we wonder why some of our favorite features disappeared. Hint: The download links are in the second paragraph—look for the “see Mac & Windows downloads” hyperlinks. we’ll add the ability to drag-and-drop images to a custom mini-application which does all of the above with a simple drag-and-drop. and Bernd Paradies at Adobe Systems Inc. the Adobe Photoshop team has priorities that might not match yours or mine. saving.) jnack/2008/10/where_did_extra. thanks to some great foresight on their part and what you’re about to learn. p h ot o s h o p u s e r . Finally. Height. this article will show you how to bring the Contact Sheet II plug-in back to Photoshop CS4—but that’s not all. We love most of them. John Nack. Resolution. and closing a new contact sheet. Although the function isn’t totally gone. but relocated to Bridge. and any other settings you’d like to edit now.adobe. If Photoshop was open. the absence of Contact Sheet II in Photoshop CS4 was noticeable (if not scary!). processing. Special thanks to John Nack. Jeff Tranberry. You can get this information and read the backstory regarding what happened to this feature and others from the blog of Adobe Photoshop Principal Product Manager. Yet we’re fortunate because there are some do-it-yourself (DIY) tricks to enhance Photoshop. we open it up to find new features with a bittersweet feeling. We’ll make your photo-and-thumbnail-inspecting life a little easier by showing you how to automate the process of printing. yet we wonder why some of our requests didn’t make it into the release. and photo editors who must be able to rake through hundreds—or even thousands—of images at any given moment. and then select Automate>Contact Sheet II from under the File menu. however. for example. 037 › › w w w. which contain a bunch of presets and other goodies. [To the technologically timid: Be advised. When you’re satisfied with the settings click OK. Once unzipped. c o m . when a new version is released. we’ll copy the ContactSheetII. you’ll be able to apply this same technique to further automate and extend Photoshop by yourself. and we’ll take advantage of some new techniques that enable you to drag-and-drop images onto a mini-application. then we’ll automate printing. the first part of this tutorial is a simple plug-in transplant. After a short period of time. Once you complete this exercise. Bring back Contact Sheet II STEP THREE: Photoshop will start the process of opening. STEP TWO: Let’s verify that we placed this file where it belongs and that it’s working properly.F or some lead designers. the latter portion is challenging and will require you to install some experimental software.—Ed. who answered our questions on Photoshop and Adobe SwitchBoard. at http://blogs. STEP ONE: Download the Adobe Photoshop CS4 Optional plug-ins. Click the Choose button and select a folder containing images that you want to include in your contact sheet.

Name it “Contact Sheet action” and click Record. except it allows applications created with Adobe AIR to run on your print. You can get it from the NAPP member website at the link listed above (or you can get it from www.. saving. install it.adobe. check out www. choose the Save file to open it.Contact sheet. [NAPP members may download content associated with this tutorial from www. save. Our objective is to drag-and-drop a series of images onto a mini-application and with that single gesture. the image Quality. and restart Photoshop. choose your parameters and click Print. Then the Save As Options dialog will appear. which allows our AIR applications to relay information between Photoshop. 2009). and closing our contact sheet by installing a script and recording an action.action Next up.. let's run the script we just installed: Go under the File menu.. STEP NINE: The other file contained in the associated download content—PS_AIR_Droplet. let’s automate the process of printing. Sounds awesome. Illustrator. When the Print dialog appears. and InDesign. Woohoo! You’ve restored the Contact Sheet II plug-in and recorded a Photoshop action.php/SwitchBoard#Installing_SwitchBoard. For more information on AIR and to get the download. and there’s a dash of coding. and click OK.adobe.] STEP FOUR: From the files you downloaded. (Note: The address is case-sensitive. right? It is. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 038 Installing PS AIR Droplet on a PC . Click the Stop Playing/Recording button at the bottom of the Actions panel when the script finishes (you’ll know that the script is finished when the document closes). print. save. If you’re on a Windows computer. Download the mini-application. and close it—with a little help from you. and choose PrintCloseScript.) Be sure to read all the warnings and license info before installing! STEP SIX: With your contact sheet document open. under Scripts. check the Add Shortcut Icon to My Desktop box. print. The tutorial could end here.script.html. double-click the on or about May 1.drwoohoo. STEP SEVEN: Download and install the Adobe AIR runtime. STEP EIGHT: The next program we need to install is Adobe SwitchBoard. place it in Hard Drive/Applications/ Adobe Photoshop CS4/Presets/Scripts (PC: C:\Program Files\Adobe\ Adobe Photoshop CS4\Presets\Scripts). and close it.air—is an application I created especially for Photoshop User. Keep in mind that everything is being recorded for this action until you press the Stop Playing/Recording button. create a contact sheet.. The New Action dialog will open.photoshopuser. This will certainly make it easier to send contact sheets to your client and/ or keep them for your own perusal. and close future contact sheets. This mini-application will enable us to drag-and-drop images onto it and then it will tell Photoshop to create a contact sheet. This is similar to having the Adobe Flash Player installed in your browser. so input your filename. You can now select the “Contact Sheet action” from the Actions panel. automatically open up but we need to install some additional software. and make sure you save it to your desktop (so it’s easier to drag-and-drop your images onto). STEP FIVE: Open the Actions panel (Window>Actions) and click on the Create New Action icon at the bottom of the panel (circled). but we’re more adventurous than that… Drag-and-drop contact sheets Here’s a brand-new trick to make the contact-sheet-creation process more streamlined and even easier. Download the SwitchBoard ZIP file from http://labs. click on the Play selection button to save.

This is going to be the set of instructions we’ll give our mini-application.8li 039 › › w w w. go to the Actions panel. Now that we’ve verified that our steps were recorded. while the bottom step displays what code was generated when we ran the action. When the process is finished. copy it into your Automate folder (it’s the same folder where we dropped the ContactSheetII. three on the PC.plugin located in your Hard Drive/Applications/Adobe Photoshop CS4/Scripting/Utilities folder. We need to give it a set of instructions to pass on to Photoshop so that Photoshop knows exactly what to do. On a PC.” and take a deep breath—you’re about to start coding. p h ot o s h o p u s e r . Adjust the settings (if needed) and then click the OK button. select the Contact Sheet action we created earlier. Open the file with TextEdit on the Mac. For the most part.plugin earlier). if we were to drag-and-drop our images onto the mini-application. On a Mac. . it would simply say “hello” to Photoshop . Once you locate the file. separated into two steps on the Mac.plugin STEP TWELVE: Because we moved the ScriptingListener file.saved to the Desktop. or Notepad on the PC.8li that’s in your C:\Program Files\Adobe\Adobe Photoshop CS4\Scripting\Utilities folder. which in turn will pass it on to Photoshop. everything we did in our last step was recorded to a file called “ScriptingListenerJS. which will then run it. c o m STEP ELEVEN: Restart Photoshop and select File> Automate>Contact Sheet II. you’ll want to make a copy of the ScriptingListener . Installing PS AIR Droplet on a Mac STEP TEN: At this point.log” that Code generated on PC with ScriptingListener. and then click the Play Selection button.jsx. recording our steps within Photoshop can automatically create the instructions we need. Code generated on Mac with ScriptingListener. thus turning it on. so let’s go turn it on. You can tell where the steps are separated when you see this: // ========================================== The top step represents the code associated with Contact Sheet II. By default this feature is turned off. and you’ll notice there’s a lot of crazy-looking code in there. save a copy of this log to your Desktop as “magicPSInstructions. you’re looking for ScriptingListener.

The only thing left to do now is move our edited script to where the mini-application can locate it. “idInpD” might be a little different as well but don’t worry about it. it would always process the same folder of images—even if we selected images from a different folder. quality. We’ll need to replace the path inside the quotations—and the set of quotes—to folderPath. If “desc1” ends in a number. we need to change our script so that it automatically figures out which folder our images are in. new File( folderPath ) ). We just laid the foundation of working with an enhanced Photoshop. select All Applications from the Enable menu. on a new line. Control-click on it to reveal the pop-up menu. replacing the existing magicPSInstructions. choose Open With>Other from the menu. when we dragged-and-dropped our images on the application icon. new File( "/Users/drwoohoo/Desktop/test" ) ). which in turn will be passed to Photoshop. and then close the Window. don’t change it. The path (in quotes) to the folder containing the images you selected to create a contact sheet will be different. and closing the contact sheet will start running. and then close the Window. enter your filename. ■ ALL IMAGES BY DREW “DR. it’s fine. and click Save. STEP EIGHTEEN: That’s it! Let’s test it! Drag-and-drop a set of images on top of the mini-application icon. the only thing left for us to do is delete the copy of the ScriptingListener. (Note: If the program is grayed out. But we’ve only scratched the surface of what we can do and by doing it ourselves. (Note: ExtendScript Toolkit is an Adobe application used to create and edit scripts that communicate with the Creative Suite applications.jsx file into the PS AIR Droplet folder.log file would continue to grow and eventually bring our computer to its knees!) Before you empty your Trash.STEP THIRTEEN: We need to make three small changes to the script in our magicPSInstructions. the application will open. you’ll want to navigate to your Hard Drive/Applications/Utilities/Adobe Utilities/ExtendedScript Toolkit CS4 folder (PC: C:\ Program Files\Adobe\Adobe Utilities\ExtendScript Toolkit CS4).) will be passed into our instructions. Photoshop will then open (if it wasn’t open already). STEP NINETEEN: We’re almost finished. the ScriptingListenerJS.jsx file. STEP SEVENTEEN: On a Mac. and the process of preparing. STEP SIXTEEN: Go under the File menu and Save it! Now when we drag-and-drop the images onto the mini-application icon on our Desktops. If you don’t see ExtendedScript Toolkit as an option. navigate to the Desktop. To fix this. and select Show Package Contents.plugin in your Photoshop Scripting/Utilities folder. In the Choose Application dialog. make sure you still have a copy of ScriptingListener. add the following: } STEP FIFTEEN: Do a search in your script for “new File(” without the quotes. the path to the folder that contains those images 040 . open an Explorer window. A new window should open up that contains a Contents folder. locate your custom AIR application (PS AIR Droplet).8li on PC) from the Photoshop Plug-ins/Automate directory. Copy your magicPSInstructions. Copy your magicPSInstructions. which will in turn run this script. (If we didn’t do this. saving.putPath( idInpD. press the Print button and in the Save As Options dialog. replacing the existing magicPSInstructions. printing.jsx file on your Desktop and choose ExtendedScript Toolkit from the menu. If we moved this set of instructions in its current state into where our mini-application would look for it. WOOHOO!” TRUJILLO UNLESS OTHERWISE NOTED STEP FOURTEEN: Input the following line to a new line at the very beginning of your script: function doMagic(folderPath) { At the very end of your script. save location. If you’re on a PC.plugin (or ScriptingListener. send your input on this one to letters@photoshopuser. You should find a line of code that’s similar to this: › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 desc1. we’ve also provided the opportunity to instill greater confidence in future DIY Photoshop techniques.jsx file. Let’s edit our magicPSInstructions script: Control-click (PC: Right-click) on the magicPSInstructions. If you’d like to see more articles like this.putPath( idInpD. Your final code should look something like this: and open the PS AIR Droplet folder. When prompted.) Pick ExtendedScript Toolkit from the menu and click Open.jsx file.jsx file to the Contents/Resources folder.

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when you’re finished painting. (To find it. STEP THREE: There are some settings that I find essential when I start to erase around the edges of a tree. press Q on the keyboard to enter Quick Mask mode. and keep the crosshair close to the trees without ever touching them (at least not when you’re holding down the mouse button). try lowering the Tolerance setting. p h ot o s h o p u s e r .Ben Willmore Photoshop Mastery Masking around Trees In many of my images I alter the sky—to remove glows around trees (the result of processing an HDR image) or to create a visual twist. Command-click (PC: Ctrl-click) on the duplicate layer’s thumbnail. click-and-hold on the Eraser tool icon in the Toolbox. STEP TWO: Having the original layer under the duplicate layer will get in your way because you won’t be able to tell where areas are being deleted—the original image will still appear in the duplicate layer’s deleted areas. click on the Brush Preset Picker in the Options Bar and set the Hardness to 0%. Note: If the original layer is a Background layer. STEP FOUR: The Background Eraser has a circular cursor with a crosshair in the middle and when you click. This will keep your image intact and prevent the tool from causing permanent damage to the image. you’ll need to make it a regular layer before you go to the next step. press Q again to see your finished selection. try not to concern yourself with what’s happening in other areas of the image. ■ Background Eraser Quick Mask view after painting Ben Willmore is author of Up to Speed: Photoshop CS4. drag the copy layer to the Trash icon. STEP ONE: The Background Eraser will delete pixels from your image. and paint with black to add to the red overlay or white to remove the overlay until red covers only what you want to be selected. So press Command-J (PC: Ctrl-J). the trees) on which to work. he Photoshop Background Eraser tool is my tool of choice when I need to make a selection around a tree. So. then set the T Original image After using the Background Eraser Limits menu to Discontiguous and the Tolerance to 30%. Once you’ve done that. click on the Eye icon beside your original layer to hide that layer and then click on the duplicate layer’s name to make sure it’s active. c o m . which will return you to the original layer with an active selection. Now choose the leftmost icon (Sampling: Continuous) of the three that appear to the right of the Brush icon. ALL IMAGES BY BEN WILLMORE 047 › › w w w. Only allow the crosshair to touch areas that should be deleted (like the sky). so you want to take precautions before you use it. the ideal setting will vary for each image you encounter. For this reason. If you find the Background Eraser causes the trees to thin out. it deletes the color that’s under the crosshair in the circle. When working your way around the trees. go under the Layer menu and choose New>Layer Via Copy. Of course.) This tool isn’t designed to produce selections. while allowing the circle to overlap any part of the trees that also contains sky. or if you don’t like keyboard shortcuts. increase the The Tolerance setting determines how much it can stray from the color under the crosshair. such as a black-and-white effect—and often the most difficult part is selecting around the edges of a tree.whereisben. but I’ll show you how to get a little sneaky and convert its results into a selection. If it leaves behind too much of the sky. STEP FIVE: Now. choose the Brush tool (B). Just double-click on the layer name and click OK to change it to Layer 0. STEP SIX: To refine your selection. which will produce a selection. Learn about his latest adventure at www. Finally. with the Background Eraser tool active. which covers all of the new features in CS4 and nothing else. Concentrate on trying to delete the areas of the sky that touch the trees while preventing the trees from being deleted. It’s best to make a duplicate layer (in our example.

Once again you might say. Once you erase something. we see the result of the mask over the rest of the image. The Eraser tool (E). “Why not just lower the opacity for the layer?” Well. 254 levels of gray available in a layer mask. the dark areas of the reflection will allow some of the background inside the building to be visible through the reflection. One crucial way to work in Photoshop is with the many features that have a nondestructive quality (and each new version of Photoshop introduces more of these nondestructive elements). where you can apply all the filters you want and go back and change the settings at any time without actually modifying the original image. representing a tiny portion of a painting I’m currently working on. There are. the face of one of the buildings is covered with glass. allowing the reflection’s colors to appear full strength. Using layer masks The first masking technique we’ll look at actually has “mask” in its title: the layer mask. it’s gone. The adjustment layer. . where the level of gray equals the level of visibility. For example. is one such important feature: It lets you alter images in a way that allows you to further alter or reduce the effect later on—very important when dealing with clients who change their minds a lot. it will be 100% visible. which completely hides those portions of the reflection. This next image shows the layer mask created for the layer containing the reflection. for instance. The metal separations area is solid black. we’re not talking about totally getting rid of them. or partially visible. But why not eliminate them if you don’t want them to be seen? Well. but partially hiding elements nondestructively. Just Shift-click on the mask in the Layers panel to turn the mask’s effect on and off. and the original elements within the image remain intact. the layer will have 50% opacity. T he concept of masking takes on different meanings within the vast number of functions in Photoshop. you can always go back and change things later because all the elements still exist within the image. we’ll discuss two types of masking—methods of hiding elements so they’re not seen within the context of the overall image. Notice that the area of the glass is pure white. Based on the values within that mask. The glass will show the reflection but the metal separations will not. if you have 50% gray in the mask. a reflection of a brightly lit sign is visible. Furthermore. is a destructive tool. You erase things without actually erasing them. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 048 In our final image (next page). In that glass. The pixels you erased are gone forever! And this is what makes the type of masking we’ll explore in this article so important. the layer will be invisible. the elements in the layer will either be visible. You hide them! In this fashion. we’re talking about control here. invisible. the ability to control various opacities within the same layer. Another feature is smart filters. The dark red of the logo area needs to partially expose the interior of the building so this area was filled with a gray value that partially hides that portion of the reflection. Where the mask is white. Where the mask is black. which you attach to a layer. In this night scene of Times Square (top right). however. The beauty of this feature is that it can be modified at any time. however.Bert Monroy From Bert’s Studio Masking Basics In this article. Open that file next week and there’s no history.

A clipping group is a collection of layers where the bottommost layer is used to mask the other layers in the group. shows the result of the clipping group. and appeared on hundreds of TV shows around the world. but the method I prefer is the keyboard shortcut. c o m There are a few ways to create clipping groups. It works by using the transparency area of the base layer as the basis for the mask. The base layer name is underlined and the layers being masked in the group become indented with a small arrow pointing down toward the base layer. where the rest of the green rectangle appears to be missing. Click while the cursor is changed and it will bring the two layers together into a clipping group. pass the cursor over them in the Layers panel. Let’s use this image of a layer containing a red circle to help demonstrate the clipping group concept. It’s not unlike working on a coloring book and not having to worry about staying within the lines. written many books. Notice that portions of the green layer fall outside the area of the red circle. But it’s the nondestructive quality of this method that’s so important. For example. we see an additional layer containing a green rectangle. Masking through layer masks or clipping groups makes life easy. . that amount of opacity reduction will be applied to all of the layers in the group. It’s important to note that any modification applied to the base layer will affect all the layers in the group. next issue we’ll get into more advanced techniques. Layer styles or opacity changes can be applied to individual layers and they’ll only be seen through the active pixels of the base layer being used as the mask. ALL IMAGES BY BERT MONROY 049 › › w w w. Masking with clipping groups The other masking technique we’ll discuss here is the clipping group—a feature that I use extensively throughout my images. Each layer in the group can be altered in any way. as follows: Say you have two layers that you wish to group. if you reduce the opacity for the base layer. He has served on the faculty of many well-known institutions. will be the mask layer. Now that we have layer masks and clipping group basics down pat. This technique takes into account multiple layers working in concert. and you’ll see the little pointing hand travel up and down. The red. pass your cursor over the Layers panel again and this time the cursor changes to two overlapping circles as it hovers between two layers. His work has been seen in many magazines and scores of books. Note how the clipping group is displayed in the Layers panel. being the bottommost layer.From Bert’s Studio The image below. In the next image (top right). Now holding down the Option (PC: Alt) key. ■ Bert Monroy is considered one of the pioneers of digital art. Any parts of the layers above the base layer that fall within the area of transparency will be hidden and areas of those layers that fall within the area of active pixels in the base layer will be visible. p h ot o s h o p u s e r .

and at the bottom (1. A great resource is www. Photo in Raw format Fill layer. Open the Info panel (Window>Info). you need to include: company name. side from the aesthetic message. URL (it’s shocking how many folks leave that out). And. If you make it smaller and later decide to make it bigger. press Command-T (PC: Ctrl-T) to summon Free Transform and increase its size.Lesa Snider King Graphic Secrets Taking Care of Business…Cards Few design projects are as nerve-racking—or important—as designing your own business card. 050 STEP TWO: Press Command-R (Ctrl-R) to turn on your Rulers (if they’re not already on).877" for print safe and 2. and they do double-sided glossy or matte finishes (matte enables folks to write on the back). Command-click (PC: Ctrl-click) on the guide to reposition it if you drop it on the wrong spot.563" for trim). and CMYK Color Mode at click within the vertical ruler. But your first step is to pick a printer and get their document specifications. They’re fast. it’ll never pixelate. artistic. drag vertical and horizontal guides at 0.063". Smart Object. If it’s vector-based. a business card tells if you’re professional. If it’s a logo.373" for print safe and 3. Tip: If your Rulers aren’t set to inches. solid orange LESA SNIDER KING .5x2" business card size). Resolution 300. Here’s the technique I use: STEP ONE: Create a new document by pressing Command-N (PC: Ctrl-N). or just a big ol’ ball of cheese.25" using the same process. Height 638 pixels (for a standard 3.067" for trim). Enter “business card” in the Name field and use the following settings: Width 1088 pixels. your name. The next step is to create a Photoshop template. A Bleed zone—items extend off card edge Trim zone—items appear on card edge Print-safe zone STEP THREE: Place your logo (or photo background) as a smart object by choosing File>Place and locating the art on your hard drive. Drag similar guides on the right side of your card (3. Adobe Illustrator file › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Smart Object.25" (watch your Info panel if you don’t know where that is). Select White from the Background Contents menu and click OK (you can always change the background later). logo. Now we’ll drag guides to mark the printsafe zone—placing content within this area ensures that it won’t print too close or hang off the edges of the card. affordable. then drag to the right and drop a guide at 0. keep it fairly big and move it to the left side of the card. If you’ve placed a photo and want it to hang off the edges of the card (known as a “bleed”). choose Photoshop> Preferences>Units & Rulers (PC: Edit>Preferences>Units & Rulers) and change the Rulers menu to inches. Drag a horizontal guide at 0. If it’s pixel-based.overnightprints. choose rounded corners so your card stands out from the pile. make sure it extends past the trim guide to the document edges (if you went with a photo be sure it has a fairly “calm” spot for text!). Just like the clothes on your back. don’t make it bigger than its actual size or it may pixelate. For a few extra bucks. and email address—you have to include them all. you have to pack a ton of info into a very small space. To mark the trim line (where the card is cut). phone.

) Also.” STEP SIX: Save your layered file. we used Myriad Pro Light (8–9 pt) and Regular (10 pt). “Back. Name it “Front” and turn off the group’s Eye (visibility) icon. Keep these text tips in mind: • Sans-serif fonts. 051 › › w w w. choose Layer>New Fill Layer>Solid Color. and click OK. is author of Photoshop CS4: The Missing Manual (Pogue Press/O’Reilly).com. and click OK. From Photo to Graphic Art. tap the Up Arrow to decrease or the Down Arrow to increase. though you might try using logo color for your name. press-and-hold the Option (PC: Alt) key. and then press the Left Arrow to decrease (or Right Arrow to increase). right alignment works well (especially for the contact info block). • Because the text lines vary in length. In the Save Adobe PDF dialog. • Adjust the spacing between letters. and more between other info. For extra pizzazz.Graphic Secrets To add a solid color background. your printer wants a PDF. pick an artistic element from your logo. then choose File>Save As and pick TIFF as the Format. chief evangelist of iStockphoto. Arial. Lesa is also founder of GraphicReporter. Front Back You could also use solid color Shape layers in the background for visual interest. STEP FIVE: If you’re designing a double-sided remember to place related items closer together. Just select the text and click the Right Align Text icon in the Options Bar. (Tip: To pick a color from your logo. phone number. p h ot o s h o p u s e r .. click the Set the Text Color swatch in the Options Bar. choose New Group From Layers. may the creative force be with you all! ■ Lesa Snider and Practical Photoshop Elements (KelbyTraining. (Note: If this option is grayed out. c o m . When you finish designing the back. • Incorporate color from your logo. Shift-click to select the layers and then from the Layers panel flyout menu. click within the document and add your text. Select offending text and while holding the Option (PC: Alt) key. and click Save. set Image Compression to None. select the text. reduce its opacity and hang it off the edge of the card. • Adjust the spacing between lines of text (leading). Grab a color from the resulting Color Picker and click OK. Turn off the Layers checkbox and click OK. To adjust all spaces evenly (tracking). put less space between your name and title. Basic black or dark-gray text always works. In the TIFF Options dialog that appears.g. click it with the Eyedropper tool first. are easier to read at small sizes because they lack the “feet” of serif fonts like Times and Garamond. however. click Compression in the list on the left. Sweet! STEP FOUR: Press T to grab the Type tool. unlock or omit the Background layer). choose Photoshop PDF from the Format menu. choose Do Not Downsample from the menu in the Options section. place your cursor between two letters instead. (This means you don’t waste space with blank returns. as shown here. Myriad. e. or email address to make them eye catching. and when the Color Picker opens. and click the Save PDF button. If. add those layers to a group named (cleverly). Select the text. The possibilities are endless! Until the next time.) With a Fill layer. For our example. Frutiger. For example. experimenting with colors is as easy as double-clicking the Fill layer to open the Color Picker. mouse over to the logo and click once on the color. make it bigger. To adjust one space (kerning).

Let’s check it out. In this example. go to File>Browse in Bridge) and navigate to a folder of photos from which you’d like to make a contact sheet. we just stumbled upon the one small quirk with this feature and that is: There’s no auto-update preview feature. it’s the panel at the top right). let’s assume you want to create a contact sheet the new way and you don’t want to import the old Photoshop CS3 contact sheet automation. In Bridge. continued on p. the PDF Quality. and the Background color behind your photos. Just click on the Refresh Preview button at the bottom of the Output panel and the middle Output Preview area will update to show your 4x5 contact sheet. First. we chose the 4x5 Contact Sheet as a starting point. STEP FOUR: The Document panel gives you options to change the paper size (Page Preset). nothing changes. I think you’ll find that they work a lot better because of it. Drew “Dr. 54 052 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . click on the Output icon in the top menu bar and choose Output to Web or PDF. they’ve just been relocated into Adobe Bridge CS4 and once you get used to it. Bridge doesn’t go away but the panels on the bottom and right-hand side change a bit.Matt Kloskowski Photoshop Speed Clinic Faster Contact Sheets and PDFs On page 36. Did Adobe remove the whole contact sheet feature from Photoshop CS4? And what happened to PDF Presentation (a great way to email images to someone)? hey’re actually not gone. you’ll see two buttons at the top right of the window: PDF and Web gallery. It’s an easy fix though. STEP TWO: Let’s concentrate on the PDF aspect here. It’s also got an area for adding password restriction (Open and Permissions Password) to the PDF file in case you want to prevent someone from opening it or Disable Printing. The first thing you’d do is select some images that you want to use for your contact sheet and then choose one of the presets under the Template menu in the Output panel (by default. STEP ONE: Fire up Bridge CS4 (from Photoshop. This is now the new place to create PDFs (in the form of contact sheets or PDF presentations) as well as online Web galleries. say in the case of high-resolution images. In fact. This means that even though we selected our images and picked 4x5 Contact Sheet from the Template menu. as it’s changed the most. Woohoo!” Trujillo shows us how to get the Photoshop CS3 Contact Sheet II feature back into Photoshop CS4. T STEP THREE: Well.


” please send it to letters@photoshopuser.Photoshop Speed Clinic STEP FIVE: The next area in the Output panel is Layout. back in the last step. Fade. STEP SIX: Next. click on the Save button at the bottom right of the right-side panels. but if you wanted to create a simple one-photo-per-page presentation. I have to admit. It places a watermark of whatever text you type right in the middle of your image. And that’s because you do both of them here in Bridge now. because it affects PDF Presentation more than Contact Sheet. The PDF will be saved with your current settings and you’re ready to go.) you might want between the slides. and jump to Watermark. STEP SEVEN: Scroll down so we can see the rest of the panels. But you probably noticed that not only is Contact Sheet II missing from Photoshop CS4 but PDF Presentation is missing as well. This is where you choose how many Columns and Rows you’d like on the page and how you’d like them to appear. This comes into play when you want whoever is looking at this PDF to be able to tell you which image they like. Dissolve. ALL IMAGES BY MATT KLOSKOWSKI . You can change how far the images are from the margins as well as from each other. It works a little better for presentation mode…but not so great with contact sheets. STEP NINE: If you’d like your PDF to open in presentation mode. Let’s skip Playback for a moment. we skipped over Playback because it applies more to a PDF We’ve been looking at how to create contact sheets. etc. You can control how long each slide lasts (Advance Every x Seconds) and any Transition (None. and choose a location. When you’re ready to create the PDF. then just change both your Columns and Rows settings to 1 in the Layout panel (and click Refresh Preview). just scroll down. I tried this once and haven’t used it since. ■ › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 054 If you have an idea for an action that you’d like to see in the “Speed Clinic. This automatically goes into presentation mode when the viewer launches the PDF. go to the Playback section and select Open in Full Screen Mode. the Overlays panel has one very simple (but hugely important) feature in it: the ability to put the filename under the image. STEP EIGHT: Okay.


while those who offered open editions printed on demand. 100. No one does—it’s impractical. he found that those who limited editions (whether 25. and AP editions It’s useful for the producer and consumer alike that there’s little correlation between limited-edition size and the actual number of prints produced. They’re typically produced in a limited edition in an alternate size (and documented and marked as such). I When photographer David Vestal polled many of the top photographers 10 years ago. often frowned upon. and it’s not advisable. limiting photographic editions became widespread. there’s no physical need to limit editions. With photomechanical processes. the practice of limiting photographic editions was unheard of. such as paperback books. while the high end has become much higher. But nonetheless. or more) tended to produce the full edition upon release. and the average number of prints made of any one image was six. no such restraint exists. Alternate sizes may be offered after the first size escalates or sells out. and print quality suffered. • 5 years ago. the full edition may never be produced. the low end has remained unchanged. even if this isn’t disclosed at the time of sale of a previous edition. • 10 years ago. It’s standard practice for artists to issue artist’s proofs (APs) within an edition. price is escalated. newspapers. be multiple sizes. The price of larger print sizes is traditionally higher than smaller print sizes. or may.” generally in numbers not more than 10% of the total edition—classically less than 10. a large number of editions were offered at 25. One approach is to offer larger numbers of smaller prints with increasingly small numbers of larger prints and steeply escalated prices to reflect both the increase in size and limited quantity. Print sizes Alternate print sizes may be issued. Scarcity is always a factor in any marketing strategy. Edition size There are no standards for limited-edition sizes. There’s no correlation between price and collection and edition structure. the most widespread edition structure contained 50. This practice is questionably legal. These prints often hold equal or greater value to the numbered prints issued in an edition. And this trend is growing among emerging photographers. additional prints are produced marked “AP. the plates used to make them deteriorated. it’s not uncommon. open. Practices change at least once a decade. sometimes more frequently. Limited.John Paul Caponigro The Fine Art of Printing A Backgrounder on Edition Structures Edition structures. Famous photographers. Disclosure of the number of AP prints produced is advisable. For example: • 50 years ago. and demand may be surprisingly low. old and young. each with a limited-edition structure of their own. It is advisable to disclose at the time of sale that there will. The word “limited” is used as a selling point. open editions have persisted and succeeded. veterans or recently discovered. Note: Limited and rare editions are two different things: one suggests but does not necessarily deliver the other. 056 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . The current practice of limiting photographic editions was carried over from other printmaking media. Throughout that time. n these other media. Some limited editions are printed on demand (as orders are received) and in this situation. Again. regardless of whether the edition size is small or large. while there has been a constant trend favoring limited editions of increasingly small size. which disclose the entire number of prints that will be made of an image. so as not to be confused with prints within a limited edition. • Today. as it’s possible to generate a nearly infinite number of prints. • 30 years ago. In addition to the number of prints produced in an edition. many editions are offered at 12. which produces pressure to purchase quickly before supplies run out or price escalates further. One should note that average photographic print prices have escalated substantially in that time. practice in the industry is diverse. This escalation isn’t uniform in the market. Portfolios are typically considered outside a limited edition. all produce either open or limited editions. The difference in print size may be small but is typically significant. and the like. vary widely—some are open (without limit) and some are limited. Few produce both. it’s primarily a matter of marketing. limiting an edition was for quality control purposes because after a certain number of prints were made. rare. Editions of multiple sizes may each contain the same number of each size or the number may vary. Open editions are typically produced on demand. By limiting access. far in excess of economic inflation. Consequently. while prints are numbered.

(This can include producing prints with greater longevity or items that can hold their value for a longer time. though higher secondary market prices may help escalate the value of new work. where every print escalates substantially. (These benefits are enjoyed only on the secondary market. for example: • It limits the audience who may appreciate an image. directing the attention of the artist and their representatives to the production of new work. it’s an arbitrary amount and an arbitrary number. frequently based on perceived opportunity or an artist’s fatigue. as today’s prices are more likely to be better than tomorrow’s. • For better or for worse.The Fine Art of Printing Print loose Print framed Pros and cons There are many pros to limiting editions. It also brings a pressure to purchase now rather than later. c o m An escalating structure One common enhancement of the limited-edition structure is an escalating structure. • It limits the amount of time spent producing the same image. This option more rapidly escalates the value of an image and often establishes a trend within an artist’s entire body of work. there’s no industry standard. In a limited edition.) • It appeals to those customers who will only buy art in limited editions. every 20% of the way through the edition (sometimes more quickly). Prices are raised as a number of prints are sold. • It prevents an artist from enjoying sales of an image at escalated prices as his/her career matures. . limiting editions limits future options. there are many cons to limiting editions. (More-prolific artists benefit more from limiting their editions than lessprolific ones. 057 › › w w w. such as: • It quickly escalates price. • It generates broad-based interest in an artist’s entire body of work. directing attention away from top sellers to other works and to new works. Frequency and amount of escalation varies and here again. In an open edition. p h ot o s h o p u s e r . conversely.) • It restricts the artist’s ability to gift or trade his/her work. Steep escalation may occur during the last 20% of the edition.) • It prevents the improvement of print quality as an artist’s vision matures or as technology advances. only options. And. it’s typically 20% (sometimes more). perhaps to a colleague or a significant collection. This can be used with or without limited-edition structures.

it’s rarely done. You may even further limit an edition after it’s issued. It depends on the market you’re targeting. and collector alike. Honor it. While a majority of them weren’t limited. but while this would increase the value of previous sales. largely because of the complexity of accurate labeling and recordkeeping. Currently. Should you limit your editions? It depends on many things. leading to a loss of sales. do it with an eye to protecting and increasing the value of your collectors’ purchases. Keep your editions open. There’s no clear consensus or set of practices on whether and how you should limit your editions. both at auction. of course. the value and market for your work will increase. You can always raise prices after issuing an edition. If you do this. It depends on you. The bottom line is that whatever you do. and print numbers have been further limited by damage or loss. it’s a personal choice—make it an informed one. this makes describing edition structures more complex and may confuse consumers. You can adopt different edition structures for different images or at different points in your career. Ultimately. Undecided? Wait. ALL IMAGES BY JOHN PAUL CAPONIGRO . Get more than 100 free downloads and a free subscription to his newsletter. however. it’s hoped for by artist. You can always limit later when you develop a clear desire or identify a clear need to do so. If you limit your editions. ■ 058 John Paul Caponigro is an internationally respected fine artist. Earlier historic photographs sell for very high sums of money. were issued in extremely low edition sizes (as low as 2). An edition structure is considered part of the terms of sale. It depends on the kind of work you produce. Insights. then act. It depends on your age. the two most expensive photographs sold at historic highs (in excess of $3 million). Market results are diverse. a member of the Photoshop Hall of Fame.000 or more). Some of the most expensive prints sold are unlimited or have very high edition sizes (10. It depends on your representatives and how long you expect to be working with them.The Fine Art of Printing Print portfolio Actual sales in the market vary widely.johnpaulcaponigro. as it’s determined by increasing demand for an artist’s work. It depends on how quickly you’d like to see results. author of Adobe Photoshop Master Class and the DVD series R/Evolution. don’t widen the edition number after initial sales. It depends on your level of productivity. at www. production itself was limited. Think long and hard about › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 it. dealer. how quickly and how much is unclear.


From the Edit menu. Actually. we’re going to take it up a notch by creating and using our own patterns. it can be that simple. Here we created a pattern from part of a photo that contains more obvious elements. In this article. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 STEP TWO: Apply the pattern using one of the methods we covered in the last issue. Simple. The tiling of the pattern isn’t obvious because of the pattern itself and the relatively small area we applied it to. so follow along with this tutorial. the seams of the pattern tiles were very noticeable. in the Options Bar change the Style menu from Normal to Fixed Size and enter the Width and Height in pixels. (If the command is grayed out. but 200x200 pixels will work also. To do this. when we created a large document and filled it with the pattern.Dave Cross Beginners’ Workshop Patterns 101. then from the Edit menu choose Define Pattern. huh? Okay. The challenge As mentioned earlier. we looked at the various ways we can use patterns in Photoshop and learned how to apply one of the built-in patterns. In the Layer Style dialog. It looks pretty good. STEP ONE: Open your image. making a pattern is pretty simple: You select an area with the Rectangular Marquee tool. that’s it…see you in the next issue…. 2 Last issue. we click on the Add a Layer Style (ƒx) icon at the bottom of the Layers panel and choose Pattern Overlay. I n theory. For our example. but there are a few catches. 060 . Here’s what’s involved in making a seamless pattern from the selected area of our photo: STEP ONE: Make a rectangular selection using fixed dimensions—we used 500x500 pixels. we choose the pattern we created in Step One and click on Bevel and Emboss to add that style also. one of the catches/challenges appears when you try to define a pattern from something that has obvious repetitions.) Name your pattern (we called ours “wall”) and click OK. Next. choose Define Pattern. something is stopping you—such as a feathered selection. Pt. then make a selection using the Rectangular Marquee tool (M) with no feathering (0 px for Feather in the Options Bar).

Beginners’ Workshop

STEP TWO: Copy the selection (Edit>Copy) and create a new document (File>New). The new file will generate automatically at the same size as the selection you copied. Paste (Edit>Paste) the selected area into the new document. (Don’t close your original document yet.) STEP THREE: Go to the Filter menu and choose Other>Offset. In the dialog, enter a value that’s half the size of your document/ selection. For our selection, we entered 250 pixels in the Horizontal and Vertical fields—if yours is 200x200, then you’d enter 100 pixels in each field. Set the Undefined areas to Wrap Around. This moves the pattern seams to the middle, where we can deal with them. Click OK to close the Offset dialog.

pasted leaves using Free Transform (Command-T [PC: Ctrl-T]) where necessary—we defined a new pattern (Edit>Define Pattern). This time, when we filled a large document with the pattern, the seams are much less obvious. As you can imagine, the amount of time and effort it can take to cover up the seams will vary dramatically depending on the photo you’re using for your pattern. With a bit of practice you’ll find that it gets easier. And remember, once you have your pattern, you don’t have to recreate it. SOME “HIDDEN” PATTERNS IN PHOTOSHOP Until Photoshop CS4, there’s been a folder full of Postscript patterns that you could use in Photoshop. The pattern tiles, made in Adobe Illustrator, are already seamless, so all you have to do is open any one of them in Photoshop and define it as a pattern. Here’s where you’ll find them: • For the Mac: Hard Drive/Applications/Adobe Photoshop CS3/Presets/Patterns/Postscript Patterns • For the PC: C:\Program Files\Adobe\Adobe Photoshop CS3\ Presets\Patterns\Postscript Patterns

STEP FOUR: If possible, cover up the seams in the middle using the Clone Stamp tool (S). Depending on your photo, however, this may or may not be easy or even possible. In our example it would be very challenging to clone the leaves and make it look realistic. Instead, we selected individual leaves from the original photo, and copied-and-pasted them onto our pattern document, and then, using the Move tool (V), positioned them over the seams. Note: Be careful to avoid the four edges of the document because the edges are what create the seamless pattern. STEP FIVE: After spending a few minutes pasting and positioning leaves over the seams—including rotating and scaling the

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(If you have Photoshop CS4, you’ll have to move the patterns over from Photoshop CS3.) The simplest way to access the patterns is to go to Adobe Bridge so you can preview them. Once you find the pattern you want, Control-click (PC: Right-click) on it and choose Open With>Photoshop CS(version). In the Rasterize EPS dialog, enter the size you want, colorize the pattern if you wish, and Edit>Define Pattern. ■

Jim DiVitale

Digital Camera Workshop
Self-Promotion in Photography
Whether you’re a seasoned pro or recent graduate, self-promotion needs to be high on your list if you plan to be successful in photography. And having a good, ongoing plan that works doesn’t mean you need to empty your savings account to be effective.

ith a little planning—and a few simple Photoshop projects—you can create a self-promotion plan that works. Cold-calling portfolio interviews with potential clients have been replaced by the photographer’s website and blog. Many industry experts believe that the blog is now even more important than the website because it shows weekly updates on what you’re doing in your day-to-day assignments. Getting a potential client to visit the site is the challenge. In the ’80s, a commercial photographer wasn’t taken seriously unless he or she had an expensive ad in a creative sourcebook, such as The Black Book, Workbook, or The Alternative Pick. These are still good avenues of advertising, but they’re not the only way to go. A small, targeted campaign can be accomplished on a very small budget with a little creative planning. Whom do you want to work for? This can be as simple as a little research on the Internet to find a few local names, to buying a national list of creatives that’s constantly researched and updated. Look for the websites of your local creative clubs and associations. They usually list their company information and clients so you can tell if they’d be a good fit. Think of it this way: Instead of trying to reach thousands of potential clients at one time, in might be better to pick a small group and make a campaign of several promotions sent one after the other. A one-shot promotion might just get ignored; having one arrive once every week for several weeks in a row will get the client looking forward to what’s coming next. Get some expert help There are always designers and art directors who need photography for their design competitions and portfolios. Establish a trade agreement with a few of your designer friends to help with the look of the promotion. Remember, they’re your target audience and will know better than anyone if an image is appealing or not (you’re not trying to attract other photographers). And generally, you’re way too close to your own work to make an objective decision. But remember, what appeals to photographers and what appeals to designers can be very different. Note: If you’re attending an upcoming Photoshop World, you can have your portfolio reviewed by a Photoshop World instructor for some additional insight. Visit portfolio_reviews.html for the scoop. Find the right envelope Before you plan your first promotional piece, visit your local highend art store and find the right envelope, because a cool envelope can go a long way in getting you noticed. By first finding the envelope, you’ll know the final design size of the promotional piece before you lay it out. It will be a whole lot easier to create the promotional piece to fit the cool envelope than to create a killer


promo at an odd size and then spend hours shopping for the perfect fit—or spend extra money for a customized envelope.

The right envelope will give you a look that brands your style and makes it recognizable as each promotional piece arrives in the mail. Make it as personalized as possible. You want the designer to recognize the envelope as yours and look forward to the next one. The purpose is to eventually drive them to your website and blog. Keep it simple Design a template in Photoshop with common-sized dimensions. Be sure to include the important information in the front so if the client pins it to his or her office bulletin board, everyone will see your name, Web, and blog address(es). If you don’t have a website or a blog, use your phone number instead. And if you have a logo, use that as well. Design four templates—if you have the artwork to fill them— at one time with a common look: Create one for a square image; one for a vertical image; one for a horizontal image; and one for mutable images. Finish all of them before you mail the first and then set a schedule for the rest to go out. Let’s get you started on your first (square-image) template. STEP ONE: Open Photoshop and select New from the File menu. Enter the dimensions you’re planning to work with (or measure your cool envelope and then input those measurements). For our example, we used 8.5" for Width, 11" for Height, and 300 pixels/inch for Resolution. For the Color Mode, choose 8-bit RGB, and then click OK. STEP TWO: Open the image you plan to use, select the Move tool (V), and click-and-drag the photo over to your template (to


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Digital Camera Workshop

keep it centered, press-and-hold the Shift key). Press Command-T (PC: Ctrl-T) to resize the image using Free Transform. Add the Shift key while you click-and-drag to constrain proportions; add the Option (PC: Alt) key to resize it from the center Reference Point (by default it’s in the center; you can change the position of the Reference Point in the Options Bar).

Resize the image to fit the page, as needed. Add your logo, some text with the Type tool (T), and you’re ready to go. (I used Gill Sans Light for the text, and added my logo [of course], with a Bevel and Emboss layer style.) STEP THREE: Next, press Command-P (PC: Ctrl-P) to open the Print dialog. Select the appropriate combination of paper and profile for your particular model of printer. For my campaign, the finals were printed on Red River Paper Ultra Satin 2 ( on a Canon imagePROGRAF iPF6100. (I prefer Red River papers for this because it has no logos on the back and it’s just a great paper to print on.)

Vertical image template

Horizontal image template

Mutable images template

BARTER YOUR BRAINS OUT After being in this business for more than 24 years, I finally created a 20-page studio brochure to send out to clients, done completely in trade with the designer, copywriter, and printer. (I couldn’t figure out how to trade with the U.S. Postal Service, so I just had to break down and pay for stamps.) If you’d like to see a high-resolution, PDF copy of my studio brochure, you can download it from www ■

First (square) of four templates with a common look

Each envelope is then hand-addressed for a personalized look and mailed once every 10 days with a different print, as I feel it’s better to send 10 different promo cards to a handful of handpicked, potential clients than one card to thousands of prospective clients. Give it a try and see what happens. Enjoy!

Jim DiVitale is an Atlanta-based photographer and instructor specializing in digital photography. His clients include Mizuno USA, Carter’s, Genuine Parts Company, IBM, TEC America, Scientific-Atlanta, and Coca-Cola. Check out his website at


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Press Command-T (PC: Ctrl-T) for Free Transform. In CS4. open your photo in Camera Raw for optimizing. Control-click (PC: Rightclick) inside the Free Transform bounding box. we dragged-and-dropped our shell photo into a file with a backdrop and text. then choosing Pattern—has a layer style applied. which changes to Open Object when the Shift key is pressed. and layer styles—all nondestructively. Finally. and dragged to rotate. a smart object’s layer mask is linked to the image by default. Looking at the masked image. we used one click of the Magic Wand (with Contiguous chosen and Sample All Layers unchecked in the Options Bar) to select the black background. adds the rotations together and rotates the image only once. To develop a promotional postcard. we could see that the “elbow” area of the mask needed a stroke of white with the Brush tool (B) to reveal the dark brown edge of the shell. a pattern fill layer. Image is for personal use only. Press Return (PC: Enter) to commit the transformation. and Fill Light sliders. . Photoshop will calculate all the changes before applying any of them. we noticed that the backdrop—originally created by clicking the Create New Fill layer icon at the bottom of the Layers panel. (Note: File>Open in Camera Raw opens JPEGs and TIFFs as well as RAW files. Lastly.) For our PSD image. now or in the future. Contrast. set a Radius of 4. in the CS4 Masks panel (Window>Masks). To eliminate them. Brightness. and apply them to the file in the least destructive way. we used the Dust & Scratches filter (Filter>Noise>Dust & Scratches) and in the dialog. One big advantage of this instruction-based—or nondestructive—approach is that you can freely change the instructions. instead of rotating the smart object twice. a smart object.] STEP ONE: From Adobe Bridge. Back in the Masks panel.photoshopuser. we could see some small white spots in the black. [NAPP members may download the Shell Card. it seems) analyze the instructions. without the unintended “softening” that can come from working and reworking pixels. and choose Flip Horizontal from the contextual menu. scale it. rotate it.Jack Davis and Linnea Dayton The WOW! Factor When working with an image in Photoshop CS4 you can change the pixels directly with each step. we used Adobe Camera Raw. which was partly a side effect of the high Clarity setting in Camera Raw. so the mask flipped and rotated along with the shell. By Option-clicking (PC: Altclicking) the mask thumbnail. For instance. To silhouette the shell. and clicked OK. and then rotate it a little more to get it exactly right. we clicked the Add a Pixel Mask icon and Invert button to make the mask. we moved the cursor outside the Transform frame to get the curved rotation arrow. then increased Vibrance to bring the subtle iridescent colors to life. we Shift-clicked on Open Image. and added Clarity to sharpen the details. working from the original image. Exploring the layers in the download file. We applied Noiseware Professional (a third-party filter by Imagenomic) to the smart object to reduce the noise. Photoshop.html and explore its “live” details as you follow along. Then. to open the file as a smart object. we improved the lighting using the Exposure. (Tip: To see the settings for › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 064 STEP TWO: In Photoshop.psd file from www . STEP THREE: Now we’ll reorient the shell in the layout. clicking Mask Edge and using the default settings in the Refine Mask dialog smoothed the mask’s edges. No Pixels Were Harmed in Creating This Image H ere’s an example: If you turn an image into a smart object and then filter it. or you can build up a set of instructions for change and let Photoshop (quite

STEP FIVE: Clicking OK returned us to Photoshop with an updated smart object. Contrast. when you transform a smart object. an Inner Glow is lightcolored and in Screen mode. so they can get a little fuzzy if you shrink them to a size other than 25% or 50%. the smart object will stay in great shape. reducing the Brightness setting. so if you transform many times.) This style combines an Inner Shadow with an Inner Glow to darken the edges. but the mask might be degraded. STEP FOUR: When you import a smart object into Photoshop. Here the red mask shows where we painted to create the shadows. we double-clicked the Smart Object thumbnail to return to Camera Raw for some local tone and color adjustments. Then. with coauthor Cristen Gillespie. By default. p h ot o s h o p u s e r . • The patterns in the Pattern Fill layers or in the Pattern Overlay effect in a layer style are pixel-based. On the text layer. convenience. a member of the Photoshop Hall of Fame for his lifetime contributions to the fields of education and digital imagery. such as: • In Photoshop CS4. But watching out for a few exceptions is a small price to pay for the quality. A few exceptions Even though we used Camera Raw. we clicked the New button to reset the sliders and start a separate adjustment. Also. Choosing the Adjustment Brush (K) from the tools at the top of the window and adjusting its size and other characteristics in the bottomright corner of the panel. Then we clicked the Add a Layer Style icon at the bottom of the Layers panel. Photoshop suspends the filter to do the transformation. if you apply a third-party filter (such as the Noiseware Professional in our project) to a smart object and then open the file on a computer that doesn’t have that filter installed. Linnea Dayton. the object remembers where it came from—in this case from Camera Raw. ■ Jack Davis. and added a Drop Shadow and a dark Outer Glow to finish the layout. doubleclick its name in the Layers panel. a smart object. ALL IMAGES BY JH DAVIS PHOTOGRAPHY 065 › › w w w. but we used Multiply mode and a dark color sampled from the image instead. there were some steps that quietly involved pixels. is the author of How To Wow: Photoshop for Photography. and layer styles—all nondestructive methods—for our Fiji card. and painting to create shading. c o m . we then increased Brightness. a more traditional Inner Glow lights the edges and a Pattern Overlay effect provides surface texture. A Drop Shadow is offset (from top left) to match the lighting in the backdrop. It’s good to be aware of these little gotchas so you don’t stumble into them by accident. To match the shell’s lighting with the backdrop. Saturation. coming from Peachpit Press in late spring/early summer.The WOW! Factor any effect in a Style. and Clarity and painted to brighten up the chambered part of the shell. but then can’t find the filter to reapply it once the transformation is done. and flexibility of using the brilliant. nondestructive methods that Photoshop offers. is at work on The Photoshop CS3/CS4 Wow! Book. a pattern fill layer. its linked layer mask is pixel-based.

The double arrow indicates the selected layers will be copied. press-and-hold Shift. Enter 10 px for Width and Center for Location. and click OK. Scroll down until you see the bottom of the layer. Then press Command-A (PC: Ctrl-A) to select the entire document.” and click OK. during the closing ceremonies at Photoshop World Las Vegas. click the Arrange Documents icon and click the 2 Up button to position the tabbed windows side-by-side. Zoom in to 100%. Select the Move tool (V). and click the right edge. Now you have six copies of the smart object in the layer stack. G. Height 18". and Background Contents White. this will give a 10-pixel border around the document’s edge when it prints. Close 4x6.” STEP TWO: Press Command-Shift-N (PC: Ctrl-Shift-N). Go under the Edit menu and choose Stroke. then in the Applications Bar (CS4).photoshopuser. and click again to add another row of selected When the right edges align. [NAPP members may download the files to follow along with this tutorial from www. (Note: Any changes made to copies of the original smart object in the layer stack affect all of the copied smart objects. Then click on the Original Copy layer and Shift-drag it to the left until the Smart Guide highlights the left edge.) Press Command-J (PC: Ctrl-J) twice to make two copies of the Original layer. Julieanne Kost. Rename this layer R2 C3 (Row 2 Column 3). Click OK. All files are for personal use only. Senior Digital Imaging Evangelist at Adobe Systems Incorporated. change the Width to 20 px. Now open a new document (Command-N [PC: Ctrl-N]) and name it Smart Object Ring-around with the following settings: Width 12".tif in the Ring-around file.] STEP ONE: Open our starting file called 4x6. and click OK. add the Shift key. then Command-0 (PC: Ctrl-0) to fit the document to the screen. Shift-drag the new copy Smart Object layers up until a Smart Guide Start dragging 4x6. enter 127 for R. and drag Original Copy 2 to the right edge of the document. 066 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . So. choose Edit>Stroke again but this time. In the Stroke dialog. Choose the horizontal Single Row Marquee tool (nested under the Rectangular Marquee tool [M]). STEP FOUR: Control-click (PC: Right-click) next to the Original layer’s name and choose Convert to Smart Object from the menu. STEP SIX: With the Move tool still selected. a magenta guide appears. Click OK. add the Shift key to center 4x6. Drag Original Copy 2 below Original in the Layers panel. press-and-hold the Shift key. Depth 8 bit. Press Command-D (PC: Ctrl-D) to deselect. L ast fall.tif. we’ll use smart objects to set up a ring-around of possibilities ready to print on a single sheet. As the stroke is set to Center. Click View>Show and ensure that Smart Guides is checked. Once again add a 10-px Stroke. click on the Color swatch to open the Color Picker. Resolution 320 pixels.Kevin Ames Digital Photographer’s Notebook More Pro Printing…with Smart Objects As useful as soft proofing is in Photoshop.tif onto the Ring-around file and when a border appears over the latter. click at the very top-left edge of the black line. STEP FIVE: Press-and-hold Shift and click on R2 C3 to select all three Smart Object layers. there’s no substitute for evaluating the combination of adjustments on an actual print. Color Mode: RGB Color. name this new layer “Grid.html. Rename this layer R2 C1. and B (middle gray). In the next couple of issues. showed how to use smart objects to compare black-and-white conversions. STEP THREE: Choose the vertical Single Column Marquee next. click the left edge. here’s my take on making a one-sheet set of versions to zero in on the right adjustments.tif and rename Layer 1 “Original. Choose the Move tool (V). Now press-and-hold the Option (PC: Alt) key and drag all three layers up until a bold line appears under the Grid layer.

And. Now highlight the three R1 layers. Rename Original copy to R1 C2. Option-drag (PC: Altdrag) C 13 to both the R1 C2 and R1 C3 layers. Rename R2 C1 copy and R2 C3 Copy to R1 C1 and R1 C3. then click the Return to Adjustment List icon (the arrow icon at the bottom of the Adjustments panel). Click the Clip icon (the third-left icon at the bottom of the Curves view in the Adjustment panel) for both layers you just made. Control-click (PC: Right-click) on the Original layer's name and choose Replace Contents. then rename the layer S +18. Then Shift-drag these three layers from the top to the bottom until the Smart Guide appears at the bottom of the document and rename them R3 C1. Drag the Saturation slider to +18. We won’t adjust the Original (in the middle) as it will form the base for the Ring-around and we’ll use it to compare to the other eight versions. limiting their effect to only the pixels on their layer. recently published by Peachpit Press. STEP SEVEN: Next. second row). Now click on the Curves icon in the Adjustments panel. and R3 C3. This will automatically clip all new adjustment layers to the layer below. drag the Saturation slider to +9.” STEP NINE: Highlight the C 13 layer above R1 C1. click the Return to Adjustment List arrow and click the Hue/Saturation icon again. Enter 141 in the Output field and 128 for Input. 067 › › w w w. Lightroom and Bridge. Find the Smoke Girl. Along the top row are three versions each one brightened by 13 points and with increasing amounts of saturation. is The Digital Photographer’s Notebook: A Pro’s Guide to Photoshop CS3. best of all. To see the power of smart objects. respectively. until then—keep shooting! ■ Highlight layer R1 C1. Click the Clip icon at the bottom-right corner of the Adjustments panel. We’ll finish this next time. and rename this layer S +9. Holy instant gratification! All nine boxes are filled with the Smoke Girl image. Press-and-hold the Option key and drag down until the line just above the Background layer becomes bold. He teaches the digital arts worldwide.Digital Photographer’s Notebook appears at the top of the document. Rename the layers to remove the words “copy” and “copy 2. we’ll add curves and hue and saturation adjustment layers to eight of the smart objects. R3 C2. Now click the Hue/Saturation icon (second from the left. and Coca-Cola. c o m KEVIN AMES . You should now have nine related Smart Objects layers in three rows and three columns (as shown here). AT&T.tif file (downloaded from the NAPP member website) and click Place. Click to add a point in the center of the line. Kevin Ames creates evocative photographs for clients such as Westin Hotels. Now highlight the C13 layer above R1 C2. His fourth book. you can use any 4x6" file at 320 ppi Resolution. p h ot o s h o p u s e r . respectively. STEP EIGHT: Rename the Curves layer C 13. making this Saturation setting +27 and the layer name S +27. Repeat for R1 C3.

In the Options Bar. and click OK. choose Black from the Use menu. then press Return (PC: Enter) twice to commit the change.Classic Photoshop Effects The oldies but goodies that never seem to go out of style ■ BY COREY BARKER Video Wall Effect This technique is a real classic. I saw Scott Kelby do this effect years ago. Click OK. set Use to 50% Gray and click OK. STEP SIX: Now reactivate the gray layer by clicking on its thumbnail and turn its visibility back on. Also. clicking-and-dragging the marker inside the circle adjusts the Angle and Altitude. The result should be a black frame (as shown). Set the Bend amount to 20%. 068 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . STEP ONE: Choose File>New to create a new 3x2. This time. Enter 80% for the Width and Height. then press Return (PC: Enter) twice. STEP TWO: Create another new layer above this layer. we’re just defining the shape a little better so it doesn’t look so flat. so press Shift-Delete (PC: Shift-Backspace) to open the Fill dialog. In the Shading portion of the dialog. Press Command-T (PC: Ctrl-T) to invoke Free Transform. Notice the settings we’re using here. Enjoy as you follow along. click the Maintain Aspect Ratio (chain) icon to lock the proportions. click on the Warp menu and choose the Inflate warp preset. under Transform. In the Layers panel. Press ShiftDelete (PC: Shift-Backspace) again to open the Fill dialog. then click this layer’s Eye icon to turn off its visibility. This time. as this determines the direction of light. We want to fill this layer with black. It has since become easier with the newer features introduced in Photoshop. STEP THREE: Go under the Edit menu. set the Fill to 0% for this layer (Layer 2). Click on the black layer to activate it.5" RGB document at 150 ppi. This will make the layer pixels transparent but not the layer style. so I thought it would be cool to revisit the video wall. we’ll need to tweak the settings for this layer style because this creates the effect of the light glare on the video screen. Click OK. The default settings should work fine here. In the Options Bar. Click the Create a New Layer icon at the bottom of the Layers panel to create a new blank layer. STEP FIVE: Click the Add a Layer Style icon at the bottom of the Layers panel and choose Bevel and Emboss from the list. STEP FOUR: Command-click (PC: Ctrl-click) on the gray layer’s thumbnail to load this shape as a selection. make sure you turn off Use Global Light. Press Delete (PC: Backspace) to remove the selected area of the layer. Click the Add a Layer Style icon and choose Bevel and Emboss once again. and choose Warp.

p h ot o s h o p u s e r . Simply grab the Rectangular Marquee tool (M) from the Toolbox and select these excess areas (hold down the Shift key to add to the selection). just add some text and a simple gradient to the background and there you have it. Click the Create a New Layer icon at the bottom of the Layers panel. You may not see it. then press Delete (PC: Backspace). STEP TEN: Click the Layers panel’s flyout menu and choose Convert to Smart Object. This will give the video wall some dimension. Press Shift-Delete (PC: Shift-Backspace) to open the Fill dialog. and deselect. then press Shift-Delete (PC: Shift-Backspace) to open the Fill choose Bulge from the Warp preset menu. Notice that the pattern runs off the right and bottom edges. In the Options Bar. In the Layers panel. Press Command-T (PC: Ctrl-T) to invoke Free Transform. Remember. STEP EIGHT: Choose File>New to create a new file. Click the Eye icon to reveal the Background layer. you can change the appearance of the video wall by going back into the smart object and simply swapping out the image. This is critical because we need to be able to see through the screen. and click OK. click-and-drag the image layer underneath the screens layer. and press Return (PC: Enter) twice to commit the change. Open the image you want to use and drag it into this document (we’re using a city scene from iStockphoto. Finally. go under the Edit menu and choose Define Pattern. Once this is done. Give the pattern a name if you want and click OK. set the Bend amount to –20%. we need to add the image that will appear on the video screens. if needed. Control-click (PC: Right-click) on the object and select Warp from the menu. Choose Pattern from the Use menu. STEP ELEVEN: In the smart object file. So once the smart object is created. and make this one pretty big (ours is 13x9" at 150 ppi). › › w w w. Use Free Transform to resize the image. then click the Background layer’s Eye icon to hide it. set Use to Black. Click back on Layer 1 to select it. Next. locate the pattern we defined in Step Seven (it’s probably the last one). then click the Custom Pattern preview.STEP SEVEN: Click the Eye icon next to the Background layer to turn off its visibility and show transparency through the screen. ■ ©ISTOCKPHOTO/CHRIS PRITCHARD 069 . and click OK. STEP NINE: The pattern will be tiled over the whole file. Press Command-D (PC: Ctrl-D) to deselect. close the document and save the changes. Choose the Move tool (V) from the Toolbox. c o m STEP TWELVE: Return to your working file. but the light glare layer style is still there. click the Align Vertical Centers and Align Horizontal Centers icons in the Options Bar to center the graphic in the document. double-click the layer thumbnail to open it. Don’t flatten the file just in case you want to change out the image later. Press Command-A (PC: Ctrl-A) to select the entire document. The reason for this is that we’ll need to modify this shape nondestructively.

But what you can use it for becomes the fodder that photographers argue about endlessly and what lawyers litigate. Here are four scenarios to help explain what you can and can’t do. Now let’s crank it up a notch: A zoo security guard comes up to you—a really big surly security guard. While releases are needed with people.Ed Greenberg and Jack Reznicki The Copyright Zone A Day at the Zoo and What You Can Do So you want to go to the zoo and take some pictures. then you have the very same rights to shoot and employ the photos as any fully credentialed. Don’t just show up at the zoo and shoot away. You may find out that they love doing photo ops. what you can use it for becomes the fodder that photographers argue about endlessly and what lawyers litigate. the tame animals. a photo at the monkey house that has a famous statue of Freddy the Friendly Chimp could be a problem for similar intellectual property concerns mentioned in the last paragraph. Now is not the time to dig in your heels and be aggressive. however. shooting just the building should be no problem. such as stuffed animals or T-shirts.” then you may need a release because you could be trading on the zoo’s intellectual property or trademark. Don’t freak out: The process is actually a very simple and quiet routine. but rather a student. not the Deputy Sheriff Barney Fife type. the zoo has a right and obligation to control crowds and ensure the safety of its patrons. So. Pulitzer Prize-winning photographer. Now’s the time for you to employ all the tact and diplomacy instilled in you by your parental units and religious figures. Your place in the photo pecking order doesn’t matter in this respect. likely tax deductible. A simple phone call to the zoo’s public relations office and you’ll find out exactly what its policy and rules are. images that may incorporate animal enclosures or zoo buildings generally may be used without the necessity of obtaining property releases as long as there are no trademark issues involved. such as an albino tiger or “Freddy the Friendly Chimp. The images can be used in a public interest story concerning the zoo. “You can shoot all you can see. A fee or a donation/contribution to the zoo. such as having 20 people at the zoo doing their wedding photos. If you move your camera and crop out Freddy. Model release issues aside for this column. Scenario Three— If you’re a photojournalist with real press credentials—and we mean real and legitimate press credentials from a real news organization.” ©ISTOCKPHOTO/ANNA YU . or just a concerned citizen worried about conditions at the zoo. but more the Arnold Schwarzenegger variety. A donation may buy you priceless cooperation beyond your dreams. you don’t need releases for animals. That’s trouble with a capital “T. S › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 cenario One—The shooter takes a walk through the zoo. and what to look out for—other than the droppings. While the zoo may be a public space. the monkey house. But don’t try and go commando. animals don’t have privacy rights or laws written to protect against the commercial use of their images. You can shoot all you can see. They may also require you to sign an agreement and provide proof of insurance. Similarly. may be required or suggested. A photograph of a giraffe that’s similar to thousands of other giraffes can be used by you for a throat lozenge ad or submitted to a photo competition. So with some exceptions. serious hobbyist. here’s the straight poop. But ” 070 Scenario Two—A bride and groom’s first date was at the zoo and they want you to shoot the wedding party there. Another key consideration is whether that particular animal is used or employed by the zoo in any trademarked or licensed manner. Let’s say you’re not a professional photojournalist. That legal obligation is paramount in all of these scenarios. like any other landowner. photographing what catches the eye: the wild kids. But if the animal is unique or symbolic of that zoo. not something that came from the back pages of a comic book— then you can photograph and use anything in a story that is newsworthy or of public interest. and the cotton candy. This is easy.

you want the intervention and assistance of the local police. you’re in a public place and you ought to assume there will be witnesses or security cameras recording the entire incident. At this point. While you should be prepared for a discussion. You can even take out your cell phone—carefully— telling the security guard that you’re calling the police. If things have degenerated to this point. Ed Greenberg and Jack Reznicki can be reached at Igotaquestion@ thecopyrightzone. Now let’s go even more negative. comprehensive agreement specifying date. GREG PANOSIAN Hopefully this information will keep you from messing your shoes in elephant poop. you’re substantially reducing the chance of the situation escalating. not everything can be answered personally— but they still want to hear from you! ©ISTOCKPHOTO/S. the practical and prudent path may be to move on and circle back later. Actually use the word “prudent. signed by the parties won’t suffice—period. uninterrupted and to completion. Stay cool and collected. Remember.The Copyright Zone Rule number one: Don’t make the first move or be the first to speak. Nevertheless.. ■ ©ISTOCKPHOTO/ENGE . you have to take a deep breath and decide how badly you need this shot. Don’t act like you’re guilty of anything because… drum roll please…you’re not. there will be a problem. If you act as though there is a problem. as you believe it’s the “prudent” thing to do. implies that you’re not free to walk away. Understand that the guard is doing what he’s hired to do and you should express to him that you “appreciate what he’s doing. he says in a menacing manner.” And tells you to get lost—but not in such nice words. The guard may simply and innocently want to know what you’re doing. and shortness of time. Anything short of a written. Your demeanor may be more important than anything you actually say. location. “You can’t shoot here. Who goes to a zoo and doesn’t have a camera or video camera—not to mention all the cameraequipped cell phones? Keeping in mind that preservation of life and limb should take precedence over legal niceties. Do you really need it at that very moment or will shooting an hour or two later suffice? Even if you haven’t done anything wrong and you know you’re in the right. you should permit the security guard to say what he has to say. The guard is extremely abusive and unreasonable and does one or more of the following: He demands that you turn over your camera or digital card. Scenario Four—You have a commercial assignment that needs to be shot at a zoo.” as it has legal meaning and demonstrates that you’re cool and under control. threatens or calls for his backup. Because of the large volume of questions. insurance. Be aware that the security guard may be coming over to you on his own initiative or at the direction of a superior. etc. don’t anticipate or assume a problem. time. or physically touches you or your equipment. and remember that there’s no audio recording being made.” By saying so. Tone is critically important—don’t raise your voice at any time.

• More Accurate Views—While Photoshop CS4 gives a more accurate view of your image at any zoom factor. Rotating the canvas is a boon to those who paint intricate masks and patterns in Photoshop. When a vector mask is active in the Layers panel. His latest book is Photoshop CS4 for Dummies. contact your computer manufacturer’s tech support folks for assistance. (If you’re not comfortable with the concept. making it more transparent. enabling you to use the vector mask as if it were a second. Do you have any tips on working in the new environment? To: Libby From: NAPP Help Desk With the introduction of Photoshop CS4. This can be great when doing very precise work.) When a layer mask is selected in the Layers panel. the Masks panel offers the Density and Feather sliders. especially for Mac users. And. go under the Photoshop (PC: Edit) menu.adobe. you can hide/show the pixel grid (View>Show>Pixel Grid). You can disable tabbed image windows by going under the Photoshop (PC: Edit) menu and selecting Preferences>Interface. allowing for a more natural positioning of the hand and arm. While these changes take some getting used to. (I admit that it took me a couple of months to make the adjustment. Color Range for making selections in a mask. and the Feather slider helps you control the mask’s edges. you’ll find it to be a very worthwhile set of the folks at Adobe have indeed made a number of changes to the user interface that I’m sure you’ll eventually come to appreciate. but rather than seeing a floating dialog. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Having trouble with the appearance of cursors or menus in Photoshop CS4? Then you may need to download and install an updated driver for your video card. (Even when no image is open. especially in areas of solid or similar color. Simply drag a tab from the bottom of the Options Bar to convert it to a floating window. Also new in Photoshop CS4 are the Adjustments and Masks panels. here are some of the new capabilities: • Rotate View —This new tool (up in the Applications Bar) enables you to rotate the canvas rather than the image. • Pixel Grid—When zoomed in to 600% or more. You add an adjustment layer as before. If you continue to have problems or have a video card that’s not supported. You’ll also find buttons for: Mask Edge. each image opens into a tab rather than a floating pixel-based layer mask. Photoshop CS4 can display a non-printing grid that shows the edges of each pixel. select Preferences>Performance and disable OpenGL Drawing. however. Just make the adjustment and move on to your next task. is how images open. If you have a video card that works with the advanced features. By default. It looks so natural and normal—and happens so quickly—you may not notice. ■ 072 Peter Bauer is Director of the NAPP Help Desk and a featured columnist at PlanetPhotoshop. PETER BAUER . too. there’s no OK button to click. you may want to continue making your most critical decisions at 100% zoom.) The tabbed windows don’t prevent you from dragging-and-dropping between images. • Smoother Zoom—Photoshop CS4 zooms in and out more smoothly. once you’re comfortable in the new interface. like other such visual aids in Photoshop. and Invert to simply reverse the mask.) The biggest change.Peter Bauer From the Help Desk To: NAPP Help Desk From: Libby The new interface for Photoshop CS4 is a bit confusing. making it available only when The Density slider can lighten the mask. the various sliders and controls for the adjustment appear in the Adjustment panel. using the icon at the bottom of the Layers panel or by going to Layer>New Adjustment Layer. a gray background hides the Desktop and other application windows to provide a more color-neutral work environment. the Masks panel helps you do some fine-tuning. (Think of it as rotating a sheet of paper on the desk while drawing a picture. to open the Refine Mask dialog (comparable to the Refine Edge dialog for selections).) You’ll find a list of video cards with which the Photoshop CS4 advanced display options have been tested at this Web address: http://kb.


one frame at a time. Pause the video if it’s still running. If the video stutters. Note that the Altered Video track doesn’t have a Time-Vary Stopwatch as the other tracks do. (Tip: When you’re rotoscoping. you’ll see a purple bar on the Altered Video track. so many creative effects are possible. Repeat this process until all your rotoscoping is complete. and repeat Steps Three and Four. wherever possible. but the production time—painting on every frame—can also be very time consuming. That’s because by default. to save time. we’ll digitally rotoscope a clip to increase the dramatic tension between the subject (a boy) and his urban environment. STEP THREE: Press Y to select the History Brush.) 074 STEP FIVE: Now click the Selects Next Frame icon at the bottom of the Animation panel. desaturate this frame. Now that we’re rotoscoping. it’s efficient to toggle between the Sponge tool and the History Brush by pressing the O and Y keys. ©ISTOCKPHOTO/GROSSINGE STEP FOUR: If you paint back too much color from history so that some blue sky shows around the boy.html.) . In the Layers panel. STEP ONE: Open a sample video clip in Photoshop Extended— ours is from iStockphoto. and the potted plant he’s holding. respectively. All files are for personal use only. Our frameby-frame game plan is to desaturate each frame and then use the History Brush to paint color back on the boy and his plant. arms. and this is where our rotoscoping will go. press the Spacebar to start and stop it. In addition to painting frame-by-frame. his head. Here. set the Mode to Desaturate and paint over any areas where you want to remove any unwanted color. Up in the Options Bar. Painting frame by frame You have all the brush engine tools at your disposal when rotoscoping. We’ll also show you how to clean up any painting mistakes with the Sponge tool. (You might want to put on some tunes as you perform this repetitive process.photoshopuser. Press Shift-Command-U (PC: Shift-Ctrl-U) to desaturate this frame.” If you’d like to watch the video (ours is short. let it run all the way through once to let it load in the computer’s cache memory.] STEP TWO: Open the Animation panel (Window>Animation) then click on the right-facing arrow beside the Boy with plant layer to expand it. the creative potential is unlimited. double-click on Layer 1 and rename it “Boy with Onstott Beyond Photoshop A New Way to Rotoscope Video in Photoshop Among the wonders in Photoshop CS3 and CS4 Extended is the ability to rotoscope video—a technique whereby animators trace over live-action movement on a glass panel. only about 6 seconds).com/members/mar09-downloads. just switch to the Sponge tool (under the Dodge tool [O]). › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 [NAPP members may download this file (as well as the completed video) to follow along with the tutorial from www. the document’s initial state is set as the source for the History Brush. Paint over the boy’s orange shirt. and then click the leftmost icon at the bottom of the Animation panel. W hen you unleash the full power of Photoshop on each and every frame of a video. the Selects First Frame icon. we’ll adjust the video globally. so it can’t be keyframed. the Altered Video track has an Eye icon to turn its visibility on and off. as you paint you’re restoring the original color to the desaturated frame. Instead.

you’ll appreciate the time saved if any adjustments can be made globally to all frames. with this layer active. Now. and click OK. drag the Saturation slider to +25. and click We’ll now use adjustment layers to boost the saturation and shift selective colors. choose QuickTime Export: MPEG-4 and click the Settings button. Magenta +23. and then add a vignette using a smart filter. Set the Colors drop-down to Reds.264 as the Video Format. Check out his Photoshop for Architects DVD and The Digital Architect video podcast at ScottOnstott. (We set ours to Cyan –2.) You don’t want to go too far with the color shift or it will adversely affect skin tone. and click OK. drag the Saturation slider to +25. choose Document Size for Size. If you’re using CS4. set File Format to MP4 and choose H. when the dialog appears. we’ll boost the saturation of pixels that have color. Photoshop Extended goes way beyond expectations with rotoscoped video. To make filters global. Tip: If you don’t want the grid to show in the Lens Correction dialog. To get smooth and portable playback. under File Options. Back in the Render Video dialog. and then click the left-facing arrow at the bottom left of the panel. STEP SEVEN: Perhaps the boy’s orange shirt would be more dramatic in red—and there’s no repainting required with adjustment layers. STEP NINE: Choose File>Export>Render Video. click the second icon in the second row. STEP EIGHT: Adjustment layers affect the whole video clip. Key Frame to Automatic. and builders. In CS3. ■ Scott Onstott authors books and video tutorials for architects. In the MPEG-4 Export Settings dialog. adjusted. except this time choose Selective Color. around +50 and the Midpoint slider to the left to about +40 to burn out the outer edges of the environment. click the Render button.Beyond Photoshop Adjusting video globally After you finish rotoscoping even a short clip like this one (96 frames). engineers. Frame Rate to 15. Rendering output Press the Spacebar to watch your rotoscoped. open the Adjustments panel (Window>Adjustments). drag the Magenta and Black sliders to about +25%. Control-click (PC: Right-click) on the Boy with plant video layer and choose Convert to Smart Object. Click OK to close the dialog. and Black +27. and filtered video and you’ll notice that the playback is much slower now that Photoshop has to do so much real-time processing. choose Filter>Distort>Lens Correction. Yellow +2. so let’s add a Selective Color adjustment layer by repeating the steps above. we’ll put the video layer into a smart object “container. Click the Create New Adjustment Layer icon at the bottom of the Layers panel and choose Hue/Saturation. Set the data rate to 256 kbits/sec. let’s render the video to our hard drive. just click on the Show Grid checkbox to turn it off. drag the Vignette Amount slider to the right to Now you can enjoy your newfound pixel-pushing-through-time power. . but filters affect the current frame only. and wait a few moments as your video is saved to the hard drive very efficiently at only 396 KB. STEP SIX: To accentuate the difference between gray and colored areas. In the Render Video dialog. In the dialog.” In the Layers panel. Set Image Size to Current.


Photoshop User magazine Library Develop Slideshow Print Web Lightroom Adobe® Photoshop® ® section 84 88 78 92 96 97 .

ke yet but this on e is differ ent. By Victoria Bampton Those three hours of deb little letter ate on forum s have spark s worldwide. hoto. ed should you c S o what is DN are? G ? Why DNG stands for Digital Negative.o n o t ? that is r the question (digital negative) DNG Images: iStockp to Layo ut Design: Taffy Orlowski . I another RAW t sounds li file format.

Updating that preview doesn’t touch the original RAW data. shot some fantastic RAW images. but that doesn’t mean only Adobe is supporting it. Along with that XMP (sidecar) data in the DNG wrapper. DNG is here to stay. there are a couple of disadvantages but the list is short. there’s backward compatibility. it’s an additional check worth having. and you can also update it to show the develop adjustments you’ve made in Lightroom or Adobe Camera Raw. such as Canon’s CR2 and Nikon’s NEF. just like the Adobe PDF format many years ago. Hasselblad. giving you the opportunity to download the files again before you reformat the cards. DNG might not be for you. Leica. That means it’s all encapsulated in one safe. Lightroom does most 079 › › w w w. That means other programs that rely on the embedded preview will be looking at your processed image preview instead of the original camera preview. How long will it be before other formats start to go the same way? The DNG format is Adobe’s baby. Until the manufacturers start supporting the DNG movement. the metadata that describes that data. which is good enough reason in itself. Finally. there are no secrets. DNG comes to the rescue. The DNG lossless compression algorithms are better than those applied in camera. and Samsung. The list of companies involved includes Apple. this means that our greatgrandchildren will still be able to open our DNG files in 100 years’ time. The pros Besides the fact that it’s a universal archival format. Simply use the free Adobe DNG Converter to convert the RAW files to the DNG format. so it’s a nondestructive way of updating the files to look their best. Ricoh. and your older software will work with the files as normal RAW files. long after the proprietary formats are forgotten and unsupported even by their own manufacturers. While not infallible. and those savings add up. It has also been submitted to the International Organization for Standardization (ISO) to become an ISO Standard. You’re in control. Hard drive space may be cheap these days. the DNG format is publicly documented. and an embedded preview. as with all things. Pentax. depending on the camera. p h ot o s h o p u s e r . but then found that your old Photoshop or Lightroom version can’t open them? Again. You think that won’t happen? Some of Kodak’s early digital formats are already unsupported by Kodak themselves. Have you ever been caught out? You’ve bought a brand-new camera. among many others. Extensis. c o m . it won’t convert and a warning dialog will appear.U nlike proprietary RAW formats. If you regularly use your manufacturer’s own software. why else should you consider using the DNG format? The DNG file is comprised of three different parts: the RAW image data. resulting in a smaller file size— between 5% and 40% smaller. The cons This sounds too good to be true. but it’s not free. To you and me. Corel. their software will only read their own file formats. The conversion to DNG also offers an early warning of file corruption—if the file’s corrupted. there’s an embedded preview. tidy wrapper—no more sidecar files to accidentally lose. Canto. You choose how big you want that preview to be. What’s the catch? Well.

it couldn’t be any simpler! In the File Handling menu at the top of the Import Photos dialog. right? So make one of your backups a proprietary RAW file—that way you have the best of both worlds. In fact. The rest of it is a standard Lightroom import. Now. You can regenerate the previews and change the size at a later date by changing the Lightroom DNG Preferences. which is ideal for general browsing. If you choose to embed the original RAW file. choose Compressed (lossless). go to Lightroom (PC: Edit)>Preferences and click on the Import tab. so it might be better to keep your proprietary RAW file backup separate. and choosing Metadata>Update DNG Preview & Metadata. but for some things. Image Conversion Method to Preserve RAW Image. I’m hooked—what’s next? So you’ve decided to use the DNG format. Set JPEG Preview to Medium Size. however. which is useful if you want to print or zoom into an image using DNG-aware software without having to render the RAW data. To find the DNG preferences for Lightroom. On the other hand if you. like most people. Full Size embeds a full-resolution preview. If you’re concerned about being able to use the manufacturer’s software or make use of those secret MakerNotes.” then DNG is still an excellent option. “One day I might want to…. and turn off Embed Original RAW File. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 080 VICTORIA BAMPTON . eh? If you shoot CR2 or NEF. Convert to Linear Image: Preserve RAW Image uses the existing mosaic data straight from the sensor without applying any processing. not a backup of the DNG file. that produces a much larger file size and you lose the ability to use a different demosaic algorithm in the future.. Medium Size creates a preview of 1024 px along the longest edge. select Copy Photos As Digital Negative (DNG) and Add to Catalog. the backup will be of the original proprietary file with its original filename. as any other. so you have nothing to lose by turning it on. as it maintains flexibility for the future. fall into the camp of. so choose carefully: None creates a thumbnail of only 256 px along the longest edge. and this can be extracted later by clicking the Extract button in the standalone Adobe DNG Converter. There’s a proper specification that they can follow. along with some other formats too. While we’re on the subject of manufacturers.. Preview size: Your embedded preview size does affect the overall file size.okay. The DNG options used are those that we’ve just set in the Preferences dialog. Don’t forget that if you check the Backup to: checkbox. such as checking the focus point used. Converting while importing into Lightroom This is really complicated so listen very carefully. Still unsure? Here are some sensible defaults to get started. there’s one other minor issue: MakerNotes. Compression is simple because it’s lossless. You have at least four options. it’s not really. don’t be! You do keep more than one copy of your RAW files. so you don’t even have to remember which options you prefer. so you can choose which best suits you. Never heard of them? Then you probably won’t care. but let’s first take a quick look at your options. There are a few programs that will read only a linear DNG format at the moment. don’t worry as those are fully transferred. now comes that obvious question: how? There are numerous ways to convert to DNG. remember that your DNG file size will essentially be doubled in the process. and that’s usually the best option to choose. The preferences for the standalone Adobe DNG Converter are accessed via the Change Preferences button in the main dialog. you might want to refer to the camera manufacturer’s own software. Helpful. but camera manufacturers also put some secret data in the file. Preserve RAW Image vs. Embed Original RAW File embeds the proprietary RAW file format inside the DNG wrapper. on to converting. selecting the images in Grid view (G). All of the important data is carried over into the DNG file.things really well. but some choose not to.

First. You can come back later and have Lightroom run the DNG conversion overnight. c o m What will do? . where she’s always willing to lend a helping hand.photoshopservices. so that your proprietary backup copies have the same names as the working DNG files. Perhaps you want to edit or rename before conversion. then choose Library>Convert Photos to DNG. That’s useful if you’ve accidentally included other formats. Now press Convert to begin the conversion. simply quit the program. Simply enter Grid view. such as JPEGs in your selection. set the renaming options if you want to rename at the same But why convert on export? Perhaps you prefer to work on proprietary RAW files in your own workflow but then archive as DNG. it’s available in Hard Drive/Applications/Adobe DNG Converter (PC: Start\Program Files\Adobe\Adobe DNG Converter). She’s a familiar name across numerous photographic and Lightroom forums. Adobe provides a free standalone DNG Converter that’s updated at the same time as each Adobe Camera Raw release. and click OK. Go to File>Export and the DNG options are under the File Settings but what happens if you don’t have Lightroom around at the time or you’re using an older version of Lightroom that doesn’t support your camera? Not a problem. Only Convert RAW Files will. The Adobe DNG Converter now comes with a standard installer. or you want to send a DNG format to someone else.adobe. Check her websites for more details at www . When you’ve finished. p h ot o s h o p u s e r . All of those preferences are no doubt quite familiar by now! Now you have all the information you need. Once installed. Converting existing Lightroom files The standalone DNG Converter That’s it for Lightroom. You can convert to DNG when you export the files. Delete Originals after Successful Conversion will move the proprietary RAW files to the Trash (PC: Recycle) once the DNG file has been created. Select the DNG options as discussed above. and click the Change Preferences button. only convert the RAW files. It will take any Adobe Camera Raw-compatible RAW format and convert to DNG. a 426-page compilation of the Lightroom questions people are asking in real-world situations. select the folder containing the proprietary RAW files and choose where to save the resulting DNG would you want to convert files that are already in your Lightroom catalog? Let’s say you were in a hurry and just wanted to import your images without stopping to convert them. 081 › › w w w. Converting when exporting from Lightroom Lightroom has one more DNG conversion option at the opposite end of the workflow. fairly logically. select the photos you want to and www. Or maybe you want to convert photos that were in the catalog before you decided on a DNG workflow. and a second dialog will keep you informed of the progress. it’s just up to you to make the decision to DNG or not to DNG! ■ Victoria Bampton is the author of Adobe Lightroom 2: The Missing FAQ. You have two additional options in this dialog but they’re not rocket science. You can download it from www . The progress will be shown in the status bar.lightroomqueen.

2 UPDATE IS OUT The Lightroom 2. For starters. Lightroom how-to videos.2 update includes support for a number of new cameras but let’s get to the juicy stuff. visit www.Matt Kloskowski X Y LIGHTROOM News .0. Adobe has improved performance of the Adjustment Brush. to me. so you have to know what module you want to work in and what command you want before you can find the shortcut. . You can check out the shortcuts at http://help. Now. complete with a Gallery. Apple’s iPhone and iPod touch are among the topselling mobile devices on the market. and the TTG iPhone Portfolio creates light portfolio sites tailored specifically for viewing on Apple’s devices. free presets. About page. . ▼ THE LIGHTROOM Just click on Keyboard Shortcuts on the left-hand side. The gallery costs $5. There are a few other fixes included but. This is the first Lightroom Web photo gallery engine to address the mobile phenomenon. the buzz on the street is that it definitely works better now. This is huge! There are a lot of people who are still hesitant of beta software and wouldn’t download the profiles from the Adobe Labs website ( just open for updated news. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 082 Make sure you stop by or not. With the growing popularity of mobile devices. For more information about TTG Web galleries for Lightroom. Although my issues with the Adjustment Brush were sporadic and hard to reproduce. I’ve seen keyboard shortcut pages before but they’re usually created by module. The update is free and available at www. the major one is that the camera profiles (which were in beta before) are now prime time and included in the Camera Calibration panel by default.adobe . and Contact form.lightroomkillertips. go to the Help menu. For a demo gallery. ▼ THE TURNING GATE RELEASES LIGHTROOM iPHONE PORTFOLIO The Turning Gate (TTG) has been bringing us cool-looking Lightroom portfolios for a while now. ▼ LIGHTROOM KEYBOARD SHORTCUTS GALORE Anita Dennis (from Adobe) heads up the Lightroom Help files online and she recently posted a keyboard shortcut page for Lightroom. and tips. . If you’re not sure if you have Lightroom 2. they’ve recently released the TTG iPhone Portfolio. It will let you know if there’s anything newer out there. But these shortcuts are also listed by direct your iPhone or iPod touch to www.adobe. I think they’ll become a lot more useful now that they’re included in the software. ■ .theturninggate. they were buried there anyway). and choose Check for Updates. so it’s a lot easier to find things.


By Mike Mackenzie


Doug Levy

“Movement defines my work, which is fitting considering that I spend almost two hundred days a year on the road,” says Boston-based photographer Doug Levy. “My friends would also say that it fits with my personality and attention span.” A 2003 graduate of Syracuse University, Levy’s taken a bit of an unconventional, self-taught route to photography. Levy umpires professional baseball during the summer, a career full of 7:05 starts that leaves plenty of time for photographing sunrises in the small towns that minor league baseball calls home. He fills his off-season shooting New England landscapes, weddings, and portraits. Q. Can you give us a short list of the equipment you use?
Nikon D700 and D300 bodies; NIKKOR 10.5mm, 14–24mm, 17–55mm, 50mm, and 70–200mm lenses; Nikon SB-800, SB-600, and SB-80DX flashes with PocketWizards; SLIK carbon fiber tripod with a Manfrotto ballhead and quick-release plate; a BlackRapid camera strap; and a Dell Inspiron E1705 laptop.

Q. When did you know you wanted to be a photographer?
Umpiring leaves me with a lot of downtime during the day, and I’d been searching for an outlet for my time. Then in 2006, umpires and baseball had a labor issue and we were on strike for the first two-and-a-half months of the season. As the strike went on, I saved money to pay for my health insurance. Thankfully, things were resolved at the last minute, leaving me with a spare $1,000 in the bank. I used that money to buy a Nikon D70s with the 18–70mm kit lens and I’ve been hooked ever since. I sold my first print later that summer and I’ve been shooting professionally since 2007.

Q. What’s your favorite feature of Adobe Photoshop Lightroom?
The Clarity slider because it gives my images that extra kick in the midtones that I’m looking for. I’ll say that the entire Library module has made my life so much easier. I was never a Bridge user, so before Lightroom I kept track of my images using Windows and a convoluted filing and folder system I’d developed—a total nightmare.

Q. Most of your photos exhibit a calm, tranquil quality. Is that a signature style or does it just happen naturally?
I’d say those are the images I’m most drawn to. They’re my favorites so there’s a level of continuity there—but to say that I plan it that way would probably be an overstatement. I think it’s good to have an idea going out, but not necessarily a plan. You can’t be afraid to throw out your ideas and start over. If you go out with too much of a regimented plan in mind, you can miss a lot of opportunities for great images trying to make your image.

Q. The way some of your shots are composed and lit tends to hide as much as is revealed, creating intrigue. How do you decide what to show (or hide) in a photo?
As photographers, we talk a lot about bouncing light. Recently, I had a conversation with a friend about bouncing shadows. It’s essentially the same, but I try to think about where the shadows are going to fall first and figure out the light from there. Bright is easy—anyone can do bright—the nuance is in the shadows.

Q. You’re adept at many photographic styles. Is there a subject you’d like to explore more?
I’ve done some work with athletes, and it’s definitely something I’d like to do more of. There are so many possibilities to make really dynamic images that yank the viewer into the frame. I have a friend who says, “Beautiful women are aplenty— it’s the stunning ones that are rare.” I try to create stunning photographs.

› › p h ot o s h o p u s e r › m a r c h 2 0 0 9

Contact Doug Levy at
Folders/Doug Levy

Nikon D300, NIKKOR 17–55mm, 1/250 at f/11, 31mm, NEF


Adobe Photoshop Lightroom Section

Nikon D300, NIKKOR 17–55mm, 1/250 at f/4, 55mm, NEF


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Nikon D300, NIKKOR 14–24mm, 1/250 at f/5.6, 16mm, NEF

Nikon D200, NIKKOR 18–70mm, 1/60 at f/16, 70mm, NEF

Nikon D300, NIKKOR 14–24mm, 5 min. 1 sec. at f/18, 22mm, NEF

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Nikon D300, NIKKOR 17–55mm, 1/100 at f/2.8, 40mm, NEF

Nikon D300, NIKKOR 17–55mm, 1/50 at f/5.6, 45mm, NEF

Lightroom users, if you’d like to be considered for the “Featured Photographer,” email



It’s a highly configurable HTML-based gallery that’s easy to navigate and slick to use. and some developers have created Web gallery plug-ins that allow Lightroom to move beyond simple. standalone galleries to full-fledged websites. . Navigate inside that folder to the Web Galleries folder (not the Web Templates folder).lrwebengine file extension. As nice as these galleries are. Keep in mind that each gallery type is going to have a set of configuration www. and settings that may be unique to only that gallery. Place the plug-in file(s) inside it and restart Lightroom.UNDER THE LOUPE Adding New Web Galleries Rob Sylvan X Y Lightroom comes packaged with five different types of Web galleries to get your photos online in style. Always see if the developer has any special installation instructions. the Adobe Lightroom Exchange is a good (and growing) starting place to see what’s out there. there’s a growing variety of third-party Web gallery plug-ins worthy of being added to your Lightroom toolbox. A Web gallery plug-in has a . Some galleries are free. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 To find new gallery plug-ins.lightroomgalleries. choose the Presets tab. go to Lightroom (PC: Edit)>Preferences. and a greater range of presentation customizations. . and others are affordably priced. You’ll find more options beyond what’s currently in the Lightroom 088 ROB SYLVAN . you may also come across some older galleries that consist of a single folder containing all the component files. you can find some third-party galleries with PayPal integration. .com http://theturninggate. Just click the gallery type that you want to use and configure the associated settings. Installing a gallery Installing new Web gallery plug-ins is pretty straightforward.adobe. but they’re all well supported and worth a look. The easiest way to find that folder is to launch Lightroom. Exchange.adobe. and click the Show Lightroom Presets Folder to learn more). some are donationware. however. commenting functions. You can test drive it by going to http://lightroomers.cooliris. One of my favorite galleries is the TTG Shadowbox Gallery by Matthew Campagna from The Turning Gate. ■ L ook in the Lightroom Web module and you’ll find the installed gallery types located in the Engine (choose Lightroom) www. but here are the basic steps: STEP ONE: Choose a new gallery (or two or three) from the resources listed. then download the file(s). you’ll usually have to unzip the Web gallery plug-in file. We need more galleries? What’s so great about these new galleries? Well. Depending where you get the files from. There are both HTML and Flash versions out there. Here are the actual paths to the Web Galleries folder: Mac—Users/[username]/Library/Application Support/ Adobe/Lightroom/Web Galleries Windows—Documents and Settings\[username]\Application Data\Adobe\Lightroom\Web Galleries Windows Vista—Users\[username]\AppData\Roaming\ Adobe\Lightroom\Web Galleries RESOURCES www. This is also where you’ll find any new gallery types that you install or visit Matthew’s site (see “Resources”).net http://lightroom-blog. This will open your file browser to the correct http://slideshowpro. Cooliris support (go to www. but I’ve also provided links to the websites of developers whose galleries I’ve used and who are active members of the Lightroom community. The folder is the plug-in so keep it intact and treat it as a single file. . STEP TWO: Place the file inside the Lightroom Web Gallery folder.


then its start-to-finish approach will help move you toward creating an efficient Lightroom workflow.peachpit. The author covers topics ranging from the most basic Lightroom operations to selecting and calibrating your display to working with GPS metadata.99 Pages: 624 Rating: ◆ ◆ ◆ ◆ ◆ Publisher: Peachpit Press Website: www. Publisher: Adobe Press Website: www. but also the author’s skill as a talented working photographer. then this is your book. The book is well illustrated with excellent examples. then the tutorial-based layout makes it easy to jump around and learn the specific feature you need without going through the whole book.Reviews by Rob Sylvan LIGHTROOM Book Reviews The Adobe Photoshop Lightroom 2 Book BY MARTIN EVENING The Adobe Photoshop Lightroom 2 Book for Digital Photographers BY SCOTT KELBY › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 If you’re looking for a single in-depth reference book on Lightroom 2.99 Pages: 448 Rating: ◆ ◆ ◆ ◆ ◆ 090 . Don’t skip the Introduction and be sure to download the example photos so you can follow along. Scott Kelby has an accessible writing style that’s sure to keep you engaged as you move through each step. This is a beautiful book full of large color images that not only illustrate the inner workings of Lightroom. I have no doubt that anyone owning this book will turn to it over and over as their experience with Lightroom increases and their desire to dig deeper grows. While complete newcomers to Lightroom may be a little intimidated by the heft of this book (it has the highest page count of any Lightroom book on the market). it would also make an excellent companion to a more introductory-level Price: $44.adobepress. then look no further. If you’re an intermediate-to-advanced Lightroom user. This is a fun book! If you learn by doing and enjoy following a step-by-step approach from an expert who not only knows the application but understands the needs and concerns of photographers. If you’re starting Price: $49.

com Price: $34. I understood it to mean that this book is primarily aimed at people who are earning their living from photography. I do think the beginner-to-intermediate user will be the most satisfied. . Inc. c o m Living up to its name.focalpress. who are shooting RAW. Inc. Website: www. While this book is targeted at all user levels of Lightroom experience. you’ll find a solid introduction into using Lightroom in these pages. this book serves a worthy guide to keep at your side while learning to use Lightroom 2. This is not to say a semi-pro or even a hobbyist photographer wouldn’t find this book useful. The emphasis in this book—for digital photographers only— may seem a little odd when you wonder who else would use Lightroom but after Price: $39.wiley. p h ot o s h o p u s e r . This is clearly a book written by a photographer for photographers. but it may not resonate as strongly.Adobe Photoshop Lightroom Section Adobe Photoshop Lightroom 2: A Digital Photographer’s Guide BY DAVE HUSS AND DAVID PLOTKIN Adobe Photoshop Lightroom 2 For Digital Photographers Only BY ROB SHEPPARD Publisher: Focal Press. Website: www.95 Pages: 384 Rating: ◆ ◆ ◆ Publisher: John Wiley & Sons.99 Pages: 368 Rating: ◆ ◆ ◆ ◆ 091 › › w w w. including an excellent in-depth focus on making local adjustments using the Adjustment Brush and Graduated Filter. It’s well-organized. All the essentials of Lightroom operation are covered. and who want to learn how to integrate Lightroom into their existing digital workflow. and does a nice job of explaining features clearly. And don’t skip any of the Pro Tips highlighted in bright green. filled with good example images. Some Mac users may be confused in the chapters that lack Mac-specific keyboard shortcuts and neglect some of the nuanced differences found in the Mac version of Lightroom (such as the location of the Preferences and Catalog Settings menus and the integration of iTunes in the Slideshow). Whatever your background may be.

(The camera profiles are part of the update. But why? Because Nikon is applying a different profile that reads the photo (and its color and tones) in a different way. simply choose one from the Profile drop-down menu to apply it to your photo. or maybe it has more contrast. these new Lightroom camera profiles match the appearance given by the camera vendors’ software. only theirs looks better somehow—until now that is. which makes the sky bluer and gives more saturation to the reds. we’re using Camera Vivid. select a photo that you’d like to edit (preferably something you’ve never edited before). . INTERMISSION So what are these profile things anyway? Here’s the easiest way to explain them: Lightroom applies a profile to the photo that reads the colors and tones in that photo and displays them a certain way.) The best way to do this is to go to the Lightroom Help menu and choose Check for Updates. In a nutshell. they’re applying a profile to it too. For example. Maybe it’s more saturated. The problem is there really isn’t an official rule for profiles. . After all. The profiles are located in the Profile drop-down menu at the top. If you’ve ever looked at the back of your camera and thought your photo looked great and then opened the same photo on your computer and been disappointed at how flat and lifeless it was.2 update if you haven’t already. STEP ONE: The first thing you need to do is download the Lightroom 2. . then you’re gonna love ’em. we’ll delve into an area of Lightroom that was rarely mentioned until a few months ago—the Camera Calibration panel. 092 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 STEP TWO: Once the update is installed. In this example. . just like Lightroom.UNDER THE HOOD Matt Kloskowski Using the New Camera Calibration Profiles X Y This issue. you may like the way that the photo looks better in the manufacturer’s software than you do in Lightroom. STEP THREE: To use a camera profile. Maybe the skin tones look better. not JPEGs. I admit that the only time I touched this panel for the first two years of my Lightroom experience was to click the triangle to collapse the panel so I didn’t have to see it. Press the letter D to enter the Develop module and scroll down the right-side panels area until you get to the Camera Calibration panel. if you look at your photo using your camera manufacturer’s software (say Capture NX if you’re shooting with Nikon). so it’s definitely worthwhile to upgrade. or PSDs. TIFFs. T . hen Adobe released one of the most clever additions to Lightroom—camera profiles. The update addresses a few bug fixes but it also automatically installs these new camera profiles. Note: One important point to mention is that these camera profiles work only for RAW or DNG files.

Again. This opens the Copy Settings dialog. using Nikon as an example. etc.Adobe Photoshop Lightroom Section STEP FOUR: You should immediately see a change in the photo. STEP SIX: Make sure you experiment with the different profiles and you’ll see some fairly drastic results. you’ll notice that these profiles are named the same as in the manufacturer’s software. Blacks. as if nothing were touched. In this case. Now how do I apply them to a bunch of a photos without having to do each one individually?” The first step is to copy the Camera Calibration settings from this photo. Capture NX (shown in the screen capture here) has something called Picture Controls—they’re the same thing as camera profiles. Saturation. go to the Settings menu and Pretty cool stuff. Vibrance.) are all at their default settings. If you’ve ever used your camera vendor’s software. ■ ALL IMAGES BY MATT KLOSKOWSKI 093 › › w w w. Because you don’t want to copy anything but the calibration settings. huh? So before you consider getting really mad at your camera (or your software) because you like the photos on that tiny LCD screen better. Then choose Settings>Paste Settings and your camera profile setting will be applied to all of the photos selected. but this is seamless to you. It’s basically giving you a better starting point. If you look through your panels. c o m . another is called Neutral. check out these profiles. all of the settings (Exposure. click the Check None button at the bottom. the colors look much more vibrant and vivid (hence the name of the profile). What’s really neat is that this profile hasn’t changed any of the settings for this file in Lightroom yet. One is called Vivid. Now check the Calibration checkbox to turn it on. STEP FIVE: You’ll notice that these profiles are camera specific. The inevitable response when people see these profiles in action is. and so on. I think you’ll find you can get the same great look with very little effort. Some are definitely more punchy than others. so you’ll never see the others that are available. Lightroom automatically recognizes the camera you used and shows you the correct profiles for that camera. “I love ’em. choose Copy Settings. STEP SEVEN: Now select all of the photos you want to apply the camera profile to (I usually select them down in the Filmstrip area at the bottom of the interface). p h ot o s h o p u s e r . and click Copy to close the dialog. Clarity. To do that.



and choose what you’d like to copy. press the Left or Right Bracket ([ ]) keys. To speed things up. press Shift-[ or Shift-]. press-and-hold the Option (PC: Alt) key and paint away the adjustment. To toggle between these two brushes. press J again to turn off Show Clipping. You can make corrections to prevent clipping of important details in the image. you’ll notice that it’s possible to have two different Adjustment Brushes: Brush A and Brush B. If only you could change this on the fly. To change the Flow amount. click on the triangle icons located at the top of the Histogram. select one or more images in the Filmstrip and press Command-V (PC: Ctrl-V) to paste the settings. While these auto options won’t always provide the best results. respectively. you can! While you’re dragging out a Graduated Filter gradient. You can also press Command-Option-C (PC: Ctrl-Alt-C) to copy settings without opening the Copy Settings dialog. If the clipping indicators on the image become distracting. press the Forward Slash (/) key. press the Apostrophe (’) key to quickly change the direction of the gradient. or Blacks sliders to temporarily view the clipping indicators. This can really slow down your progress. try making an adjustment and then press K twice—once to exit the tool and a second time to access it again and create a new adjustment. Faster gradient adjustments The Graduated Filter allows you to make gradual adjustments to localized areas of your photo but sometimes when you use this tool. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Blue indicates the shadows are clipped Auto corrections Select one or more images. Recovery. click on the image in the Filmstrip from where you’d like to copy the settings. If you’d like to quickly access and use the Erase brush. or press Shift-Command-U (PC: Shift-Ctrl-U). and basic retouching. Now you can use your shortcut keys: To make the brush smaller or larger. or press Command-U (PC: Ctrl-U) to automatically correct the tone. click on As Shot in the WB: section of the Basic panel and choose Auto. With this turned on. colored clipping indicators on the image mean one or two channels are clipped. they’re handy when you’re in a hurry or need a starting point. For an even less-obtrusive view of clipping. you need to click on the word New. To do this. Press Command-C (PC: Ctrl-C) to copy the settings.Chris Orwig X X Y Y LIGHTROOM Tips & Tricks Clipping warnings To prevent unnecessary clipping or loss of image detail. To change the brush Feather. Lightroom will set the sliders to maximize the range of tones while minimizing highlight and shadow clipping. Next. Well. turn on the clipping indicators before you make tonal adjustments. press-and-hold the Option (PC: Alt) key as you modify the Exposure. Next. ■ 096 CHRIS ORWIG . Faster retouching The Adjustment Brush tool works incredibly well for making corrections. To automatically correct the white balance. then click the word Auto in the Tone section of the Basic panel. press 1–0. open the Copy Settings dialog. But one of the problems with this tool is that every time you want to create a new adjustment effect. Copy settings To speed up the process of copying Develop module settings from one image to others. enhancements. or press the J key to Show Clipping. you’ll discover that you’ve accidentally added an effect that’s in the wrong direction.

please send it to letters@photoshopuser. If. Is there a way to avoid this? It seems like you haven’t changed the setting at the top of the Export dialog. I made a lot of adjustments to an image. and you’ll see that there are two sort options. Sort by Name 097 › › w w w.photoshopuser. a list of images will appear in the Import from Catalog dialog for you to move into your current catalog. How can I mark more than one photo as rejected? Click on the first image in the group you’d like to reject. ■ If you have a Lightroom question you’d like to see published in this column. as well. The sliders move to the same position. Clicking Grayscale in the Basic panel gives you easier access to the tonal adjustments. You can also change the way Lightroom displays the beforeand-after view. MIKE MACKENZIE RAFAEL “RC” CONCEPCION Q. If you switch this to Files on Disk. What’s the difference between the Grayscale mode in the Basic panel and the Grayscale mode located in the HSL/Color/ Grayscale panel? Choosing Grayscale from either location does the same thing to your image: It attempts to make the best grayscale conversion based on the image data. At the top of the Export dialog. Q. but it will place your collections first.Rafael “RC” Concepcion X Y LIGHTROOM Q & A Q. Click Grayscale in the Basic panel and note how the sliders move. p h ot o s h o p u s e r . Press the Y key to see a side-by-side Before and After view. however. will take all of the entries and sort them by name. click the down-facing triangle next to the Cycles between Before and After views icon (second icon) and make your selection from the drop-down menu. I have a bunch of collections that aren’t in alphabetical order. This is causing your problem. How can I sort them by letter? Click on the plus icon (+) in the Collections panel header. I thought that was a really weird place to put a dropdown. Is there a way to see what the image looked like before to make a comparison? Press the Backslash key (\) or choose View>Before/After> Before Only to see a Before view of the image. When you select the catalog (it will have a . the CD-burner program won’t launch.lrcat extension). In the Toolbar below the image preview area. c o m . and the settings in the Basic panel are the same as well. then click Grayscale in the Grayscale panel. I couldn’t figure this one out for the longest time until Scott Kelby pointed it out to while choosing Grayscale in the HSL/Color/Grayscale panel gives you quick access to the powerful grayscale mixer and Target Adjustment tool. Q. Press the letter X and those images will be marked as rejected. Sort by Kind will also alphabetize by name. Don’t worry. then Shift-click on the last image in the group to select all of the images in between (or Command-click [PC: Ctrl-click] to choose noncontiguous images). Yes. you’ll see a drop-down called Files on CD/DVD. then look in the HSL/Color/Grayscale panel and notice how those sliders have changed. Choose File>Import from Catalog and navigate to the desired catalog. go to the Help Desk at www. Q. my CD/DVD burner opens as if I’m trying to write a DVD. you’d like your question answered immediately. Every time I try to export pictures from Lightroom 2. Would you explain how to import images from another catalog into my current catalog? Sure. Now click Color to set the image back to color.

Pressing the new Info button alternately displays shooting data. and flipping pages of the included 444-page manual. Having said that. magnesium alloy body.600 (with some postproduction work) is simply miraculous—I’ve never seen anything like it. labyrinthian menus. professional camera. and white balance. efficient. digital SLR market. firing the shutter.3 lbs) but balanced. Live View’s focusing rectangle can be moved and magnified to zoom in on an area. pressing the new Info button brings up a comprehensive list on the LCD of frequently used features that can be highlighted and adjusted. Of all things to omit in Live View. ■ Company: Nikon U. The D700 produces smooth-toned. the D700 has a pop-up flash. and a wonderful virtual horizon feature for leveling your shots. The D700 performs quickly whether focusing. and it’s especially amazing in low light. it’s achieved by using a contrast-based autofocus.A. however. what counts: The image quality is excellent. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Underneath these buttons is a rotating wheel that lets you simply dial in single. 14-bit RAW files. left of the viewfinder is a convenient arrangement of three buttons for changing image quality. a grid.1-megapixel full-frame sensor as the D3 but the D700 is smaller. The D700’s Live View now has handheld and tripod modes—the distinction is in focusing. All this attention to ease of use adds up to less fumbling with buttons. has a dust-removal system. and TIFF formats. Although packed with features and buttons. It has an ISO range of 100–25. and mirror lock-up. Aperture. Near the shutter release is the Mode button for changing between the standard Platform: Price: $2. with a comfortable rubberized handgrip. It lacks the D3’s shutter life. FULL-FRAME DIGITAL SLR CAMERA 098 Positioned between Nikon’s D300 and D3 is the Nikon D700. One annoyance is Nikon’s design that requires you to simultaneously press a button to release and rotate a dial to make an adjustment.95 (Body only) Phone: 800-645-6689 Rating: ◆ ◆ ◆ ◆ . Still focusing in either mode is too slow. In tripod mode.000-pixel resolution sharply displays type and images in Live View. The control layout will look familiar to Nikon camera owners. First. lighter. the D700 sizzles. This avoids interrupting the image on the LCD when pressing the AF On button and necessitating flipping up the mirror. and deserves mentioning. LIGHTER. and Shutter priority.GET THE SCOOP ON THE LATEST GEAR Nikon D700 ▼ Review by Steve Baczewski SMALLER. Live View is still too slow to focus to make it meaningful in situations other than on a tripod in a studio. however. continuous highspeed shooting. Web: www. It’s not new to Nikon users but it’s brilliant. and continuous burst speed. There’s a slide door. or writing to a memory card. The sensor is capable of capturing a wide dynamic range with lots of highlight and shadow detail. The D700 has a solid. top-end.S. The D700 can shoot up to 5 frames per second (fps) RAW or 8 fps with a battery grip. Its compartments are sealed for moisture and dust. continuous. It uses the same 12. dual memory card slots. even in bright light. It’s a well-thought-out. The 3" LCD’s 920. For precision focusing. heavy (2. Live View.999. it’s designed to appease the professional photographer’s need for simplicity and allow for quick adjustments in changing light. single-slot CF memory card compartment that can use the faster UDMA cards and can record RAW. Manual. Nikon left out a live histogram for precision exposure! Bottom line: In a hot. self-timer. and is less expensive. Instead of searching the menus.nikonusa.600 and its ability to produce quality usable files even at ISO 25. as in the handheld mode. Right below the depth-of-field preview button on the front right is a programmable function button. JPEG. ISO. which is very practical to use as a fill light or to wirelessly trigger remote Nikon Speedlights.

So what can it do? It can provide selective and global contrast adjustments to an image to a degree not possible using standard Photoshop tools. To help those of us with slider phobia. Equalize. Fortunately. Platform: Mac and Windows Price: $69. and supports 8-bit and 16-bit (per channel) RGB images. There are no tutorials and only a brief online user guide. ContrastMaster offers six modes ranging from Novice to Expert.ContrastMaster ▼ Review by Dave Huss PLUG-IN FOR CONTRAST ENHANCEMENT ContrastMaster is a plug-in for creating complex contrast enhancement of images. a message advised me that. from a professional standpoint I don’t usually encounter clients looking for such effects. ContrastMaster isn’t limited to Photoshop. ■ Company: The Plugin Site Web: www. So download the trial version and take it for a spin.thepluginsite.COM 0 to 60 in 1/1000 of a SECOND . ContrastMaster might be just the creative tool you’re looking for. What it’s really good at is pushing the contrast settings beyond reason. While I enjoyed experimenting. because this was my first time. The latest release works with Mac OS X as well as Windows. Understanding how to use ContrastMaster is easier to grasp than quantum physics but not by much.BLACKRAPID. The first time I opened ContrastMaster. The potential results range from enhanced contrast to visual effects that border on the surreal. I was starting in Novice mode— a wise choice. it works with almost any photo editor that supports Photoshop plug-ins. there are multiple presets that can be applied to an image to see what this tool can do.95 Phone: Rating: ◆ ◆ ◆ WWW. Stretch. thereby creating some pretty cool photorealistic effects. but those brave souls willing to invest the time to comprehend the interactions of the myriad controls will enjoy the endless combinations of effects that can be produced. and Polarize—controlled from a single dialog with more sliders than my old graphic equalizer. What is ContrastMaster? It’s four methods of contrast control—S/H-Contrast.


Lensbaby ▼

Everything you knew about the selective-focus lens system known as Lensbabies has changed—including the name of the company. Lensbaby, LLC (new name) offers three separate SLR lenses named Muse, Composer, and Control Freak. All three lenses have an Optic Swap System that allows quick switching of optics without removing the lens from the camera—for those who do outdoors location shooting, this is a godsend. Basically, the selective-focus lens system is a manual lens that replaces your regular lens. This lens provides a creative tool that can isolate the focused area of the frame to a single spot—a sweet spot—with the rest of the frame out of focus. The first time I used the Composer I had a flashback to the time I used my first 35mm camera, which was manual everything. On top of that, you control the aperture of the Composer by replacing metal discs (each one marked with a different f-stop). The device that holds all the different discs is also part of the tool used to interchange them. Years of shooting with a highly automated system meant it took a little time to get accustomed to this system. But within 30 minutes, it felt comfortable and using the camera’s LCD, I was soon shooting some pretty artsy photos. Once I had the exposure settings correct, it was time to explore the Optic Swap System, which has four interchangeable lens options: Double Glass (50mm multicoated optical glass lens); Single Glass (50mm uncoated optical glass lens); Plastic

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(50mm f/2 plastic lens that produces a hazy blur); and The Pinhole/Zone plate. This last one has an aperture hole (equivalent f-stop of 177) for pinhole photography. Now that’s truly retro when you can use a camera costing several thousand dollars to create the same image quality that I made back in the ’60s using a cardboard box! Why three SLR lenses? The Muse and Composer are similar in their operation but different in design. Muse (similar to the original Lensbaby) uses a flexible body that you squeeze and hold in place while taking the photo. On the other hand, the Composer is based on a ball-and-socket arrangement that allows you to move the lens until you get the desired composition, and then it holds the lens in that position while you fiddle with the camera settings. Composer has a locking ring that makes sure the lens doesn’t move and I had to overcome the habit of trying to adjust it like an aperture ring. At the time of this review, the Control Freak wasn’t available; but it looks exactly like the Lensbaby 3G and it seems appropriately named, as it allows precision adjustments of the sweet spot. The real test came at a wedding: I mounted the Composer on my backup camera, dusted off my trusty old light meter, and took as many shots (mostly under low-light conditions) as the assignment allowed. When I reviewed the photos after the wedding, I had to admit that some of the Composer shots of the bride looked really fantastic. In some cases, I had set the sweet spot wrong, but the resulting photo looked better than I had envisioned (the client thought I was an artist). I also tried the Plastic optic on “Grandma” and it was an instant glamour shot! Overall, the Composer and the additional optics are pretty impressive. It will take some time to get the hang of it, but I consider it time well spent. ■

Company: Lensbaby, LLC Price: Composer $270; Muse $150; Control Freak $270; Optic Kit $94.95 Web: Platform: Phone: 877-536-7222 Rating: ◆ ◆ ◆ ◆ ◆


Autodesk Stitcher Unlimited 2009 ▼

Autodesk Stitcher Unlimited 2009 is photo-stitching software for producing panoramas and more. I’ve made hundreds of panoramas using the Photoshop Photomerge feature and have been happy with the results, so my main questions are: Will Stitcher Unlimited “play well” with Photoshop, and is it worth the extra money? Stitcher uses a photo-stitching engine that stitches, aligns, and color-corrects automatically, and it’s easy to use their five-step process to create a panorama. The acid test of their alignment feature (where most stitching programs fail) was some handheld photos I took of the Golden Gate Bridge with all its suspension cables. The resulting panorama was seamless; every cable between the individual photos matched. Another Stitcher feature I like is Double Shot, where you can stitch together two fish-eye lens shots into a single panorama. And Stitcher Unlimited even allows you to make panoramas using HDR images. (I didn’t test this last feature…I will as soon as I successfully make my first HDR image. Hope springs eternal!) So how does it work with Photoshop? You can import and export an image from Photoshop (it supports PSD files, images, and masks), and Stitcher can create a panorama in PSD format that contains separate layers for each individual image. All of the professional tools are also included, allowing you to create environment maps for 3D rendering and Web-based virtual tours using the Apple QuickTime, Adobe Flash, or Java-based viewers. The Autodesk Stitcher Unlimited 2009 is a lot cheaper than the cost of a digital panoramic camera and you can download a fully functional 15-day trial version from their website. Stitcher is a professional tool that produces stunning panoramas. If you’re serious about making panoramas, try Stitcher Unlimited. You’ll be impressed. ■

Company: Autodesk, Inc. Web: Platform: Mac and Windows

Price: $350 Phone: 800-964-6432 Rating: ◆ ◆ ◆ ◆ ◆


Casio Exilim EX-Z300 ▼
EZcube Light Box ▼
TOP-ACCESS LIGHT TENT Review by Laurie Excell
Diffused light is great for photographing so many subjects. I love the soft light of an overcast day, and I wanted that same soft light when photographing products. I could invest in a lighting kit with softboxes or wait for an overcast day but neither of those options suited my particular needs. So, I went investigating and that’s when I found the EZcube Light Box. The EZcube is a diffusion tent in which you can place items and get that wonderful diffused light—softening hard light and shadows, and removing unwanted glare from shiny objects. It can be used with natural or artificial lighting and it collapses to an easy-to-store and -transport package. I found the EZcube easy to set up and use right out of the gate and have been using this light box for all my product shots. There’s a zipper flap for easy access to the product or you can place the EZcube over stationary objects that cannot be moved. Replaceable sweeps allow me to change the background, as desired, to a variety of colors. Risers are available on which to place products, giving a beautiful reflection. It even has grommets strategically placed in the EZcube, along with a suspension system to hang products from, for a completely shadowless image. The EZcube is available in five sizes: 12", 20", 30", 40", and 55" to accommodate products from jewelry to large items. Included with every EZcube is a handy guide, as well as a DVD tutorial to help you get started. ■

The Casio Exilim EX-Z300 is a 10.1-megapixel point-and-shoot with a zoom range of 28–112mm (35mm equivalent). The thin metal body easily slips into a shirt pocket, but getting a good grip can be an issue. The new image processor enables you to shoot at higher ISOs (range is 64–3200) with relatively low noise levels. I shot at night and indoors at ISO 1600 and, although there was noise and loss of detail, I was impressed with overall dynamic range and image quality. Camera movement is minimized by mechanically shifting the sensor or raising the ISO to allow faster shutter speeds. Also new is shooting 720p HD movies with a dedicated Movie button for added spontaneity. Sadly, the zoom becomes disabled in movie mode. Face recognition stores up to six faces as references for future shots. Press the dedicated Make-up Shot button before taking a shot, and the EX-Z300 applies 12 degrees of airbrushing to smooth blemishes, wrinkles, and remove harsh shadows without oversoftening. The EX-Z300 uses SD cards and records JPEG, MOV, and WAV formats. The 3", 230,400-pixel LCD screen holds up well in bright outdoor light. To the right of the LCD is an intuitive five-button control panel and a four-way navigational pad whose right- and left-navigational arrows can be programmed to adjust ISO, EV compensation, etc. Pressing the Set button brings up a panel of frequently used features on the LCD that can be adjusted quickly, sparing a trip through the menus. This is a totally automatic camera with no aperture or shutter priority modes. There are 38 Best Shot preset scene modes that can be used as a workaround: Landscape gives you maximum depth of field; Sports gives you a fast shutter speed; etc. Image quality is very good up to ISO 400, but general performance suffers with a 3-sec. lag between shots. ■

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Company: TableTop Studio LLC Web: Platform:

Price: $55–149.95 Phone: 805-566-0315 Rating: ◆ ◆ ◆ ◆

Company: Casio America, Inc. Web: Platform:

Price: $299.99 Phone: 800-836-8580 Rating: ◆ ◆ ◆


this projector has reached a mythical ideal and comes highly recommended. and you’re presented with a stunningly simple window. Making use of the different preview modes allows you to see what kind of results you can expect.000:1 contrast ratio and is. with the Xbox 360 hooked up to the second HDMI port. This prompted me to find a way to see shots as big as they could possibly be—on the cheap. Nik Software continues to improve their products for both usability and functionality. there’s still room to grow the entertainment center with remaining component. it wowed the family with photos from a Nikon D700 using the onboard 3D color management system (then I popped in a Blu-ray of Ironman and really knocked their socks off ). This might sound oxymoronic but bear with me. ■ . This full HD. go to Images>Edit with and select your choice of Sharpener Platform: Phone: 888-337-1215 Rating: ◆ ◆ ◆ ◆ ◆ 103 › › w w w. the cable guy came out to upgrade our service to HD by linking directly with the projector using one of the two component cable inputs and he couldn’t believe it was a projector and was “dumbfounded” by how crisp the picture looked at 100+ inches (and this was with all the Company: SANYO North America Corporation Price: $1. while also making them easier to use and more intuitive. In Aperture. I could spew all the numbers in the world but what really counts is how it performs. which allows you to “brush in” the effect. meaning.95 Phone: 619-725-3150 Rating: ◆ ◆ ◆ ◆ ◆ SANYO PL V-Z700 ▼ 1080P HOME ENTERTAINMENT PROJECTOR Review by Issac Stolzenbach Back in the September 2008 issue of Photoshop User. it’s extraordinary. the process is fairly easy without any need for a manual or tutorial to get started.niksoftware. The effects can be fine-tuned with the control features of the Selective tool. Alas. The Soft Proof preview is a reasonable way to see what your final output might look like. it’s to be expected that the contrast levels are a bit lower than your boss’s projector that costs three times as much. if you look closer and take into account that it was the first 1080p projector to clock in under two grand. I couldn’t find a single flaw to complain about other than the usual fine-tuning for whatever room it’s in. Finally.995 Web: www. Even with all this stuff hooked up. In preparation for the national analog-to-high-definition Platform: Mac and Windows Price: $199. Web: www. or simply apply a global effect to your entire image. and after some time with Nik Sharpener Pro 3. John Paul Caponigro asked us to consider scale when contemplating our images’ intended impact. Select either the RAW (presharpening) or Output (printing) option under the Filter menu. Halo 3 astonished the pizza-delivery guy (so much so that he flashed his Halo 3 tattoo and refused a tip).Reviews Nik Sharpener Pro 3 ▼ PHOTOSHOP IMAGE-SHARPENING PLUG-IN Review by Daniel M. S-Video. I tested SANYO’s projector extensively: hooked up to a Sony PS3 via HDMI with CF card installed. Just keep in mind that at this price. With that said. so you won’t overprocess your image. This is an excellent bit of progress for an already fine product. p h ot o s h o p u s e r . c o m living room lights on). saving user presets and “dialing in” for your own style happens easily and quickly. however. ■ Company: Nik Software. Inc. One of my favorite features is the Selective tool. and analog RGB and video inputs. for the price. I found this excellent for adding a bit of sparkle to the eyes or for certain product photography. thus. With your image open on your display. at a glance. Nik Sharpener Pro 3 is my favorite sharpening plug-in to date and the results prove my point—and theirs. East Getting that razor-sharp look can make all the difference for those who earn their living as photographers.sanyoprojectors. but Nik Sharpener Pro 3 is a huge leap forward in image enhancement. 16:9-aspect-ratio projector is rated at 1. impressive. Some plug-ins fall short of this task because they create something too edgy and harsh. you can get by without upgrading to an HDMI-compatible receiver.200 lumens with a 10.

this is an excellent choice for someone self-teaching Photoshop who isn’t interested in a lesson-based book. suitably illustrated. read about it. and the only reference to CMYK you’ll see is in a discussion of how to use Selective Color with RGB images. The coverage of Adobe Camera Raw is a bit limited and the author seems to prefer adjusting composition (cropping and straightening) in Photoshop rather than taking advantage of the nondestructive capabilities in Camera Raw. But. this book has room for numerous step-by-step instructions and “Putting it Together” exercises that don’t fit in a more streamlined reference book.wiley. but there’s far more here than simply cookbook-style procedures for processing images. and comprehensive in what’s covered. then do this. You’ll find a wealth of information on how to work in Photoshop.99 Pages: 382 Rating: ◆ ◆ ◆ ◆ 104 . what’s the difference between this book and your Photoshop CS4 for Dummies?” My answer? Price: $39. then do this. then do that. look it up.sybex. Website: www. No mention here of the Type or Pen tools (not that digital photographers never need those tools). If the word “workflow” conjures up images of “Do this.” the title of this book might scare you Price: $39. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Publisher: John Wiley & Sons. this book has lots of great Photoshop information for digital photographers. Note the subtitle.Book Reviews by Peter Bauer BY BARBARA OBERMEIER Photoshop CS4 All-in-One for Dummies BY TIM GREY Photoshop CS4 Workflow: The Digital Photographer's Guide The question I regularly hear about Photoshop CS4 All-inOne for Dummies is “Other than price. With almost 300 more pages than mine. It’s also great for someone who occasionally has to delve into parts of Photoshop with which he or she is generally unfamiliar. You’ll find thorough coverage of all of the major features in Photoshop CS4 (but nothing on the additional features of Photoshop CS4 Extended). Have a new task looming on the horizon? Pull out the book. however: This is a book for digital photographers. whether they shoot RAW or JPEG. confidently fulfill your assignment. Easy-to-read.99 Pages: 696 Rating: ◆ ◆ ◆ ◆ Publisher: Sybex Website: www. Inc.


so you’ll have to take that into consideration as well. But it’s important to note that this doesn’t mean you should also place buttons and banners throughout all that real estate. you can see this information when you choose File>File Info and click on Camera Data. screen resolution improved. and scroll components will also occupy that space. Once that’s completed. this information is stripped from the file. you can download screenshots of browsers at various resolutions to get an idea of just how small that main window is. As technology advanced. Normally. so it’s actually a lot smaller. Does this mean that I can add layer styles and masks to it? How does this differ in Photoshop CS4? Absolutely. Not too long ago. When you think of a 1024x768 screen. or If you go to www. this is good. In Photoshop. you can add layer styles and masks. If you select Sidecar “. or in the Metadata panel in Bridge. and File>Close steps. If you select Camera Raw Database. Remember that this smaller space will also contain some of the copy and images for the website. I design my webpages at 1024x768 (because anyone looking for my work couldn’t possibly be looking at it with a smaller screen!). RAFAEL “RC” CONCEPCION Q A › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Q A What are the correct dimensions for designing a webpage? I’ve heard many conflicting answers! The reason that there are so many answers is because there are so many different preferences for computer screens these days. One of the coolest things that you can do with Photoshop CS3 Extended is play around with video. When you want to remove this information from the files. application bars. the file’s image settings will be saved on your computer.webdesignerstoolkit. Someone told me that she can open the file and see all of my camera settings. but some photographers are a little protective of this information because it’s technically the “recipe” for the shot. File>Save for Web & Devices. So…you need to think of your design and how to make it appeal to the largest audience possible. 800x600. If you design to this. there are a couple of caveats. just drag the files onto the droplet. then plan toward that. When you use File>Save for Web & Devices. make a droplet of the action and have the droplet save the files in the already existing folder. and we started seeing sizes such as 1280x800 (widescreen monitors) and 1440x900. we counted on computerscreen resolutions being 640x480.Rafael “RC” Concepcion Photoshop Q & A Q A I want to show my photos on the Internet. status bars. you generally won’t have a problem. keep in mind that the browser window. you’ll see a dialog that allows you to change where you want to save image settings. I recommend that you create an action that includes File>Open. you’ll ensure that the important portions of your page will be seen. How can you change where Adobe Camera Raw makes its changes to the RAW file? If you choose Photoshop (PC: Edit)>Camera Raw Preferences. 106 . data about each photo is recorded into something called EXIF data. however. Q A Q. then all changes are saved to the XMP sidecar file and you’ll need to copy that file with the image to any new location where you want to see the changes. Is there a way to delete that information? When you take pictures.xmp” Files. If you keep your navigation elements within 175 pixels horizontally and vertically. Photoshop CS3 Extended allows you to work with video.

com. because who wants orange skin? . please send it to letters@photoshopuser. This gets a little complicated when you try to copy groups to other files. First. 107 › › w w w. or drag the group onto the Create a New Layer icon at the bottom of the Layers panel. If. and your new shape will be created.photoshopuser. Select the second shape you want to use. With select one of the shape options in the Options Bar. from monochrome (desaturated) to twice the color intensity that the image would normally have. Any color that appears to be skin-related is left untouched. Intersect Shape Areas. Vibrance is very selective about what it saturates. respectively. ■ Q A Q A How do I create new shapes with already existing shapes in Photoshop? You have two ways to go about this. select both shapes and click the Combine button in the Options Bar. and Exclude Overlapping Shape Areas tools in the Options Bar. To make this work in Photoshop CS4.Photoshop Q & A If you want to apply a specific mask to a video in Photoshop CS3 Extended. ©ISTOCKPHOTO/OLGA GROMOVA If you have the shapes on separate layers. go to the Help Desk at www. you’d like your question answered immediately. c o m What’s the difference between Vibrance and Saturation in Adobe Camera Raw? Saturation uniformly decreases or increases the colors in an image. however. you’ll need to convert the video to a smart object and from there. where you take a new shape and use it to cut out (or subtract) from the original shape. you can apply your styles and masks. colors that aren’t very saturated become more saturated. it will cut out that shape from the original. Subtract from Shape Area. If you have a Photoshop question you’d like to see published in this column. however. Add to Shape Area. The other window will appear and you can drop the layer group in that window. use the Move tool (V) to move the object from the document onto the tab of the other file. Finally. It’s easy in Photoshop CS3: Simply grab the group folder and drag it into the window of the second file. colors that are already very saturated are left alone. Highlighting each of the paths. One of my favorite options is Subtract. use the Create New Shape Layer. Q A How do you duplicate a layer group? There’s a couple of ways to do this. p h ot o s h o p u s e r . with a shape tool selected in the Toolbox. use the Path Selection tool (A) to select a given shape. Photoshop CS4 Extended allows you to mask the video and apply styles without first making a smart object of the video layer. and when you draw on the shape. Press Command-C (PC: Ctrl-C) then Command-V (PC: Ctrl-V) to copy-and-paste that shape into the second shape layer. You can either Control-click (PC: Right-click) on the group and select Duplicate Group.

Clarke” Isabelle agrees with Arthur . “shows off their power and grace in her own landscape using Photoshop to paint the skies and foregrounds. and says. She photographs them in their dusty warm-up arenas and then.NAPP Photoshop Design Showcase Where NAPP members get to exhibit their artwork If you’d like to have your work considered for publication in the NAPP Photoshop Design Showcase. submit samples of your artwork to fnelson@kelbymediagroup.” www. “Photoshop is magic at our fingertips. Any sufficiently advanced technology is indistinguishable from magic. Isabelle Green Isabelle lives in rural Vermont where each summer some of the most beautiful horses enter dressage and hunter-jumper competitions.

www. he’s a career firefighter. p h ot o s h o p u s e r . she returned to her two loves—painting and photography— creating unique imagery with more depth and texture than the original photograph. and filters in Photoshop to accomplish my goal of a more painterly style of photography. opacities. Andie became a freelance illustrator/graphic designer. opening Roobiblue Studios in 1986. “I’m enthusiastic about experimenting with layers. that keeps folks guessing…Is it a photo?” www. One of his passions is shooting images of firefighters in Brian is an emerging photographer in the York.▲ Brian Bastinelli ▼ Andie Styner Having attended the School of Visual Arts in 109 › › w w w.roobiblue. She remarks. Recently. “My close relationship with area departments and knowledge of the job allow me close access to dramatic emergency scenes where I can create these unique images. According to Brian. c o m . At present. transitioning to full-time photographer. Pennsylvania area.” Check out his website to see more of his work.

Command-L (PC: Ctrl-L) activates the Levels command. 2. 5. you do back up your system regularly. Once you’ve saved your preset in its default location. the Presets folder.Sherry London Photoshop Quick Tips Save custom settings In Photoshop. To get your presets to appear in the various menus. 3. Command-W (PC: Ctrl-W) closes the current file and gives you a chance to save it. I wanted to create a preset to apply the same blackand-white adjustment (Image>Adjustments> Black & White) to several different images. use Command-Option-F (PC: Ctrl-Alt-F). Command-Option-L (PC: Ctrl-Alt-L) shows you the last settings used with the command. but I saw no obvious way to do so. the new layer appears wherever you release the mouse. Shapes. you’ll register them so they fit together perfectly. 4. SHERRY LONDON Before After QUICK KEYSTROKES This issue. it only copies the selection into the new layer. One of the more useful variations of this command. Make it fit If you drag a layer into a different image. Gradients. Command-J (PC: Ctrl-J) copies the active layer into a new layer. 1. Command-F (PC: Ctrl-F) repeats the last filter you used at its most recent setting. for example. which will open that filter’s dialog. Adjust the various sliders to bring out the best in the image. If your two images are the same size. So long as the multiple layers are highlighted in the Layers panel. Then use the Move tool (V) and drag the layers from their image directly into the new image. Recently. The default location for a Black and White adjustment preset is as follows: Macintosh—Hard Drive/Applications/Adobe Photoshop CS(version)/Presets/Black and White Windows—C:\Program Files\Adobe\Adobe Photoshop CS(version)\Presets\Black and White Reinstalling presets You can reinstall your presets (Brushes. then press Command (PC: Ctrl) and click on the bottom layer of a five-layer document to choose just those two layers. you can click on the top layer. (But then again. simply hold the Shift key as you drag-and-drop. I’m rounding up the keystrokes I use most often. just drag a copy of each preset to the same location/folder (see above tip for default location) in your new version of Photoshop. It’s a good idea to periodically save your presets to an external drive or CD as well. your new setting will then appear in the dropdown menu of available Presets. etc. If you want to center the dragged layer in the new image. however.) when you upgrade to a new version of Photoshop. you can always browse for them in the older Photoshop version when you go to apply or load them again. Add a quick sepia tone You can give an old image a quick sepia tone via the Black and White adjustment dialog. Just check the Tint box and drag the Hue and Saturation sliders to find the color you like. If you don’t mind that the presets won’t appear in the various menus. I cropped this 1973 image of my son and added a slight vignette (Filter>Distort>Lens Correction) at the edges. don’t you?) Moving multiple layers To drag multiple layers from one document to another at the same time. especially with regard to its interface buttons and icons. If you want the last filter you used but need to change the settings. however. you really need to be observant. They don’t need to be contiguous. I also keep a duplicate (read: “safety net”) Presets folder outside the Adobe folder on my hard drive and keep it updated. ■ 110 › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 . if necessary—instead of first saving then closing the file. I finally noticed the tiny “I’m a menu” Preset Options icon to the right of the Preset drop-down list in the Black and White dialog and bingo! One click and you can Save or Load any custom preset you want. they’ll all follow the Move tool. You can recall your Curves settings the same way—Command-Option-M (PC: Ctrl-Alt-M). select each layer you want in the Layers panel. For my example. Shift-Command-E (PC: Shift-Ctrl-E) is the Layer>Merge Visible command and copies all visible layers in a selection. If you have an active selection.

. 125 www. . . . . . 95. . . . . . . . . . . . . . . . . . . . . . . . . . . .com . . . . . .com PhotoshopCAFE . . . . . . . . . . . . .com . . . . . . . . 123 www. . . . . . . . . . . . 128 www. . . . .blackrapid. . . . . . . . . . . . . .com [A] Adobe Photoshop CS4 Book for Digital Mpix. . . . . . .zooprinting. . . . . . . . . . . . .com I. . . 129 www. . . 87 www. . . . . . . . . . . . . .alienskin. 13 www. . . . . . . . . . . . .com AMC Colorgrafix . . . . . . 127 www. . . .com Alien Skin Software. . . . . . . . . . . . . . . 89 www. . . . . . . . . . . . . . . . . . .copycraft. .com [F] Fotolia . . . . .com BOSS LOGO Print & Graphics Inc. 31 www. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .com www. . . . . . . . . . . . . .istockphoto. . . . . . . . . . . . 15 www.niksoftware. . . . . . . . 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Inc. . . . . . . . . . .adorama. . . . . . . . . . . . . . . . . .airbrushaction. . . . . 59 www. . . .IBC www. . . . . . .com [L] Layers Magazine . . . . . . . . . 128 www.medialab. . . . . . . . . .ononesoftware. . .photoshopworld. . . . . . . . . . . . . . . . .Photoshop March 2009 user I N D E X O F A D V E R T I S E R S For advertising information. . . . . . .5000cards. . . . . . . . . . . . . . . . . . . . . . . . . . . 126 www. . . . . . . . . . . . . . . . . . . . . . . . . . 20 www. Supplies . . . . . . .estudiolighting. . . . . . . . . . .com Airbrush Action. . . . . . . . . . . . . . . . . .axiotron. . . . . . .com PrintRunner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .com Hill & Usher .com Photos. .photoshopcafe. . . .com [R] Really Right Stuff .T. . . . . . . . . . . .com/JupiterImages . . . . . . . . . .corel. . 94 www. . . . . . . . .com Print Factory. . . . . . . . . . . . . . .com [M] MacMall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .amc-color. . . . . . . . .com [Z] Zoo Printing . . . . . . . . . . . . . . . . . . . . 105 www. . .com Axiotron . . . . . . . . . . . . . . . . . . . . . .hillusher. .mysmithmicro. . . . . . . . . . . . . . . . . . . . .com [W] Westcott. . . . . .bhphotovideo. . .printrunner. . .kelbytraining. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 www. . . . . . . . . . . . . . . . . . . . . . 116–117 Adobe Photoshop Seminar Tours. Inc. . Inc. . . . . . . . . . . . . . . . . . . .cdw. .com Photoshop World Conference & Expo . . . . . . . . . . . . . .com Adorama Camera. . . .dahle. . . . . . 105 www. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .bigposters. . . . . . . . . . . . . . . . . . . . . . . . .com [B] B&H Photo. . . . . . . . . . 101 www. . . . Inc. . . . . . . . . . . . . . . . . . . . . .. The . . . .com [G] Graphic Authority .com Creative Juices. . . . . . . . . . . . . . . . .com Media Lab. . . . . .com Smith Micro Software . .kelbytraining. . . . . . . . . . . . . . . . . . . 124 www.macmall. . . . . . . . . . . . . . . . . . . . . . . . Inc. .com [O] onOne Software . . . . . . . . . . . . . . . . .com [U] UPrinting. . . . . 11 www. . . . . . . . . . . . . . . . . . 111 . . . .com [C] CDW. . . .9 www. . . . . . . . . . . . .GoPrintFactory. . 123 www. . . . . . . . . . . . . . . .com Lens Pro To Go. . . . . .com › › w w w. 122 www. . . . . .com [P] Peachpit Publishing Group . . . . . . . . .layersmagazine. . 112–113 www. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RawWorkflow. . . . .janesdigitalart. . . . . . . . . . . . . . . . 121 www. . 73 www. .41–46 www. . . . . . . 99 www. . . . . . . . . . 25 www. . . . . .com LC Technology. . . . BC www. . 4 Over. . . . . . . . . . . .fjwestcott.uprinting. . . . . . . . . . . . .com [J] Jane’s Digital Art School .lc-tech. c o m [E] eStudioLighting . . . . . . Inc. . . . . . .com BlackRapid . . . . . . . . its accuracy cannot be guaranteed. . . . . . . . .fotolia. . . . . . .hp. .layersmagazine. . 114–115 www. . . . . . . . . . . . . . . . . . . . . . . . . . . .com [I] iStockphoto . . . . . . . . . . . . . . . . . . . . p h ot o s h o p u s e r .com While every attempt has been made to make this listing as complete as possible. . .6 www. . . . .. . . . . . . . . . . . . 105 www. . . . . . . 53 www. . . . . . . . . . . . .itsupplies. . . . . 35 www. . . . . . . . . . . . . . . . . . . . . . . . . . . . .com [K] Kelby Training . . . . . . . .com [D] Dahle North America . . . . . 120 www. . . . . .photos. . . . . . . . . . . . . . . . . . . . .com [S] Shutterstock. . . . .RawWorkflow. . . . . . . . . . . . . . . . 21 www. . . . . . . . .com Professional Photographers of America (PPA) . . . . . . . . . . . . .com [N] Nik Software. IFC–3 www. .kelbytraining. .4over. . . . 27 www. . . . . . . . . . . . .reallyrightstuff. . . . . . . . . . . email: mgotelli@photoshopuser. . . . at 916-929-8200. . . . . . . . . . . . . . 76. . . . .



















and then click a lower layer or the bottom layer to select all contiguous layers between. Adjust kerning Kerning is the technical term for the space between letters. Click the Layers panel’s flyout menu. Command-click (PC: Ctrl-click) on the pasteboard to deselect. especially when using uppercase letters. Command-click (PC: Ctrl-click). and click OK. it will be selected in the Layers panel. called a scrubby slider. ■ New document from layer Have you ever wanted to move a single layer to a brand-new document? Select the layer. Your layer will now appear in a new document.) You’ll notice that a marquee selection will appear around the area where you’re Command-click (PC: Ctrl-click) on the layer’s name. Drag and select Many people don’t know you can click-and-drag to select layers from the document window. Hold down the Option (PC: Alt) key to slow down the adjustment speed to 1/10 of its normal sensitivity or hold down Shift to speed up the sliders to 10 times their normal speed. To add or remove a layer from the selection. How about some real control? Press the Command (PC: Ctrl) key while hovering over a field (not the name) to invoke the scrubby sliders. make your necessary adjustments from the ensuing dialog. ALL IMAGES BY COLIN SMITH .Colin Smith Photoshop Beginners’ Tips Too big to see Have you ever copied a layer into a document then noticed it’s way too big to see? You want to resize it but you can’t see the corner handles either. Colin is also the founder of PhotoshopCAFE. Extra Tip: To help visualize kerning. Click-and-drag in either direction to adjust the setting. click the Maintain Aspect Ratio icon (the chain) in the Options Bar to constrain the proportions. The easy way to adjust the kerning when using the Type tool (T) is to insert the cursor between two letters. Then hold down Option (PC: Alt) and tap the Left or Right Arrow keys to decrease or increase the spacing. All the selected layers will be moved into a group folder. hold down the Shift key. and click-and-drag over the W or H to resize. in the Destination section. and writer. but here’s a new way to resize the layer: Press Command-T (PC: Ctrl-T) to enter Free Transform. click the Layers panel’s flyout menu. › › p h ot o s h o p u s e r › m a r c h 2 0 0 9 Add or remove layers from the selection You can select multiple layers from the Layers panel: Just click the top layer. and click OK. This group can be expanded or collapsed by clicking the triangle to the left of the Group folder icon in the Layers Whenever you touch the pixels of a layer while the key is pressed. That was easy! and choose Duplicate Layer from the list. has authored or co-authored several books on Photoshop. and drag the cursor from the surrounding pasteboard into the canvas. Grouping layers When you have several layers selected. Choose the Move tool (V). In the Duplicate Layer dialog that appears. (Note: If you don’t see the pasteboard. You’ll often need to adjust this. look at three letters at a time and adjust them as you go. you can group them together into a subfolder in the Layers panel. lecturer. choose New Group from Layers. you see a double arrow. respectively. 130 Colin Smith. There are several ways to address the problem. and has created a series of Photoshop training videos available from PhotoshopCD. Scrubby slider speed control You’ve probably noticed that if you move your cursor over the name of most settings in dialogs and panels. set the Document menu to New. Name it (if you wish). an award-winning designer. click-and-drag the corner of the document window until you do.