Photoshop User January 2017

THE A D O B E P H O T O S H O P H O W -T 0 MAGAZINE J a n u a r y 2 0 1 7
DYNAMIC Transform midday landscape In this new column, DESIGN WITH

shots into magical golden-hour learn how to design for
RANGE photos using Photoshop ACR both print and Web PHOTOSHOP
THE OFFICIAL PUBLICATION OF
Photoshop
The
Ecosystem
Dont hit the ceiling because youre away
from your desktop. No matter where you
are, Adobe mobile apps and the Creative
Cloud allow you to keep capturing and
editing amazing images.
Ian Munro KelbyOne Member
TABLE OF CONTENTS January 2017
FEATURE
The Photoshop
62 Ecosystem
Mobile devices arent just convenient any more;
theyve become tools of daily life. Theres no
shortage of creative apps for phones and
tablets, though it can be a challenge to get
them all to work together. Adobe recognized
this challenge and put significant amounts of
energy toward making smooth transitions from
Images: Adobe stock; Layout: Margie Rosenstein
devices to desktops, enabling you to continue

your creativity on the run or in a chair. The grow-
ing catalog of creative apps is set to turn your
phones and tablets into real tools for productivity
and creativity.
Scott Valentine
Departments Reviews
A Note from Scott
007 098 Macphun Luminar
Contributing Writers
009 100 Perfectly Clear Complete
The Benefits of Membership

010 102 Capture One Pro 10
KelbyOne Community
012 104 DxO ViewPoint 3
Heard on the Tweet

022 105 GoPro Hero5 Black
From the Help Desk

108 106 Photoshop Book Reviews
DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it means All lighting diagrams courtesy of Sylights
there are either downloadable practice files or additional content
for KelbyOne members at http://kelbyone.com/magazine. Click this symbol above to access the Table of Contents.
KELBYONE.COM
How-To
Adobe Stock/digitalskillet1
024 DOWN & DIRTY TRICKS
Create a Football Poster Composite
034 DOWN & DIRTY TRICKS

Create a Surreal Levitation Photography Project
Kirk Nelson
0 44 BEGINNERS WORKSHOP
How to Create a Selection Using Channels
0 56 PHOTOSHOP PROVING GROUND

Three Ways to Use the Threshold Adjustment Layer
Lesa Snider
0 86 DESIGNING WITH PHOTOSHOP
Welcome to Graphic Design for Photoshop Users
Adobe Stock/gromovataya
092 PHOTOSHOP TIPS
Boost Your Productivity and Creativity
094 DESIGN MAKEOVER

Freeze Frame
DYNAMIC
RANGE 50 Creating a Golden-Hour Look
Were told time and time again that there are only two
times each day when we can successfully shoot a land-
scape: the golden hour, which is early in the morning and
again in the evening. But when were out on the road, we
have to carefully choose where we are for sunrise and
sunset. Well take a look at what makes a golden-hour
shot versus a shot taken in the middle of the day, then
use that information to emulate the golden-hour look
using Adobe Camera Raws powerful processing and
manipulation abilities.
Dave Williams
Dave Williams
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EDITORS NOTE SCOTT KELBY
A Note from Scott

the gallery at kelbyone
If you caught our latest live Members-Only Webcast, you KelbyOne members around the world (and afterward
already know that one of our big initiatives for 2017 is well ship the printed images to the featured artist,
building on and expanding the community aspects of with our compliments).
KelbyOne. One of the things Im most excited about The best news isthis isnt a one-time thing. This is an
is The Gallery at KelbyOne. This is an idea that my ongoing project and well be featuring other artists (with
awesome wife Kalebra came up with as a way to raise subjects ranging from photography to illustrations to fine
up some of the talented members of KelbyOneartists art created in Photoshop) all year long. Were so excited
and photographers who might not otherwise have the about this project and the opportunities it can bring to
opportunity to have an actual gallery showing. some of the talented artists and photographers in our
This isnt an online gallery;this is a traditional art gal- membership.
lery, constructed at our home offices, where well print Of course, The Gallery at KelbyOne is just one small
and frame the images and display them on the gallery part of building our community this year, and we have
walls. The deadline for KelbyOne members to submit so much planned. Its all in our Members-Only Webcast
their work for consideration was January 15, 2017. The that I mentioned earlier, where we share all the things
winner will be announced on The Grid on February 1, we have planned for 2017a year where we focus
2017. We hope you submitted your work, and we wish on expanding our community and making KelbyOne
you the best of luck! more valuable to our members than ever. As always, we
Well fly the featured artist and a guest roundtrip archive our live Members-Only Webcasts, and you can
to our headquarters in Florida to attend their own find that episode right here.
gallery opening, with a wine and cheese recep- Thank you for being a KelbyOne member and coming
tion, followed by an interview with the artist about with us on this journey as we empower people through
their work, their images on display, and about them education to create beautiful, fascinating, wonderful
personally. This interview will be streamed live to things. 2017 is going to be an amazing year!
All my best,
Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Photoshop User
k e l b yo n e . c o m
007
J A N U A R Y 2 0 17 V O L 2 0 N O 1
THE OFFICIAL PUBLICATION OF
THE A D O B E P H O T O S H O P H O W -T 0 MAGAZINE J a n u a r y 2 0 1 7
EDITORIAL: DYNAMIC Transform midday landscape shots In this new column, DESIGN WITH
into magical golden-hour photos learn how to design for
Scott Kelby, Editor-in-Chief RANGE using Photoshop ACR both print and Web PHOTOSHOP
Chris Main, Managing Editor
Kim Doty, Associate Editor

CONTRIBUTING WRITERS:
Steve Baczewski Corey Barker Peter Bauer Dave Clayton
Michael Corsentino Kirk Nelson Colin Smith Lesa Snider
Scott Valentine Erik Vlietinck Jake Widman Dave Williams
GRAPHICS: THE OFFICIAL PUBLICATION OF
Jessica Maldonado, Art Director

Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Graphic Designer
MARKETING:
Adam Blinzler Rachel Scott Kleber Stephenson Melissa White
WEB:
Adam Frick Brandon Nourse Yojance Rabelo Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
Photoshop
Kalebra Kelby, Executive V.P. The
Jean A. Kendra, Business Manager
ADVERTISING:
Ecosystem
Dont hit the ceiling because youre away
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152 from your desktop. No matter where you
are, Adobe mobile apps and the Creative
Cloud allow you to keep capturing and
editing amazing images.
HOW TO CONTACT KELBYONE: Ian Munro KelbyOne Member
U.S. Mail: 118 Douglas Road East Oldsmar, FL 34677-2922

Voice: 813-433-5000 Fax: 813-433-5015
Customer Service: info@kelbymediagroup.com Each month we feature
Letters to the Editor: letters@photoshopuser.com cover art by KelbyOne members!
Help Desk: http://kelbyone.com/my-account/helpdesk
This issues cover composite is Ejector Seat by UK-based artist Ian Munro, of Ian Munro
Photography. Ian is a dedicated professional photographer who directs his style
COLOPHON: toward conceptual storytelling or Tableau photography. He creates scenes and sets
Photoshop User was produced using Adobe Photoshop CC 2017 a story based on any scenario. He first made the transition in 2008 after a successful
and Adobe InDesign CC 2017. Roboto was used for headlines and body-building career. Soon after the photography awards came; Ian decided to take
subheads. Frutiger LT Std for text. the role on full time.
All contents COPYRIGHT 2017 KelbyOne, LLC. All rights reserved. Any use of the contents of this publication without the
written permission of the publisher is strictly prohibited. Photoshop User is an independent journal, not affiliated in any way
with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop are registered
trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned
belong to their respective owners. Some of the views expressed by contributors may not be the representative views of the
publisher. ISSN 2470-7031 (online)
PHOTOSHOPS MOST WANTED
Contributing
Writers
STEVE BACZEWSKI
is a freelance writer, professional photographer,
graphic designer, and consultant. He also teaches
classes in traditional and digital fine arts photography.
His company, Sore Tooth Productions, COLIN SMITH
is based in Albany, California is an award-winning digital artist, photographer,
and lecturer who has authored 19 books and has
created a series of training videos. Colin is also the
COREY BARKER founder ofthe online resource PhotoshopCAFE.com
is an award-winning designer and illustrator. and president of Software-Cinema.com.
A featured instructor at the Photoshop World Conference
and an Adobe MAX Master Instructor, he has produced
numerous training titles for KelbyOne. Look for LESA SNIDER
his latest book Photoshop Tricks for Designers. is the author of Adobe Lightroom CC and Photoshop CC for
Photographers: Classroom in a Book (2016), Photoshop CC:
The Missing Manual, Photos for Mac and iOS: The Missing
PETER BAUER Manual, TheSkinnyBooks.com, more than 40 video courses,
is an Adobe Certified Expert that does computer and the Creaticity column for Macworld.
graphics consulting for a select group of corporate clients.
His latest book is Photoshop CC for Dummies. He was
inducted into the Photoshop Hall of Fame in 2010. SCOTT VALENTINE
is a member of Adobes prerelease team, an Adobe
Community Professional, and Photoshop author. His
books include The Hidden Power of Adjustment Layers
DAVE CLAYTON and The Hidden Power of Blend Modes (both by Adobe
is a KelbyOne instructor, designer, and creative specialist Press). Keep up with him at scoxel.com.
with more than 30 years experience. He specializes in
creating branding projects and logos and has been
published by Peachpit and KelbyOne. Hes also an Adobe ERIK VLIETINCK
Influencer and ACA in InDesign. founded IT Enquirer in 1999. A J.D. by education, Erik has been
a freelance technology editor for more than 22 years. He has
written for Macworld, Computer Arts, Windows NT Magazine,
MICHAEL CORSENTINO IT Week, New Media Age, and many others. He also contributes
is an award-winning wedding and portrait to UK-based Red Shark News and Red Shark Sound.
photographer, Photoshop and Lightroom expert,
author, columnist for Shutter Magazine and Resource
Magazine, and speaker and international workshop JAKE WIDMAN
leader. Learn more at www.michaelcorsentino.com. is a writer and editor who lives in San Francisco.
Hes been covering the intersection of computers
and graphic design for about 25 years nowsince
KIRK NELSON back when it was called desktop publishing and
is a professional graphics artist in the Washington, D.C., Photoshop was just a piece of scanning software.
area. He has a B.A. from George Mason University and is
an Adobe Certified Expert in Photoshop. Kirks career
has touched on a broad range of subjects from logo DAVE WILLIAMS
design to animation. He can be reached here. is a well-seasoned, UK-based travel photographer with
internationally published work and a passion for sharing
his knowledge of Adobe software. Dave lives by the mantra,

Lend me your eyes and Ill show you what I see.
009
Our Goal: To Help You Take Your
Creativity to the Next Level
Sean Ferguson, Guru Winner 2016
The Benefits of Membership
One-On-One Help Desk 24/7 Access

Got a question about your gear? Unlimited access to the Webs
Need a recommendation? Need most complete training for
to know how to do a particular Photoshop, LIghtroom, and
technique? We will help! photography anywhere
2 Magazines Interactive Webcasts

Photoshop User and Lightroom Our webcasts are where you get
Magazine are both published to interact, ask questions, and
p h ot o s h o p u s e r j a n u a r y 2 0 1 7
10 times per year with tutori- learn the latest techniques,

als, news and more. Exclusively shortcuts, and time-saving tips.
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from Apple to B&H Photo & more. beginner or advanced.
010
kelbyone.com
#KelbyOneBooks
Youve Updated Photoshop ,
Now Update Your Photo Editing Skills!
The photographers workflow in Photoshop has evolved greatly over time, and in the latest
edition of The Adobe Photoshop Book for Digital Photographers (2017 Release) by Scott Kelby,
youll wind up doing a lot of your processing and editing in Photoshops Adobe Camera Raw
(whether you shoot in RAW, JPEG or TIFFit works for all three). Thats because, for years
now, Adobe has been adding most of Photoshops new features for photography directly into
Camera Raw itself. Since todays photography workflow in Photoshop is based around Camera
Raw, nearly half of this book is about mastering Camera Raw like a pro. If youre ready to learn
all the tricks of the tradethe same ones that todays leading pros use to correct, edit,
retouch, and sharpen their workthen this is the book that will get you up to speed!
fuel for creativity

KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
By Rachel Scott and Dave Clayton
12 Days of Christmas Recap

Dont Miss Out On Your Toolkit!
The year 2016 might be over, but as long as youre an
annual member, you can still reap the rewards of the
holiday season. What are we talking about? Were talk-
ing about the 12 Days of Christmas presents we gave
to our annual members! Starting on December 13, we
rolled out a new gift every daynot fake gifts like dis-
counts and BOGOs, but real, free, usable gifts.
On the first day, we gave our members a Photoshop
100 Hot Tips Guide to help change and improve their work-
flow. Some other gifts included a free eBook through Rocky
Nook, a download of Scotts Light it, Shoot It, Retouch It
Tour, and Lightroom print templates.
Weve received a lot of positive feedback on these
gifts and want to make sure you know theyre still
available. All you have to do is go to the Toolkit dont worry. You can sign up today and snag yourself
button on the left side of your dashboard. Once youre some goodies.
there, youll see your tools. Download away! But, Keep an eye on that toolkit, though, because theres
if youre not already an annual KelbyOne member, lots more to come in 2017. Welcome to the New Year!
Instructor Recognition: Welcome to the

Jeremy Cowart! Online KelbyOne Community
As you know, all of our instruc- Have you noticed anything new when you log into your
tors do incredible work, but KelbyOne membership? Its this cute little Community
sometimes they create projects button on your dashboard, located right below Discounts
that deserve even more recog- and above Toolkit. Now youre probably asking yourself,
nition than usual. Remember What the heck is a KelbyOne Community?
Jeremy Cowart? He has filmed The KelbyOne Community is this nifty space, entirely
several classes for KelbyOne, dedicated to youKelbyOne membersand your discus-
including one on the photog sions. Its set up forum-style so you can find discussions by
raphers journey and one on categories that include online classes, Photoshop, Light-
shooting in South Beach, room, photography, gear, and anything else the commu-
Miami, Florida. Good, now nity deems worthy. Plus, we moderate it. That way you
that your memory is refreshed, we can tell you what feel safe and get the respect you deserve when having that
hes been up to! friendly conversation with other KelbyOne members.
Jeremy recently took a trip to Gatlinburg, Tennessee, We hope youll all take advantage of this new fea-
to create awareness for the recent fires in a project ture, as its always good to have that network of support,
that captured TIMEs attention. Using a drone, he docu- especially when its from people who are interested in the
mented the devastation that the Gatlinburg fires caused, same things you are! n
and photographed some of the affected families in the
remains of their homes, urging his followers to donate to
the pages set up for the families. Voices of Gatlinburg
is a jarring and thoughtful look into the lives of just a few
of the thousands affected by the fires. Check it out and
give Jeremy some praise on his social channels for all his
012 hard work!
KelbyOne Artist Spotlight >> Jonathan Thompson
MEMBER SINCE 2010
KelbyOne Artist Spotlight >> Tim Swart

MEMBER SINCE 2011
KelbyOne Artist Spotlight >> Ian Munro
MEMBER SINCE 2017
KelbyOne Artist Spotlight >> Cathy Weatherston

MEMBER SINCE 2015
KelbyOne Community
Whos Who
J.R. Maddox
in the KelbyOne Community
J.R. Maddox is a photographer in Simi Valley, California,
specializing in many areas of photography, including real
estate, portraits, retouching, creative compositing, aerial
photography/video, and 3D photography.
How did you become aware of NAPP/KelbyOne

and why did you become a member?
I first heard about NAPP/KelbyOne back in 2013 from a
friend who suggested that, if I wanted to learn about pho-
tography, this was the place. I gave the old NAPP website a
look, and if Im not mistaken, at that time I got in on some
Kelby Training videos as well. It was a no-brainer for me, as
I was tired of just learning on YouTube. I felt I needed so
much more and this was it.
At the time I didnt know where or what I wanted to that I can cut them out of the background or add a tex-
shoot, so I shot everything. But, from going through the ture to the background. I love that technique, as you dont
huge selection of videos and tutorials, I was able to find my need to buy a bunch of different studio backgrounds.
preferred style and genre. Also, now being able to view the
Who has inspired your photography?
classes on the KelbyOne app and website, both streaming
To narrow it down is so very hard. At KelbyOne there are
and downloadable, I was able to learn as I sat on my couch.
so many great, and I really do mean great, instructors. The
Plus, Ive now been to a couple of Photoshop Worlds and
two instructors who have helped me more than I could ever
that was mind-blowing for me. Not just to see the instruc-
imagine have to be Joel Grimes and Glyn Dewis, two of the
tors in person but also to meet and share stories and tips
nicest, genuinely caring, helpful, and encouraging people.
with others in the KelbyOne community. I think thats the
I dont think Id be where I am today in my career if it wasnt
difference for me from other training sites. Its not a hard
for them. They dont teach real estate photography, but
decision renewing each year!
I learned so much from them in terms of techniques and
just applied what I learned to real estate. Theyve been a
What made you move toward real estate
and portrait photography? couple of the most helpful guys in my career and Im now
I never intended to be a real estate photographer. I love happy to call them my friends. Theres one last teacher from
a lot of different avenues of photography. Compositing whom Ive learned a lot Mike Kelleywho has a couple
and photo manipulation is always my favorite though. tutorials on real estate photography.
Real estate photography was just one avenue I found that
I could make a living at. Im happy being able to support What kind of equipment is needed for your 3D pho
tography and how has that helped your business?
my family shooting homes. With that, realtors need head-
You have to have a 3D camera, and I have one made by
shots, so I had to learn studio lighting, which I learned from
Matterport. This has brought in about 50% more income
KelbyOnes site.
to my business, so it was well worth the investment. Its
What is the biggest challenge with two typically only used on your higher-end homes. The end-
such diverse subjects? user doesnt even have to come to the house to view
My biggest challenge is when I get people who want head- the home; he can actually walk through the entire house
shots. I have no problem doing the headshots; the problem without even stepping outside. The realtor gets more
is that I dont have a studio. Having no studio, I need some- serious buyers, and in most cases gets more money for
k e l byo n e . c o m
thing I can set up quickly and in pretty much any space the house. I had a client the other day say she made
available, such as the clients office. I had the pleasure in $50,000 more on her listing because of the photos and
assisting Joel Grimes on one of his workshops. He showed the 3D Matterport images I did on the house. Thats
me what he uses and it works great for small areas. Its the what I love hearing. At the end of the day, good, quality
X-Drop Kit by Westcott. I use a 50% gray background so photos make a difference. n
015
CLICK TO RATE
For years, weve seen KelbyOne Members take amazing photos and create
incredible images, but we werent sure how to showcase the work...until now.
Thats why we created The Gallery at KelbyOne. Throughout the year, our team
will select a lucky member to display his or her work in the Gallery at KelbyOne.
In addition, the member and one guest will enjoy an all-expenses paid trip to
attend their Gallery Opening at KelbyOne headquarters here in the Tampa Bay
area, where other members and enthusiasts of the photography, creative, and art
community will be invited. After the opening well invite everyone to the KelbyOne
Theater for a live Q&A with the featured artist so he or she can tell everyone about
his or her work. Weve received over 500 hundred submissions already and its
going to be very hard to choose a winner with so many outstanding submis-
sions! Make sure to tune into The Grid on Wednesday, February 1, at 4pm
EST to hear the winner announced.
016
017
Best of 2016 E
Dont miss your chance to watch t
Preview Preview
Just One Flash Portrait Retouching in

with Scott Kelby Adobe Lightroom CC with Kristina Sherk
Preview Preview
Under the Milky Way: Lightpainting How to Build an Audience

and Photographing Stars with Dave Black in Instagram with Scott Kelby
Editors Choice
these cant miss classes of 2016.
Preview Preview
Finding Your Artistic Voice Inexpensive and DIY Photography

with Karen Hutton Gear Solutions with Larry Becker
Preview Preview
Rockin the Free Nik Collection Becoming a Marketing Genius

of Plug-Ins with Scott Kelby with Joel Grimes
New Online Training
At KelbyOne, we release a new course weekly. Thats at leas
Top Ten Things Every Photographer

Should Know About Their Camera
Join Scott Kelby as he takes you through the ten most important things
every photographer should know about their camera.
Dog Photography: Overcoming

Challenging Situations
Join Kaylee Greer as she shares her tips and techniques for
dealing with a variety of canine personality types.
020
g Course Every Week
st four courses each month! Check out these latest courses:
Travel Photography:
A Photographers Guide to Venice
Join Scott Kelby and Larry Becker as Scott shares the kind of veteran traveler tips
that will help you capture images that youll be delighted to bring back home.
Just One Flash

with Scott Kelby

Join Scott Kelby as he starts from scratch and covers everything you need to know
to get the kind of images youve always dreamed of when using your flash. 021
Heard on the Tweet
Industry News and Inspirational Musings from Twitter
022
H E A R D O N T H E T WE E T
023
HOW TO
Down create a football poster composite
&Dirty
BY COREY BARKER
Do you have photos of your kid playing high school football or perhaps
Tricks
even college football and you want to be able to do something really
cool with them? In this exercise, well explore using a couple of shots
of a football player combined with a few tricks to create a polished
football poster in no time. Feel free to follow along with the images
provided then try your own images, adding your own flare.
DOWN AND DIRTY TRICKS
Step One: You only need two images to create this
composite but you can add up to five depending on
how you want to lay it outjust dont overcrowd
the design. Since I dont have a relative who plays
high school or college football, I found a couple of
good player shots over at Adobe Stock. I like the
pose and emotion in both shots. These two will
work just fine.
[KelbyOne members may download the files
used in this tutorial at http://kelbyone.com/maga-
zine. All files are for personal use only.] Step One
Step Two: Start by creating a new document

in which to build the design. In Photoshop, go to
the File menu and choose New. In the right side of
the New Document dialog, enter a Width of 1200
pixels, a Height of 1500, and a Resolution of 100
ppi. Click on the Background Contents drop-down
menu, choose Black, and click Create.
Step Two
Step Three: Open the perf_texture.jpg image from

Adobe Stock/Mirko Milutinovic
the exercise downloads. Of course, you can use your

own texture but make sure that its seamless so it
can be scaled. I found this image on Adobe Stock as
well by searching for seamless texture.
Tip: You can check if a texture is seamless by
going under the Filter menu to Other and choos-
ing Offset. Adjust either of the sliders to offset the
tiling. If its seamless, you wont see any edges
appear in the image.

Once the texture is open, go to the Edit menu
and choose Define Pattern. Give it a name when
prompted and click OK. You can close the pat-
tern image.
Step Three 025
HOW TO
Step Four: Back in the main design file that

we created in Step Two, open the Layers
panel (Window>Layers) and click the Cre-
ate a New Layer icon at the bottom of the
panel. We need to fill this layer with a base
color. Press Shift-Delete (PC: Shift-Backspace)
to open the Fill dialog, and select 50% Gray
in the Contents drop-down menu. Leave Step Four
the Mode set to Normal and the Opacity at
100%, and click OK.
Step Five: Click on the x icon at the bot-

tom of the Layers panel and choose Pattern
Overlay. Click on the Pattern thumbnail to
open the Pattern Picker, and locate your
newly defined pattern, which will usually be
at the bottom of the list. Once the pattern
is selected, set the Opacity to 50% and the
Scale to 20%. These settings will vary with Step Five
different patterns so feel free to play with
different scenarios. Dont click OK just yet.
Step Six: Click On Blending Options at the

top of the list on the left side of the Layer Step Six
Style dialog. Then, under Advanced Blend-
ing, set the Fill Opacity to 0%. This will make
the gray base fill invisible, leaving just the
pattern. Now click OK.
Step Seven: With the perforated back-

ground in place, lets bring in the first of the

two player images. Open the image of the
celebrating player, switch to the Move tool
(V), and drag it into the main design. Press
Command-T (PC: Ctrl-T) for Free Transform,
then scale and position the image in the
upper background area similar to what you
see here. When scaling, hold the Shift key to
maintain proportions. For now, get it in posi-
Step Seven
026 tion; well mask it shortly.
Step Eight: Open the other player image and

bring it into the design file as well. Make
sure this layer is above the first player image
in the Layers panel. Drop the layer Opacity
to 75% so you can see the layer below to
help you size and position this foreground
image. Use Free Transform again to scale
and position this subject in the lower area
of the canvas as shown here. Press Enter
when done, then return the layer Opacity
to 100%.
Step Eight
Step Nine: Click on the Add Layer Mask

icon (circle in a square) at the bottom of
the Layers panel to add a mask to this fore-
ground layer. Select the Gradient tool (G)
in the Toolbar. In the Options Bar, click on
the preview thumbnail and choose the Fore-
ground to Transparent preset, click OK to
close the Gradient Editor, and then choose
the Linear Gradient icon to the right in the
Options Bar. Press X until the Foreground
color is set to black.
Drag gradients inward from the edge
of each side, as well as from the top, to
fade the background of the foreground
subject, thus revealing the larger subject

behind him. Notice how the dust effect
remains somewhat and adds a cool effect
to the background. This is why there was
no selecting and extracting of the subject
for this particular image. 027
Step Nine
HOW TO
Step 10: Now add a layer mask to the larger

subject layer (Layer 2). Use the Gradient tool
again with the same settings, except change
it to a Radial Gradient in the Options Bar, to
add small gradients around the subject to
reveal the pattern background. Already look-
ing really good and were hardly finished yet.
I did feel at this point that the fore-
ground subject would look better if he was
more vertical, so I used Free Transform to
rotate him to the right. I also added a couple
of additional black to transparent radial gra- Step 10
dients to either side of his head on the layer

mask to fade the background even more.
Step 11: Lets create a frame element with

a simple shape. In the Toolbar, choose the
Rectangle tool (U). In the Options Bar, set the
Tool Mode to Shape, and the Fill to none.
Click on the Stroke icon and either choose a
color from the set of swatches that appears
or click the multi-colored icon at the top right
to open the Color Picker. We chose a bright
yellow to go along with the yellow on the
subjects uniform. When done, set the Stroke
thickness to 3 px in the Options Bar.
Starting near the upper-left corner, draw
an inset frame like you see here. The shape

layer will automatically be created in the
Layers panel. Drag the shape layer to the
top of the layer stack. You can also switch
to the Move tool, press Command-A (PC:
Ctrl-A) to Select All, then use the Align
Vertical Centers and Align Horizontal Cen-
ters icons in the Options Bar to center the
stroke in the canvas. Press Command-D
(PC: Ctrl-D) to deselect.
028
Step 11
Step 12
Step 12: Back in the Layers panel, set the

shape layer Opacity to 50%, and add a layer
mask by clicking the Add Layer Mask icon at
bottom of the panel.
Step 13: Select the Brush tool (B) in the Tool-

bar. Open the Brush panel (Window>Brushes)
and choose a simple round, soft-edged brush
with no additional settings. Press X until black
is the Foreground color. Then, paint over
the yellow line wherever it appears over the
subject to make it appear as though the yel-

low line slightly fades behind the subject.
Behold the magic of masking. Once done
youll see the simple stroke frame adds
more interest to the overall composition as a
unifying element. 029
Step 13
HOW TO
Step 14: Now lets add a particle element.

Here I have a cool custom brush that I often
use. Youll find this brush as part of the exer-
cise downloads. To load it into Photoshop,
simply double-click on the .abr file (it will
actually load two brushes: a Particle brush
and a Cinematic Flare). Once loaded, it will
appear near the bottom of your Brush Preset
Picker. Set the brush size to around 1000 px.
Create a new blank layer at the top of
the layer stack and set the Foreground color
to white by pressing D then X. Click one
instance of the particle brush at the bottom
around the foreground subject. In the Layers
panel, set the layer blend mode to Difference
and drop the layer Opacity to 60%. Step 14
Step 15: Add a layer mask to this particle

layer and make sure the mask is active as indi-
cated by the white corner brackets around
the layer thumbnail. Switch to the Gradi-
ent tool, and set it to a radial Foreground to
Transparent gradient with the Foreground
color set to black. Add a couple of gradients
in the middle of the particle effect to fade it
from over the subject.
Step 15
Step 16: In the Layers panel, click on the

main layer thumbnail for the particle layer to
activate it instead of the layer mask. Then,
go under the Filter menu to Blur and choose
Radial Blur. In the Radial Blur dialog, set the
Amount to 7 and the Blur Method to Zoom.
Click on the grid pattern and drag the center
of the blur down a little relative to the posi-
tion of the particles on the main canvas. Click
030 OK when done.
Step 16
Step 17: Now lets add a little fade to the

bottom of the image. Create a new layer,
then add a simple Foreground to Transparent
gradient with the tool Opacity set to 75%
in the Options Bar and the Foreground
color set to black. Drag just a little ways up
from the bottom edge of the canvas.
Step 18: Save your work at this point. Were

going to create a contrast and color-grading
layer. Go under the Image menu and choose
Duplicate. Click OK when prompted, and
when the duplicate file opens, go under the
Layer menu and choose Flatten Image. Dont
change the image size.
Step 19: Go under the Image menu to

Adjustments and choose HDR Toning. Start
by setting the Saturation (at the bottom) to
100. Increase the Detail to around 122,
Step 17
then drop the Exposure just a little to com-
pensate for the Detail. You can nudge the
Gamma a little to the right as well. Finally,
tweak the Radius and Strength sliders to
adjust the contrast a little more. Click OK
when done. You can see its a high-contrast
version of the image.
031
Step 18 Step 19
HOW TO
Step 20
Step 20: Using the Move tool, hold the Shift

key and drag this HDR-toned image back
into the main design file. The Shift key will
line it up with the original image. Drag this
layer to the top of the layer stack. Set the
layer blend mode to Soft Light and the layer
Opacity to 50%.
Step 21: With the HDR-toned layer still

active, press Command-U (PC: Ctrl-U) to
open Hue/Saturation. Check on Colorize and
set the Hue to 32, Saturation to 23, and the
Lightness to 13. This will add a warm cast Step 21
to the image and lighten the shadows a bit.
Turn the layer on and off (click its Eye icon) to
see the difference it makes.
Step 22: Click on the pattern layer (Layer 1)

that we created in the beginning to make

it active. Add a Hide All (black) layer mask
to this layer by holding down the Option
(PC: Alt) key while you click the Add Layer
Mask icon. Once again, using the Gradient
tool set to a linear Foreground to Transpar-
ent gradient, the Foreground color set to
white, and the tool Opacity set to 100%,
drag gradients in from each corner to fade
032 in the pattern background.
Step 22
Step 23: Create another new layer at the

top of the layer stack. Set the blend mode to
Overlay and the layer Opacity to 75%. With
the same radial gradient weve been using,
click on the Foreground color swatch and set
it to a yellow color like we have here.
Add a couple of large yellow gradients
on the left side of the image to enhance the
lighting on the subject and background.
Do the same with a light-green color on
the other side of the same layer.
You could call this composite pretty

much complete at this point. In the final
image shown here, I added some text
and flare effects to finish it off. You can
see how this was done in a short video
by clicking here.
CLICK TO RATE
Step 23
033
Final
HOW TO
Down create a surreal levitation

photography project
&Dirty BY KIRK NELSON
Tricks
The very idea of flying has always captivated our human imagination. As crea-
tures that are naturally restricted to the ground, we often entertain the fantasy
of being able to shrug off the chains of gravity and will ourselves to be lighter
than air. Levitation photography seeks to capture that yearning by crafting the
impossibility of flight in a surreal setting. A successful project is more than
just a composite of two images; its the artistic nature of the composition that
evokes the emotional response.

Step One: The background environment is a critical aspect [KelbyOne members may download the files used in this
of the project. The setting should be visually familiar, but not tutorial at http://kelbyone.com/magazine. All files are for
boring. It should be interesting but not distracting. A forest personal use only.]
setting with fall colors works very well. Using a sturdy tri-
pod will make the compositing much easier, as the first shot Step Two: Now bring in the model and support elements.
should be a blank background setting shot. Its important The idea here is to get a pose that doesnt look like shes
that the camera settings remain the same for the background sitting, but floating. Pay attention to how the hair falls and
shot and the model shots. If you want to practice the project where her arms and legs are positioned, as those are critical
with the files shown here, theyre available for download to elements of creating the feeling of weightlessness. Also, make
all KelbyOne members. sure that the stools do not create any obstructions. Have the
model sit on the edge of the chair closest to the camera so the
folds of the dress fall naturally.
Step Three: Launch Photoshop and open the background

image first. Then go to File>Place Embedded and load the
model image. Press Enter to place the image over the back-
ground, and then create a layer mask with Layer>Layer
Mask>Reveal All. Grab the Brush tool (B) and use a Soft
Round Brush tip with black paint (press X until the
Foreground color is set to black) on the mask to quickly
remove the majority of the visible chair pixels.
035
HOW TO
Step Four: Zoom in close to the image

by holding down the Command (PC:
Ctrl) key and tapping the Plus (+) key.
Reduce the brush size with the Left
Bracket key ([) and carefully trace along
the edge of the models dress to remove
the rest of the visible chair. If you acci-
dentally paint away any of the model,
press X to switch the Foreground color
to white, and paint those areas back
in. Once youre satisfied with the com-
posite, create a merged layer by hold-
ing down the Option (PC: Alt) key and
going to Layer>Merge Visible. Double-
click the name of the merged layer and
rename it Merge.
Step Five: The power lines running

behind the trees are a terrible distrac-
tion from the aesthetic were trying to
build with this piece. Grab the Spot
Healing Brush tool (J) and adjust the
brush size to be just larger than the
thickness of those lines. Then run the
brush along the lines in short spans to
remove them from the image.
Step Six: Go to Filter>Convert for

Smart Filters to convert the layer
into a smart object, and then go to

Filter>Liquify. Use the Forward Warp
tool (W) to push the folds of her dress
into the space where the chair was and
remove the obvious flat spot where
she was sitting. Click OK. (Tip: If the
Liquefy tool creates visible warping of
the background trees and leaves, use a
layer mask on the Merge layer to hide
those areas.)
036
Step Seven: The models current skin

color has a bit of a reddish tint to it.
Add a Hue/Saturation adjustment layer
(Layer>New Adjustment Layer>Hue/
Saturation) and use the On-Canvas
Adjustment tool (thats the icon that
looks like a pointing hand between
two arrows) in the Properties panel
to sample her skin tone to target the
magenta color tones. Then, reduce
the Saturation to 50.
Step Eight: Add a new layer with

Layer> New>Layer, name it Gra-
dients, set the blend mode to Soft
Light, and click OK. Press D to change
the Foreground color to black and
switch to the Gradient tool (G). In the
Options Bar, click on the gradient pre-
view thumbnail, select the Foreground
to Transparent preset, and click OK to
close the Gradient Editor. Select the
Linear Gradient icon in the Options Bar,

and set the Opacity at 50%. Add sub-
tle linear gradients to the top and the
bottom of the image to slightly darken
those areas.
037
HOW TO
Step Nine
Step Nine: Next add a Vibrance

adjustment layer (Layer>New Adjust-
ment Layer>Vibrance) and increase
the Vibrance to +21 and the Satura-
tion to +4. The goal is to increase the
color of the autumn foliage, but if the
adjustment is creating too much color
saturation on the models skin, use the
layer mask on the adjustment layer to
remove the effect from her.
Step 10
Step 10: Create another new layer

and name this one Light Rays.
Use the Lasso tool (L) to create an
irregular selection near the top of the
frame. Click on the Foreground color,
set it to a pale yellow (#d9d19c), and
click OK to close the Color Picker. Set
the Background color to black. Go
to Filter>Render>Clouds to fill the
selection with a fractal type pattern.
Then, press Command-D (PC: Ctrl-D)
to deselect.
Step 11: Go to Filter>Blur>Radial Blur;

set the Blur Method to Zoom and
Amount to 100. Move the Blur Cen-
ter to the top center of the frame,
and click OK. After applying the blur,
set the layers blend mode to Screen
to see the full effect. If the light rays
seem too short, run the filter again by
selecting Radial Blur at the very top
of the Filter menu.
038
Step 12
Step 12: Grab the Brush tool (B) and

open the Brush panel by pressing F5,
or going to Window>Brush. Set the
brush tip to Soft Round and increase
the Spacing to 200%. In the Shape
Dynamics area, set the Size Jitter to
100%. Engage the Scattering, and set
the Scatter amount to 700% and check
the Both Axes box.
Step 13: Add a new layer named

Dust Particles. Press-and-hold the
Option (PC: Alt) key to temporarily
switch to the Eyedropper tool (I) and
sample a bright-yellow color from the
light streaks. Use the newly created
brush to paint in subtle particles of
dust floating in the sunlight around the
floating model. Step 14
Step 14: Add a Photo Filter adjustment

layer (Layer>New Adjustment Layer>

Photo Filter) and use the Warming Filter
(85) filter at a Density of 25%. This adds
warmth to the image and increases the
surreal feel of the setting.
039
HOW TO
Step 15: Go to Layer>New Layer and

in the New Layer dialog, set the Name
to Dodge-Burn, the Mode to Over-
lay, and check the box for Fill with
Overlay-Neutral Color (50% Gray).
Click OK. Use this layer as a nonde-
structive dodge and burn layer. Press
O to switch to the Dodge tool, and
set the tool Exposure to 11% in the
Options Bar. Brighten the highlights
with the Dodge tool and deepen the
shadows with the Burn tool (nested
under the Dodge tool in the Toolbar).
Step 16: Create another merged layer

at the top of the layer stack and con-
vert it for smart filtering. Then, go to
Filter>Camera Raw Filter. In the Basic
tab, set the Clarity to +30 and the
Vibrance to +25. Switch to the Effects
(fx) tab and set the Dehaze to +27 and
the Post Crop Vignette Amount to 27.
Click OK.
040
Step 17
Step 17: Create even more of a sur-

real effect by adding a simulated focal
blur. Go to Filter>Blur Gallery>Iris Blur
and set the Blur amount to 15 px in
the Blur Tools panel. Set the epicenter
on the models face, then scale up the
blur ring by dragging on its outer ring
to extend it beyond the bounds of the
canvas as shown here.
Step 18: Go to Filter>Render>Lens

Flare and use the 35mm Prime Lens
Type and drag the Brightness slider

to 100%. Then position the source of
the flare to be off the top of the frame
aligned with the center of the light rays.
Click OK.
041
HOW TO
Step 19: Switch over to the Channels

panel (Window>Channels), and hold
down the Command (PC: Ctrl) key
while clicking on the composite RGB
channel. This loads the luminous values
of the image as a selection. Switch back
to the Layers panel and press Com-
mand-J (PC: Ctrl-J) to copy the selected
pixels to a new layer.
Step 19
Step 20: Set the new layers blend

mode to Screen and go to Filter>Blur>
Gaussian Blur. Use a Radius of 5 pix-
els, and click OK. Then, set the layers
Opacity to 25%. This adds a subtle soft
focus glow effect to the entire scene to
finish off the surreal appearance.
Ultimately, creating a stunning levita-

tion scene isnt particularly difficult. As
with many photo-illustration type
projects, the secret to success lies in
the planning of the photo shoot. In
this case, using a tripod and knowing
how to pose the model on the chairs
are the details that really pay off in
the end and make this project rise
above the others!
CLICK TO RATE
042 ALL IMAGES BY KIRK NELSON Final
COMING SOON TO A CITY NEAR YOU!
get more information at kelbyonelive.com

HOW TO
Beginners' Workshop LESA SNIDER

how to create a selection using channels
Sometimes the easiest way to make a tricky selection is to let the image do the work for you. If you have
good contrast between what you want to select and its background, try using the photos individual color
channels to create a precise selection that you can hide with a mask.
Step One: In this tutorial, were going to select
LESA SNIDER
the sky in an image of hot-air balloons so we can
replace it with a more interesting sky. In Photo-
shop, choose File>Scripts>Load Files into Stack.
Click Browse, navigate to the images you want to
combine, select them, click Open, and click OK in
the Load Layers dialog. If youre starting in Light-
room, Shift-click to select two thumbnails and
ADOBE STOCK/NIK_MERKULOV
choose Photo>Edit In>Open as Layers in Photo-
shop. Either way, the images land on separate
layers in a Photoshop document. If youre using the
practice files, make sure the balloons layer is at
the top of your layer stack. [KelbyOne members
may download the files used in this tutorial at
www.kelbyone.com/magazine. All files are for
personal use only.]
Step Two: Open the Channels panel (Window>

Channels) and press Command-3, -4, and -5 (PC:
Ctrl-3, -4, -5) to view the Red, Green, and Blue
channels, respectively. Stop when the object you
want to select (the balloons) looks the darkest,
which is the Blue channel here. Duplicate the chan-
nel by dragging it onto the Create New Channel
icon at the bottom of the Channels panel (circled).
This creates a Blue copy layer at the bottom of

the panel. Its not another color channel; its an
alpha channel that youll adjust to create a pre-
cise selection.
Tip: Think of channels as storage containers for all

the color information in a photo. In the RGB color
space of photography, you have individual channels
for red, green, and blue. Each one is a grayscale
representation of that color of light in the image.
044
BEGINNERS' WORKSHOP
Step Three: With the Blue copy channel active,

choose Image>Adjustments>Levels or press Com-
mand-L (PC: Ctrl-L) to open the Levels dialog. Drag
the black Input triangle rightward to make dark
areas darker, and drag the white Input triangle
leftward to make bright areas lighter. Drag the
gray Input slider slightly rightward to darken mid-
tones. Your goal is to make the balloons black and
the background white. Why? Because layer masks
use black and white. That said, you must maintain
the integrity of the balloon edgesif you drag
the triangles too far, the edges erode (settings of
154, 0.82, and 194 were used here). Dont worry
if you cant make it perfect; youll touch up the
balloons and the background next. Click OK to
close the Levels dialog.
Step Four: First, well touch up the balloons with

black paint. Press B to activate the Brush tool
(circled). In the Options Bar, click the Brush Preset
Picker (also circled) and set Hardness to 100% to
avoid creating too soft an edge around the bal-
loons. Press D on your keyboard to set the color
chips at the bottom of the Toolbar (circled) to the
default of black and white, and press X until black
hops on top. k e l b yo n e . c o m
045
HOW TO
Step Five: Mouse over to a balloon and paint the

gray areas. Zoom in by pressing Command-+ (PC:
Ctrl-+) repeatedly, and Spacebar-drag to reposition
the image onscreen. Tap the Left and Right Bracket
keys on your keyboard ( [ , ]) to decrease/increase
brush size, respectively, as needed. Tip: Use a really
big brush on the middle balloon to create a smooth
curve around its left edge.
Step Six: Now lets touch up the balloon wires.

In the Channels panel, click the visibility icon of
the RGB channel (circled) to view the alpha chan-
nel as a red overlay so you can see the wires.
Zoom way into the image, and in the Toolbar,
grab the Polygonal Lasso tool (press Shift-L to
cycle through the Lasso tools). Click one end of
a balloon wire to create a point and then click
the other end of the wire to create another. Scoot
over a few pixels, click to set another point, and
then point your mouse at the original point and,
when you see a tiny circle appear next to the cur-
sor, click to create a very thin selection.
Step Seven: Choose Edit>Fill, and in the resulting

dialog, pick Black from the Contents drop-down
menu. Set the Mode drop-down menu to Normal
and Opacity to 75%. Click OK.
046
BEGINNERS' WORKSHOP
Step Eight: Repeat Steps Six and Seven on the

other noticeable wires. You may not have to do
them all, but its good practice at making thin
selections. For curved wires, set more points to
follow the curve. When youre finished, press Com-
mand-D (PC: Ctrl-D) to deselect, and then click the
visibility icon of the RGB channel to turn it off so
youre seeing the Blue copy alpha
channel as black and white again.
Step Nine: Touch up the upper- and lower-left

corners of the background with white paint. Press
X to flip-flop your color chips so white is on top
and press B to grab the Brush tool. In the Options
Bar, choose Overlay from the Mode menu (circled).
With white as your Foreground color chip, this
mode lightens gray, yet leaves existing areas of
white or black alone, so you dont have to worry
about brushing across those areas.
047
HOW TO
Step 10: Load the white areas of the alpha

channel as a selection by clicking the dotted
circle icon at the bottom of the Channels
panel (circled).
Step 11: Choose Select>Inverse to invert

the selection so the balloons are selected
instead. Click the Layers tab to switch to
the Layers panel, and add a layer mask by
clicking the circle-within-a-square icon at
the bottom of the panel (circled). Photo-
shop hides the original background and
you see through to the new sky on the
layer below.
If you need to edit the layer mask, you
can always activate it in the Layers panel
and then paint with either black or white
according to what you want to do (con-
ceal or reveal, respectively). Just be sure
to set the Brush Mode back to Normal in
the Options Bar. Until next time, may the
creative force be with you all!
CLICK TO RATE
048
#KelbyOneBooks
Ever feel like youve hit a wall in Photoshop ?

This books your tool to break through!
NEW from Scott Kelby, the

worlds #1 best-selling author
of photography technique books,
and Editor and Publisher of
Photoshop User magazine.
HOW TO
Dynamic Range DAVE WILLIAMS

creating a golden-hour look in adobe camera raw
In this project, well overcome an obstacle that photographers face all too often. In landscape photography,
were told time and time again that there are only two times each day when we can successfully shoot
a landscape: the golden hour (often referred to as the magic hour), which is early in the morning and
again in the evening. But when were out on the road desperately trying to cram so many awesome loca-
tions into our tight schedules, its not always practical, and we have to carefully choose where we are for
sunrise and sunset.
Our well-planned golden-hour shoots can easily be the best shot and overcome whatever obstacle prevented the
cancelled because of weather or something else in the shot in the first place. Some purists will call me a cheat; how-
environment that gets in our way. And then there are ever, I live photographically by the phrase, Lend me your eyes
those times when we chance upon an awesome loca- and Ill show you what I see. What I do in post is show you
tion that would have been great at sunrise but its now what was in my minds eye at the time I took the photo. Ive
the middle of the day and we dont have the opportu- spent years working on this technique through trial and error,
nity to go back. patience and practice.
Im a firm believer that its important to know what Well take a look at what makes a golden hour shot versus
the rules are so that we can best break them! So with all a shot taken in the middle of the day, then use that information
that in mind, heres my tutorial on faking a golden-hour to emulate the golden hour look using Adobe Camera Raws
landscape, breaking the rules appropriately to achieve powerful processing and manipulation abilities.
050
DYNAMIC RANGE
Step One: Load your image into Adobe Camera Raw. Step Two: First, we need to get that sky looking more like
The image Im using for this tutorial is one from Olmsted the golden hour. That, for me, is warm and radiant, and with
Point in Yosemite National Park. It was taken about 1 p.m., a bit of sun. Well put the sun in there using the Radial Filter
which is as far away from the golden hour as you can get, (J). The settings to use are the maximum Exposure, which
but well make it look as if the early-morning sun is bath- is +4 stops over, and drag the White Balance Temperature
ing the scene in golden light. I took this shot in July 2016 slider to a nice, warm yellow or orange tone. When selecting
while driving from San Francisco to Las Vegas on my way to the color temperature, we need to gauge it by eye, adjusting
Photoshop World, having been shooting for a travel assign- the look and feel of the difference between the result and
ment in California. I wasnt able to be there at the golden the original image. We also need to select the Inside radial
hour, so I only had this one option. button at the bottom of the Radial Filter panel to have the
The golden hour gives your image characteristics that brightness radiate from the circle, rather than into it.
are vastly different from the flat and cold midday light we Make a very large circle in the sky with the Radial Filter
see in this image. The main consideration to keep in mind and let it overexpose the scene like I have in this picture,
when using this technique is the sun; so dont let that out ensuring you have Feather up around 50 to keep it looking
of your thoughts here. Theres usually wild contrast and as natural as possible and without any defined edges. When
warmth, so thats what well try to emulate in Adobe Cam- youre done with the Radial Filter, you can exit the tool by
era Raw. The first step is to open your image and leave all clicking the Hand tool icon or pressing H. Now you can start
the sliders alone. All of them! looking at other aspects of your scene. 051
HOW TO
Step Three: Next up is to balance the rest of the image with the massive amount of
light weve just put into the overall scene. To do this we need to use the Exposure slider
to darken things a bit, matching the relative darkness of golden hour on the landscape.
Ive pulled the slider down to 2.3 to really let the scene go into shadow, much like
youd expect to see in early morning light.
Step Four: The next golden-hour attribute we need to simulate is a warmer ambience.
When the sun is low in the sky, the light has to travel laterally through a far greater depth
of our atmosphere than if it were shining straight down at midday, and this causes the
bluer end of the light spectrum to scatter, leaving the more reddish tones. We need to
replicate this effect in our image. To warm up the tones, we need to raise the Temperature
slider to a nice, natural-looking, warm position. Ive gone for 7765K in this case. As with
all retouching, bear in mind that the sliders should normally be used conservatively. Take it
052 up and down little by little until you reach the best look for the image.
DYNAMIC RANGE
Step Five: Next up, we can give the scenery a sun-kissed feel with some creative use
of the Adjustment Brush (K). Well paint in some light to gently bathe the landscape in
the way wed expect to see from light during the golden hour. Because the contrast
during golden hour is less than that caused by an overhead sun, the highlights are less
likely to be overexposed, but this doesnt remove much from the overall darker tones
of contrast. This warm-colored light hitting our scene enhances the colors and texture
of our shot, and its this that were addressing with this point. Have all the sliders set to
zero except for Exposure, which well put at around +1 stop over. With the Adjustment
Brush, just click on select spots or paint areas to add light. Employ your intuition to paint
areas where you feel the light from the rising sun would fall, depending on where you
placed your sun in the sky. This fantastic effect gives the impression that the light is cast
on the scene just like in real life. k e l b yo n e . c o m
053
HOW TO
Step Six: The next step for this technique is to adjust the Clarity and Contrast to create
an even more convincing look for our fake golden hour. This Contrast is something
matched in a real golden-hour shot, and the Clarity further adds to its definition. In
the middle of the day, we can all too often end up with harsh shadows and extreme
contrast. If we start this technique with a well-balanced and well-exposed shot, we
can address the fact that there still needs to be contrast, albeit quite specific, to match
the atmosphere we want to create. The low sun causes long shadows, which were
enhancing in both difference and definition with the Contrast and Clarity sliders. Adjust
these sliders upward to complement the overall look and feel of the image. In this case,
Ive moved the Contrast slider to +30 and the Clarity slider to +40. With careful adjust-
ments, we can add to the realism and enchantment of the scene.
Step Seven: Now for the finishing touch, well warm up the overall scene further, specifi-
cally attacking the highlights. The warm glow of a golden-hour shot adds a pleasing and
inviting feel to the image, and thats what well enhance here. To do this well use the
Split Toning panel. With the Highlights adjustment in Split Toning, select a nice warm color
from the Hue slider; in this case Ive moved the slider slightly away from the red end to
27. Gradually increase the Saturation slider until youve added a nice extra bit of warmth,
replicating the warmth I described earlier, which is caused by the sun shining through a
denser atmosphere than at midday. Judge this by eye and keep it as real as possible.
Tip: When you make changes to things such as Clarity, Saturation, and Vibrance, its
easy to over-egg it and push your adjustments beyond a realistic look. If you reach this
point, simply halve the adjustment and youll have a much more realistic look.
Thats it! Our landscape scene that we shot in the middle of the day has been trans-
formed into a work of golden-hour art, thanks to Adobe Camera Raw. Here are a few
other scenes with a fake golden hourpromise you wont tell anyone! This technique is
dynamic and has so many options and applications, but once you get the hang of it, you
can make any midday scene look like it was shot with the early-morning rays of the sun
054 CLICK TO RATE kissing the landscape.
DYNAMIC RANGE
Final
055
ALL IMAGES BY DAVE WILLIAMS

HOW TO
Photoshop Proving Ground SCOTT VALENTINE

three ways to use the threshold adjustment layer
Got Threshold? This tool only has one control, and relies on separating your image into black and white,
with nothing in between, and only one slider for control. Everything darker than the slider value becomes
black, and everything lighter becomes white. Thats it. How can you be creative with such limitations? Lets
take a look at three ways you can make use of this extremely simple adjustment layer.
FINDING NEUTRAL GRAY
Scott Valentine
The first technique is for photog-
raphers: it helps you find neutral
gray so you can quickly apply a
rough color correction to a prop-
erly exposed image.
Step One: Above your Back-

ground layer, create a blank layer
and fill it with 50% gray (Edit>Fill
and select 50% Gray from the
drop-down menu).
Step Two: Now set the gray layer

to Difference blend mode near
the top left of the Layers panel.
Anything that has a neutral tone
becomes black to dark gray, which
we can use to our advantage.
Step Three: Show the rulers

(Command-R [PC: Ctrl-R]) and
drag out a horizontal guide and a
vertical guide so they intersect on a
black region. You dont have to be

exact, just get them close for now.
Step Four: Next, above the gray-

filled layer, add a Threshold adjust-
ment layer (Layer>New Adjustment
Layer>Threshold) and drag the
slider all the way to the left in the
Properties panel. Everything should
be white.
056
PHOTOSHOP PROVING GROUND
Step Five: Start edging the slider back to the right until you begin getting
black pixels. You may have to keep going a bit to make a large enough region
near the intersection of the guides. This black spot should represent a good
sampling point for using a Curves adjustment layer. If you need to, use the
Move tool (V) to adjust the guides you set. The reason for adding the guides
first is to ensure that youre close to an actual gray area, rather than a region
thats simply neutrally toned, but has its own distinct color.
Step Six: Finally, add a Curves adjustment layer (Layer>New Adjustment

Layer>Curves) at the top of your stack and click on the gray Eyedropper in
the Properties panel. Turn off the Threshold and 50% gray layers by clicking
on their Eye icons in the Layers panel, then click on the intersection between
your two guides with the eyedropper. This will automatically adjust the color
curves so that the sampled area becomes a true 50% gray. You can refine
from there, though I recommend a second Curves adjustment for general
contrast enhancement and other control.
CLASSIC POSTERIZATION EFFECT

The next two techniques are creative, and show that you can use the Thresh- Step One: Add a Threshold adjustment layer
old command for foundations of some great classic effects. Lets start with above your Background layer, and start with
a classic posterization effect. Im using a portrait for this one, but anything the slider all the way to the left. Now creep
with smooth variations works well. to the right until you get the first set of details
you want to include in your effect. In this
Adobe Stock/gromovataya
case, I set the slider to about 33.
Step Two: Next, with the Threshold adjust-

ment layer active in your Layers panel, use
the Stamp Merge Visible command: Shift-
Option-Command-E (PC: Shift-Alt-Ctrl-E).
This creates a stamped version of your

results on a new layer. Double-click the
name of this new layer and rename it 0 or
whatever makes sense to remind you that it
will be your base layer. Turn off the 0 layer.
057
HOW TO
Step Three: Select the Threshold layer again in the Layers panel and
move the slider to the right a bit more. Youre building up the poster-
ized slices of your image this way. I used about 76 this time. Repeat the
above steps to stamp, rename, and turn off the new layer. Drag it to
the top of the layers stack.
Step Four: Do this same process for a couple more layers. In my

example here, I used a total of five layers with different Threshold
values. I named them 0, 25%, 50%, 75%, and White. Youll see why
in a moment.
Step Five: Okay, here comes the tricky part! Were going to use
blend modes and Solid Color fill layers to stack everything up. Turn
on layer 0, click on it to make it active, and add a Solid Color fill layer
above it (Layer>New Fill Layer>Solid Color). In the New Layer dialog
that appears, turn on Use Previous Layer to Create Clipping Mask,
click OK, and the Color Picker will open. Choose a dark gray (click on
the B radial button and set it to 25%) in the Color Picker, and click OK
to close it. Then set the Solid Color layers blend mode to Multiply in
the Layers panel.
Step Six: Turn on the 25% layer and make it active. Set its blend
mode to Screen. You should see some of the gray from below coming
through. Just like the previous step, this layer also gets a Solid Color
fill, using 25% gray and the Multiply blend mode.
058
Step Seven: For the 50% layer, repeat the Screen blend mode and a Solid Color
fill layer, but choose a lighter gray (hint: the layer names reflect the gray values I
chose). And then repeat for the 75% layer with an even lighter gray.
Step Eight: For the White layer, you dont need a Solid Color fill because it
provides the highlight. As you work your way up, notice that the image layer
sets the base back to white, and the Solid Color fill layer gives you the gray val-
ues. Whats great about this method is you can go back and selectively blur the
individual layers, add or remove detail (though you have to paint directly on the
layers), and at the end you can apply a Gradient Map adjustment to the top of
the stack, or even change the individual layer color fills directly.
059
HOW TO
Adobe Stock/Svetlana Fedoseeva
Step One
THRESHOLD AND THE MIXER BRUSH

The final effect is easy-peasy to set up, but can give some
really great results.
Step One: Starting again with a photo and Threshold adjust-

ment layer. Drag the slider for a modest balance that shows
off your subject reasonably well. It happens in this case that
I cant find a good balance between her facial features and
the highlights in her hair.
Step Two: To solve the problem, I added a Black & White

adjustment layer between the Background and Threshold
layers. In order to only affect her hair, I used the Brush tool
(B) set to black and painted on the B&W layers mask. I then
adjusted the B&W sliders in the Properties panel to bring

out the highlights to provide some contrast and detail. The
trick here is to recognize that you can add layers below the
Threshold adjustment to control individual colors and values
above or below the Threshold amount. You can also paint
on masks, dodge and burn, or do anything else to help
refine the result.
Step Two
060
Step Three: The next part of this technique is entirely up (if nothing happens, ensure Sample All Layers is selected
to you, but its really what makes this look sing! Grab in the Options Bar).
the Mixer Brush (nested under the Brush tool [B] in the You can continue to add more blank layers and build up
Toolbar) and choose a Blender from the Tool Presets your painting in pieces if you like. This technique really ben-
Picker at the far left of the Options Bar. (Note: To load efits from using a tablet like a Wacom Intuos Pro or Bamboo,
different tool presets, click on the gear icon at the top where you can control brush dynamics and rotation easily.
right of the Picker and select one of the sets at the bot-
tom of the menu.) I used a few different brushes, all with Like most tools in Photoshop, the Threshold adjustment is just
the textures turned off for my final result. Create a blank waiting for a creative mind like yours to turn out some top-
layer at the top of your layers stack, and begin painting notch art. Show us what you come up with on Facebook!
CLICK TO RATE 061

062
Mobile devices arent just convenient any more;
theyve become tools of daily life. Theres no
shortage of creative apps for phones and tablets,
though it can be a challenge to get them all to
work together. Adobe recognized this challenge
and put significant amounts of energy toward
making smooth transitions from devices to desk-
tops, enabling you to continue your creativity on
the run or in a chair. The growing catalog of cre-
ative apps is set to turn your phones and tablets
into real tools for productivity and creativity.
063
THE CREATIVE CLOUD APPKEEPING
YOUR STUFF TOGETHER
Since one of the key capabilities in the current suite is inte-
gration, I want to talk a bit about how files and assets
are shared across apps and devices through your Creative
Cloud account. While many apps can share directly or
make round trips (such as Lightroom Mobile making use
of Photoshop Fixs ability to heal and liquify), if you want to
have true freedom of mobility, youll need to understand
both CC Libraries and the Creative Cloud Files folder.
Libraries are the most visible aspect of sharing, especially
from desktop apps. Theyre primarily meant to hold proj-
ect assets, such as styles, colors, and graphic elements. You
have a panel (Window>Libraries) directly in desktop apps
such as Photoshop and Illustrator that lets you see and
manage multiple libraries very easily. These same libraries
are available to many of Adobes mobile apps. Heres a link
to Adobes site that helps explain how CC Libraries work.
Creative Cloud Files is a different beast, and its not
always obvious from the desktop. The Creative Cloud
Files folder is where actual project documents are stored
when moving from mobile to desktop. For example,
when you create a mockup in Adobe Comp CC and
send the file to Photoshop, its first sent through your
Creative Cloud account then written to a folder on your
computer. The Creative Cloud app keeps track of these
assets, helping you stay organized and synced. On the Web, you can create a new folder using the
The Adobe Creative Cloud app itself is available for Actions drop-down menu on the right of the screen, or
both desktop and mobile, and is really the go-to place for you can upload project files to an existing folder. If you
seeing all of your creative materials in one place. When choose the Folder option, you can see the actual location
you open the Adobe Creative Cloud app, choose the on your computer where your files are stored. Some-
Assets tab, and click on Files, youre offered the oppor- times this is simpler to manage, and the Adobe Creative
tunity to see the Web app, or to open the local folder on Cloud app will track changes you make there as long as
your computer. you dont move the parent folder.
064
So which should you use? I use the local folder for want to go tinkering in the file structures to find them.
deleting and adding full project documents directly, When you delete a Library, the items are archived until
then let them sync in the background. But for every- you delete them or run out of space in your CC account.
thing else, I go to the Web version, where I can see
everything in my account in one easy interface. Mobile THE MOBILE APPSGITTIN BIZZY
projects, Libraries, and XD Prototypes are all there, and Alrighty, then! Now that the background stuff is out of
you can even see things that have been archived (stored the way, lets dive into a pair of creative workflow projects.
before you permanently delete them) and shared assets. There are more than a dozen mobile apps from Adobe right
Its incredibly useful. now, so Im going to pick some of my favorites to show you
With both Creative Cloud Files and Libraries, your assets how I use them in real life. You can get a full view of whats
are saved locally on your computer, but only with Creative available here. This page will also tell you which apps are
Cloud Files are they easy to find. Libraries are meant to be designed to work together, and you can find tutorials and
used only through applications themselves, so you dont overviews of each of the apps from there.
065
LIGHTROOM MOBILE AND my iPad Pro. Lightroom Mobile syncs over the cloud to my
ADOBE COMP mobile-enabled catalog on my desktop machine, but also
By now, many of us know that Lightroom Mobile has a makes the files available as smart previews on all of my other
camera feature, and recently the Professional mode was connected devices. Once the upload is complete, I can easily
announced for many devices, with a new interface available get to the image in the same collection on my iPad.
for iPhones. My Android phone lets me shoot straight into Tip: In the Lightroom Mobile prefs, turn on Sync Only Over
DNG format, which gives me incredible latitude in process- WiFi if you have a limited data plan. This feature is found by
ing. Heres a shot I took in San Diego this past November. tapping the Lr logo in the upper left on the home screen.
While the Android version has many of Lightrooms If you see me in person, ask me how I cranked through a
powerful controls, I prefer working on the larger screen of months worth of data in one morning without realizing it.
066
My iPad allows me much more room to move around, so loaded, drawing a simple gesture onscreen creates an image
Ill do most of my corrections here. Anything I do on my iPad placeholder (on the canvas, draw a large X that fills the tem-
will be synced to the desktop so I can pick up and use more plate space). Tapping the image button at the bottom gives
powerful features there, such as creating output formats for me access to all kinds of assets, including My Files (Creative
books, or managing my keywords. I also find it much easier Cloud Files) and Libraries. In this case, I know I just saved my
to rank and flag images on the iPad using simple up and photo to Creative Cloud Files, so thats where Ill go.
down swipe gestures. Pro Tip: If you havent used Comp before, theres a built-in
But what if I want to add some text or a social media cheat sheet for the gestures. Tap the gear icon in the upper
banner? Easy! Once Im done with my corrections, I can tap right and choose Drawing Gesture Help. Tapping on any of
the Share box in the upper right, choose Share, and then the gesture icons shows you an animated version of how to
select Import with Creative Cloud. (Note: Youll need to have draw them. You can also watch my Adobe HelpX video.
the Creative Cloud app installed on your device to see this After Ive placed my image, I can add a text box and
option.) There are some options to send to other applica- other design features. A few gestures later, and Im ready to
tions using Open In, but not all of them are immediately upload my new cover photo.
available. The Creative Cloud app will launch where you
can pick a folder to which to upload the file, or you can
create a new folder. Using Creative Cloud, I can get to my
files from any of the mobile apps.
The Share button lets me choose a variety of destinations,

Im done in Lightroom Mobile for now, so its time to including my desktop apps where the design will come in
open Adobe Comp CC. Comp is a layout application thats with all of the elements on layers, along with text styles. For
meant for building quick mockups of collateral for print, the moment, Im going to choose Share Image, then click
screen, and Web. It has lots of preset project sizes, and Facebook. Once its uploaded, I can add my new cover image
I want to create a Facebook cover photo. Once the project is (see next page) from the post that was created. Schweet!
067
ADOBE PHOTOSHOP EXPRESS, FIX, used the Import with Creative Cloud feature as described
AND SPARK PAGE earlier. Once the image is synced, just click on the Creative
If you dont want the complexity of Lightroom, you can opt Cloud button at the bottom of Express, navigate to your
for Photoshop Express and its killer collection of presets. In
this project, I want to create a small story out of images that
I shot during Photoshop World last year in Las Vegas and
then share that with others online.
When you first open Express, youll get the All Photos
option at the bottom, which of course shows you every-
thing on your device. But you still have options for looking
into your other photo sources or taking a new picture. Since
Im on my iPad with everything synced, Im just going to
start working immediately on the images I want to use, but
Ill save them to my Creative Cloud Files account. Normally
when you save your image in Express, it generates a copy
and stores it in your device gallery, so if you forget to save it
to your CC account, its easy to find by date.
Okay, Im going to start in Express with an image I shot
with my phone that I saved to Lightroom Mobile and then
068
photo, and click Open File. This image is already nicely With healing all done, I can now explore the great Looks
blurred due to long exposure, but Im going to go straight that ship with Express, or I can do some additional correc-
into healing with Photoshop Fix, which is located under the tion and cropping. Except for the Looks, changes stack up. If
Creative Cloud button at the top of the screen in Express. you choose the Adjustments panel, you can independently
This is a round trip, meaning the photo will open in Fix and I control each of the characteristics such as Clarity, Exposure,
can paint over the areas I want to cover up, but I dont have and Temperature.
access to the other Fix tools from here. Still, I can heal, patch, Pro Tip: Do your adjustments and corrections before
and clone my way to brilliance! When I tap the blue bar at you apply Looks! This way youll get a better view of what
the top, my results are sent back to Express. Its important to youre adjusting.
keep in mind that this is a destructive operation but Express Once Im happy with the results, I can save the photo
makes a copy of your imageyoure not chang- back to my Creative Cloud Files account using the Share but-
ing the original at all. ton. This will place the file in the top level of the folder, so
Note: I choose not to use the healing feature it can get clutteredbe sure to move or archive this folder
in Express because it only operates like a spot- after each project to keep it organized.
ting toolyou cant paint with it; you can only The reason I like to place files in the Creative Cloud Files
tap small areas for correction. It works fine, but I is for the next stepAdobe Spark Page! With Adobe Spark
prefer having more control thats available in Fix. Page its easy to create and share dynamic webpage stories.
069
From within Spark, you can select those images and then see all of your Spark projects (Post, Page, and Video) in one
combine them with others from just about everywhere, place. Grab links, edit your pieces, and create new ones
including Adobe Stock. Add some text, explore the page from either mobile or Web versions. All of your projects are
themes and photo layouts, then preview your page. When automagically created for mobile and Web display, so you
youre done, publish it and share the link. Click here to see dont have to configure anything or make different versions.
an example that I created. Spark Page is an easy way to put together gorgeous pic-
You dont have to finish your project all at once, by the torials and visual stories with no technical insight needed.
way. You can save your page and come back to it later, but Share your vacations, special events, and projects quickly,
because its within the Creative Cloud universe, you can and look good doing it. Heres another example from
also access your pages through a Web browser on your Terry White when he and Scott Kelby went on their photo-
desktop. When youre logged in to your CC account, youll graphic adventure in Iceland.
070
AND MORE! GENERAL TIPS
AND GOODIES when I license the image from my Library panel, after a
Theres so much power available in the mobile apps that few moments, its available for update directly in Mix (if
theres no way to cover everything in one article. But there you dont have the project open, you can tap the tex-
are a few things I dont want you to miss out on, so Ive ture layers icon and choose Updatethis will apply the
collected some of my favorite tidbits here for you to try out. licensed stock image, removing the watermark and swap-
ping the preview for a high-resolution version).
PHOTOSHOP MIX
Consider keeping a little stash of textures available in a CC PHOTOSHOP FIX
Library. I have a dedicated Textures library that I populate If youre looking for some vignette love, head over to Fix.
Theres a dedicated vignette feature that lets you choose
the color of the vignette along with the intensity. Whats
insanely cool about it is that the vignette is applied as a
layer. Seriously! When you save the file to a library or send
it directly to Photoshop, youll get a solid color shape layer
with a raster mask. Double-click on that bad boy in the
Layers panel and you change the color of the vignette in
the Color Picker.
Fix also features Liquify and Healing. Liquify is a destruc-
tive operation, while Healing is not. When you open the
file in Photoshop, youll get a Healing layer, but Liquify will
have been applied to the base photo.
while browsing Adobe Stock. When-

ever I come across something inter-
esting, Ill add it as a preview to that
library. I can then place them as smart
linked previews into my Photoshop
Mix project. While they come in at low
resolution, its usually fine for figuring
out what texture I want.
When I find something I like, I can
license it from my desktop right in
Photoshop, even if I havent sent the
Mix project to my desktop. In fact,
071
PHOTOSHOP EXPRESS tap the Looks button (its the two overlapping rectan-
I didnt mention it earlier, but Photoshop Express has gles with a little arrow) and choose a color theme (see
a nifty collage feature. When you open the app, there top of next page). It will be applied to all of the pho-
are two options at the top: Edit Images and Make tos. A sneaky trick here is to check out the far right of
Collage. When you create a collage, youre asked the Looks samplesyour own images show up there.
to select your photos, then tap Next at the top right Whats going on? Well, Photoshop Express has kindly
of the screen. From there, you not only have a bunch created basic Color Lookup Tables (CLUTs) from your
of options for page layout, but also aspect ratio. own photos in the collage! That way you can spend
Heres another opportunity to create awesome social time dialing in the look of one, then gather them into
media graphics! the collage and apply the same look to all of them.
Rearranging the images is easyjust tap-and-hold Finally, you can send your collage to Mix, which
for a few seconds on one, then drag it to another posi- opens the project with each of your images cropped
tion on the page. The two images will swap places. and on its own layer. Do all the magic you want here
You can also tap an image in the collage and choose on each layer, including adding blended textures or
the Edit icon (looks like a pencil) to do additional work, continuing with other adjustments; however, you
but from the Collage feature, you cant send the image cant send the results back to Express directlybut
out to other apps like Fix or Mix. given all the other output options, Im sure you can
If you want a more consistent look to all the photos, find something useful!
Adobe Stock/otsphoto/Lindsay_Helms/Monkey Business

072
LIGHTROOM MOBILE the Collections view, you can see how many images
Theres a handy Gesture Shortcuts guide under the in a collection are flagged, unflagged, and set for
Lr logo in the same place as the Sync Only Over WiFi delete. Tapping again shows you how many images
option I mentioned earlier. There are three gestures I use total are in each collection and which ones are synced
all the time: toggle information; show before/after; and for offline editing (there will be a small mobile device
swipe up/down to rate and apply flags. icon and a checkmark).
A two-finger tap toggles information displays. In Waitoffline editing? Yes! When you load images
into Lightroom Mobile and its had a
chance to sync with your CC account, the
original gets stored on your desktop (if you
have a mobile-enabled collection active),
and your device keeps a smaller smart pre-
view. This is killer for saving space, but if
you want to work on the full-resolution
images, youll need to Enable Offline Edit-
ingtap the disclosure icon (three dots) to
the far right of the collection and choose

the option.
That disclosure menu is also where you
can share the whole collection, create a new
Spark Page, and use various other features. 073
Tapping with three fingers and holding on an image than doing it on your desktop with a keyboard and
shows you the before version if you made some edits. mouse. The ratings and flags are automatically synced
Theres not much more to say about this feature, but I with your desktop collection.
can tell you its one of those things that everybody loves
when they first see it. WRAPPING UP
When youre in the Flag and Rate section, swiping Whew! Theres just an insane amount of potential in
up and down on an open image lets you quickly set a these apps, and there are even more Adobe mobile
flag or give star ratings to your photo. But heres the apps out there. To take full advantage of them, youll
secret: it matters where you swipe! Swiping up on the need a Creative Cloud account. Even a free CC account
left gives you the option to set a flag, remove a flag, or comes with 2 GB of data for storing and syncing your
flag for delete. Swiping up on the right of the image mobile projects (keep in mind that a paid Photography
gives you the star ratings. (Note: Swiping to change star or All Apps membership is required to send projects to
ratings only seems to work on newer devices.) desktop applications).
And of course, swiping left and right navigates back- Since most of us have a phone or tablet nearby, it
ward and forward through your collection. You can makes sense to put them to good use. Grab a few of
quickly run through dozens to hundreds of photos, these apps (or all of them!) and start making your tools
making your selections in record time. Its actually faster work for you, wherever you go.
CLICK TO RATE
074
ALL IMAGES SCOTT VALENTINE EXCEPT WHERE NOTED
REGISTER TODAY AT PHOTOSHOPWORLD.COM | 800.201.7323
Photoshop World
THE Annual Conference
Is In Orlando This Year
Photoshop World is an exciting mix of peoplecreative professionals, soccer moms, artists, educators, students,
hobbyists, bloggers, photographers, videographers, and morewho all come to immerse themselves in three
days of incredible in-depth training, creative inspiration, and fun! The whole event is about losing yourself in a
flood of new ideas and techniques while meeting other creatives just like yourself, including Photoshop users,
photographers, graphic designers, social media marketers, and Lightroom fanatics. Theyre all there and theyre
all ready to learn and network. It doesnt matter if youre a beginner, intermediate or an advanced user, theres
something for everyone. Basically its a bunch of really cool, really fun, creative people like you!
Three Days Of Non-stop Photoshop,

Lightroom And Photography Training
Wed. April 19 | In-Depth Workshops Separate registration & fee required, Meet-Up
Thurs. April 20 | Keynote, Sessions, PSW Film Festival, After-Hours Party, Partner Pavilion
Fri. April 21 | Sessions, Photo Shootout, Live Natural Light Shoots, Partner Pavilion,
Midnight Madness, Pub Crawl
Sat. April 22 | Sessions, Guru Awards, Wrap-Up Ceremony
View all the Photoshop World 2017 highlights

at photoshopworld.com/events
Instructors
Get Ready To Learn From The Best
We all know the difference a great teacher can make and thats why only the worlds best instructors are
invited to speak at Photoshop World. Its a team of the most talented, passionate and gifted teachers
on the planet. All here to share their latest techniques and tricks of the trade to help make you faster,
more efficient, and more creative so you can have more fun while youre doing it. Here are some
of this years all-star instructors:
Scott Kelby Joe McNally Terry White Lindsay Adler Joel Grimes
Jay Maisel Moose Peterson Kaylee Greer Matt Kloskowski Kristina Sherk
Dave Black Jeremy Cowart Frank Doorhof Julieanne Kost Corey Barker
View all of this years Photoshop World instructors at

photoshopworld.com/instructors
Instructors, classes and class materials may change without prior notice. Visit www.Photoshopworld.com for the latest schedule and information
In-Depth Workshops After-Hours Party
Come a day early and dive deep into one of our Drink, dine, and mingle with the Photoshop World
pre-conference workshops. instructors and your fellow attendees.
Partner Pavilion Hands-On Labs

Get face-to-face with the industrys leading Work on your own project but with the professional
companies, and take advantage of major discounts. guidance of our own PSW instructors.
Live Natural Light Shoots Midnight Madness

Have fun in our shooting bays and capture everything Enjoy a hilarious evening of surprises, laughter,
from food to flowers to a model shoot. prizes, games and fun.
Portfolio Reviews Guru Awards

Have an in-depth review with candid appraisals, A contest created to honor and recognize the design,
valuable business insights and real world, practical advice. photography, and creativity of our attendees.
IN-DEPTH WORKSHOPS (04.19.17) SCHEDULE
The day before our conference kicks off, we hold in-depth workshops. These workshops provide a deep
dive into the topics you want to learn most with small class sizes, live shoots and hands-on training.
Separate registration & fee required.
Photo Safari | Moose Peterson Food Glorious Food: A Lesson in

Food Photography | Joe Glyda
Location Lighting Shootout | Erik Valind
Sit! Stay! Snap! On-Location Dog
Photograph Like a Thief: From Concept to Photography Shoot | Kaylee Greer
Print & Everything Between | Glyn Dewis
Jaw Dropping Images on a Low
Posing to Flatter Anyone | Lindsay Adler Budget | Frank Doorhof
Live Shoot: Lighting a Car for Maximum
Lightpainting Classic Cars | Dave Black
Effect | TIm Wallace
Seamless Multi-Platform Workflow First Time Attendee Orientation

A Live Shoot | Bryan ONeil Hughes Larry Becker
color coded
Customize Your Learning Experience
One of the best things about Photoshop World is that you can build a custom training experience thats just right for
you, choosing from over 100 classes in 9 different learning tracksall open to you with a full conference pass.
Choose your own schedule and even change tracks or sessions any time you want. We also color-coded each track
so you can easily identify the ones you want to follow.
CREATIVE CLOUD LIGHTING LIGHTROOM PHOTOSHOP VIDEO
PHOTOGRAPHY INSPIRATION BUSINESS ADOBE MOBILE APPS CONFERENCE EVENT
View the entire Photoshop World 2017 schedule at photoshopworld.com/schedule

Attend conference sessions in any track and move between them as you like. Instructors, classes and class materials may change without prior notice.
Visit www.Photoshopworld.com for the latest schedule and information.
DAY 1 (04.20.17) SCHEDULE
Getting The Most Out Of The Creative Cloud Bryan ONeil Hughes
Photography Plan (LR + PS + Mobile) | Creative Cloud
Lightpainting Step by Step Dave Black

Lighting
Organizing Your Images with Lightroom

Terry White
Lightroom
12:00pm -
See Like an Artist: How to Shoot Extraordinary Jeremy Cowart
1:00pm
Photos in Ordinary Situations | Photography
Master the Art of Magazine-Quality Skin Retouching: Kristina Sherk

The Fundamentals | Photoshop A
The Art of Winning Joel Grimes

Inspiration
Portfolio Tim Wallace

Business
Intro to Illustrator | Creative Cloud Dave Cross
Getting Started with Strobes

Erik Valind
Lighting
Creating and Working with Presets: Importing,

Matt Kloskowski
Exporting and Develop Module | Lightroom
4:00pm -
The Wildest Subject of All: How To Get the Shot in Moose Peterson
5:00pm Wildlife Photography | Photography
Photoshop CC: Extending Your Creativity Julieanne Kost

Photoshop A
A Town Hall Meeting Hour One Joe McNally

Inspiration
How to Land a $100,000 Ad Campaign Joel Grimes

Business
Getting Started with InDesign Dave Clayton

Creative Cloud
Creative Studio Lighting to Blow Your Mind Lindsay Adler

Lighting
Lightroom Tips & Tricks | Lightroom Scott Kelby
5:15pm -
The Way to Perfect Exposures Kevin Ames
6:15pm Photography
Landscape and Light | Photoshop A Matt Kloskowski
A Town Hall Meeting Hour Two Joe McNally

Inspiration
How to Contribute to Adobe Stock and Make Money Terry White

from Your Photography | Business
Three Ways to Create & Update Your Portfolio with Terry White
Adobe CC | Creative Cloud
Harnessing the Power of Lightrooms Develop Module Katrin Eismann

Lightroom
A Photographers Guide to Posing: Techniques to Lindsay Adler

Flatter Everyone | Photography
8:00am -
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Photoshop A
Master the Art of Magazine-Quality Skin Retouching: Kristina Sherk

Advanced Techniques | Photoshop B
Creating A Lifes Masterpiece: What Does It Jeremy Cowart

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Sharing Your Photos with the World Scott Valentine

Adobe Mobile Apps
The Power of Using Photoshop, Illustrator and Dave Cross

InDesign Together | Creative Cloud
Cityscape Master Class Serge Ramelli

Lightroom
The Secrets to Creating the Best Dog Kaylee Greer

Photos Ever | Photography
9:15am -
10:15am Master Class: Selections and Cutouts Glyn Dewis
Photoshop A
Evolution of an Image: Transform In-Camera Images Rick Sammon

to Images with Impact | Photoshop B
A Year in the Life of a Photographer Joe McNally

Inspiration
A Modern Photo Workflow Bryan ONeil Hughes

Adobe Mobile Apps
Improv Photoshop & Illustrator Hour Corey Barker

Creative Cloud
Creating Unique Styles & Looks in Lightroom & TBA

Lightroom for Mobile | Lightroom
Creating Magic with Less (Live Shoot) | Photography Frank Doorhof

10:30am -
11:30am
Lets Edit | Photoshop A Matt Kloskowski
Retro Down & Dirty Tricks Corey Barker

Photoshop B
Creativity Class Joe Glyda

Inspiration
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Your Phone | Adobe Mobile Apps
Location Lighting with Speedlites Dave Black

Lighting
Black & White Today & Yesterday Serge Ramelli

Lightroom
Light, Gesture & Color Part 1 Jay Maisel

Photography
3:00pm -
DSLR Video Basics Justin Wojtczak
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Video
Selections & Masks Demystified Dave Cross

Photoshop B
A Primer on Mobile Apps Bryan ONeil Hughes

Adobe Mobile Apps
Conquering Crappy Lighting Lindsay Adler

Lighting
Unlocking the Power of Lightroom Mobile Matt Kloskowski

Lightroom
4:15pm -
Light, Gesture & Color Part 2 Jay Maisel
5:15pm
Photography
Snapshot Videos Small Videos that Create Large Justin Wojtczak

Opportunities | Video
Photoshop Lighting Effects for Photographers Glyn Dewis

Photoshop B
Unlocking the Power of Lightroom for Mobile Matt Kloskowski

Adobe Mobile Apps
Master the Light Joel Grimes

Lighting
The Lightroom Ecosystem: Working in Lightroom Rob Sylvan

Across All Devices | Lightroom
5:30pm - Portrait Photography: Choosing the Right Lens and Erik Valind
Light for Anyone | Photography
6:30pm
DSLR Interviews: Setting Up and Coaching Your Justin Wojtczak
Subject to Tell the Most Impactful Story | Video
Essentials of Designing with Type Scott Kelby

Photoshop B
Creating Photo Collages On the Go Scott Valentine

Adobe Mobile Apps
Adobe, the Adobe logo, Photoshop, LIghtroom, Creative Cloud are all registered trademarks of Adobe Systems, Incorporated. Images courtesy of Brad Moore, Kevin
Newsome, Kathy Porupski, Jeff Leimbach, Rob Foldy and Randy Van Duinen.
Illustrator Tips & Tricks Dave Cross
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Live Car Shoot Tim Wallace

Lighting
Creating Beautiful Books in Lightroom Scott Kelby

9:15am - Lightroom
10:15am
Think Before You Press the Shutter Dave Black
Photography
Photoshop Selections, Layers and Masks Katrin Eismann

Photoshop A
Top Ten Photoshop Tricks for Photographers TBA

Photoshop B
Social Media Best Practices for Photographers Lindsay Adler

Business
Ten Tips & Tricks for InDesign Dave Clayton

Creative Cloud
Taming Natural Light, No Strobes Required Erik Valind

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All The Other Stuff: HDR, Panos, Video, History, Terry White
10:30am - Snapchat and Customizing | Lightroom
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Light on the Land: Bring Your Landscape Moose Peterson
Photography to Life | Photography
Creating 3D Composites in Photoshop Corey Barker

Photoshop A
Fixing Common Image Problems in Dave Cross

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Silencing the Critics Joel Grimes

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Intro to Adobe Muse CC Terry White

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21st Century Speedlites Joel Grimes

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Working with Photoshop Serge Ramelli

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HOW TO
Designing in Photoshop DAVE CLAYTON

welcome to graphic design for photoshop users
For those of you using InDesign, if youve been reading the InDesign Tips column that has appeared
in these pages over the past year, hopefully its helped your workflow and given you some timesavers
along the way. A lot of what Ive taught in these pages and in my KelbyOne classes can also be achieved
in Photoshop. Photoshop is so versatile that theres not a lot you cant create with it.
Adobe Stock/peshkova
The other apps in the Creative Cloud all have their individual business, local clubs, charities, or just because you love rolling
strengthsInDesign for Layout, Illustrator for vectors/logos, your sleeves up in Photoshop and learning new ways of work-
and Dreamweaver/Muse for Webbut Photoshop can actu- ing. Well create stationery, posters, social media content,
ally handle all these disciplines in some way, shape, or form. and flyers. And if theres anything youd like to see, just
Its also the most creative tool, and thats why this year were email the editor and let us know!
going to teach you some basic tips and techniques to enable Graphic design is nothing to be afraid of; if youre already
you to start creating content for yourself, whether for your a photographer, then youre already a designer of sorts.
086
DESIGNING IN PHOTOSHOP
Youre learning about composition, color, space, and print.

Well just add some cool techniques, typography, and a whole
lot of fun stuff to get you excited about designing in Photo-
shop, as well as retouching.
In future tutorials, well also look at the assets already
available in the Cloud: templates, content from Marketplace
and Adobe Stock, and Typekit for those with the full Creative
Cloud package. Thats enough chat; lets get working!
MAKING OUR FIRST DOCUMENT

About 80% of what I create ends up printed, whether its
business stationery, pull-up banners, flyers, posters, leaflets,
or info sheets. If youre designing for print, then you need to
learn about bleeds, margins, and guides. Once you learn this,
your local print company will love you, which means they may
print more quickly and give you better prices!
In this first exercise, well set up a simple document and
make an A4 poster for your wall to encourage you to get
designing. For this, well need a blank document, an image,
and some type. Well cover these as we go.
Both Illustrator and InDesign provide the ability to create
files that contain bleed marks to assist you when designing
your project. Photoshop, though, seems to be missing this
feature, but we can still accomplish this with a little bit of
understanding and planning.
PLANNING AND PREPARATION
WHAT IS BLEED? The first thing you need to determine is the finished size of
Bleed is specific to printjobs. You wont ever hear someone the printed document. Its always better to do this at the
in the video or Web industry ask for a file that contains bleed. start of the project instead of at the end because sometimes
When you have a project where thefinal printed document you might find youve already removed image information
contains ink that goes to the very edge of the paper, bleed that you need to create the bleed. Here in the U.K., we work
will be required. Most printing presses, both lithographic with the metric system, so we work with A-sized paper,
and digital, cant print to the edge of a piece of paper. A4 being the closest to Letter (forgive me, Im useless
(Some printers can print to the edge of the paper, but the at working in imperial inches when designingfractions
results can be poor.) was never my strong point). The standard bleed in the
To avoid this, the artwork must be printed on a larger printing industry for this size is around 35 mm, but always
piece of paper that includes bleed (the image area extends check first with your local print company to be sure. Some
past the edge of the papers final size) and then trimmed to projects, like books and large artwork (pull-up banners
produce the final product. Think of it like coloring outside the and signage), often need a larger bleed. If in doubt, always
lines and then cutting along the lines. If the artworkdoesnt ask! Some print companies will supply template files with
contain any bleed, you run the risk of revealing areas of white the bleeds and margins marked for you to work with.
(the paper color) along the edge of the printed document,

which doesnt look good and would take a long time to cor- START ME UPSIZING THE DOCUMENT
rect manually. If you look to the right of the image at the Well start by creating a new document (File>New) in
top of the next column, you can see where the paper was Photoshop at the final trim size, which in this project is
trimmed but missed the edge of the print. A4. Just click on the Print category at the top of the New
087
HOW TO
Document dialog, select A4, and click Create. For print, whatever you type into the Width and Height Fields. In this
I always design at 300 ppi (pixels per inch). You can get instance, well enter 6mm into both the Width and Height
away with a lower resolution but you cant go wrong with fields. I prefer this method because I dont need to do the
300 ppi; its an industry standard. The beauty of using maths (yep, I said maths with an sthats how we roll
Adobe Stock or images from your camera, which is hope- here in England); I just know I need to enter 6mm (for a
fully set to the highest resolution or even RAW, is that 3mm bleed) or 10mm (for a 5mm bleed, etc.).
theyre suitable to go straight to print at 300 ppi. The Print
presets in the New Document dialog automatically set the
Resolution to 300 ppi for you.
Its advisable to start every project like this; in some cases A couple more things to consider here before clicking
you can open existing artwork and add the bleed afterwards. OK are to choose the Canvas Color Extensionin most
Make sure that the rulers are displayed by choosing cases, itll be white, but you can select any other color. And
View>Rulers or pressing Command-R (PC: Ctrl-R), and to assist click the dot in the middle of the Anchor grid so that the
with precision, ensure that snapping is enabled by choosing canvas extends equally outward from the center of the doc-
View>Snap. Now click once in the top ruler and drag a guide ument (in this case, it will add 3 mm to each side). When
to the top edge of the document, where it should automati- youre done, you should end up with a document thats the
cally snap to the edge of the document. Do this for all sides bleed size of your final project with guides showing where
of the document until you have four guides showing. These the document will be trimmed.
guides are there to show you where your bleed will start.
ADDING THE INGREDIENTS
LET IT BLEED Now that we have our print-ready document sized correctly,
Now we need to increase the document size by the amount we can start adding the pretty stuff. Keep in mind that the
of the bleed. We know that A4 is 210x297mm. If were add- final printed piecewill be trimmed at the location of the
ing 3mm bleed all the way around, then we need to add a guides in your Photoshop document. Anything that you want
total of 6mm to both dimensions, giving us 216x303mm. (If to print to the edge needs to go past those lines to the edge
you need more bleed, just use the same equation.) of the document onscreen.
The easiest way to do this is to select Image>Canvas Were going to use an image we found on Adobe Stock
Size. Youll now have a dialog showing the current docu- to make our poster image. I searched for white brick wall,
ment size. Bizarrely, Photoshop never seems to show the and in the Filter section I chose Photos only and Portrait
exact size; its always off just a tad. Why? I have no idea! Orientation (well cover Adobe Stock and templates more in
But we can simply type 216 and 303 in the New Size area future projects). Once weve found the perfect image, we
and click OK. can license and download it to our computer. By all means,
But theres also another way. Before you enter any use your own images for your projects.
numbers in the Canvas Size dialog, turn on the checkbox To add the image, go to File>Place Embedded (there
below that says Relative (both the Width and Height fields is an option for Place Linked but well cover that in a future
088 will change to zero). This tells the canvas to increase by tutorial; for now, Embedded is fine). Navigate to where
DESIGNING IN PHOTOSHOP
the image is saved, select it, and click Open.

Dont worry if the image isnt the exact fit; we
can adjust that. Hold down Shift-Option (PC:
Shift-Alt) and click-and-drag from any corner of
the bounding box that appears around the placed
image to resize it proportionally from the center
outward. Drag until the image fills the entire
canvas so when its printed and trimmed, it will
print to the edge. Press Enter again to confirm
the transformation.
Well add some text using my mantra for 2017:

Keep learning, keep earning. Most people select
the Type tool (T), click in the document, and start
typing; however, you can also draw a text box
over the image so that the text will automatically
wrap to the next line or remain within the bound-
ary, which can be useful when you have a lot
of type. Again, well explore this more in a future
tutorial. In the Options Bar, we selected the text font,
size, color, and the Center Text icon.
Well just add a cheeky drop shadow to the
type by going to the Layers panel (Window>Layers
if its not already in the right-hand panels). With

the type layer active, click on the little x icon
at the bottom of the panel and choose Drop
Shadow. Set the Opacity to 77%, Angle to 120,
and the Distance, Spread, and Size to 3 (you can
play around with these settings). Click OK. 089
HOW TO
Tip: If you want to add the same layer style to another Now all we need to do is save the document. I always
text layer, Right-click on the name of the layer style in the save the original PSD first for future editing, as its nonde-
Layers panel, choose Copy Layer Style, then Right-click on structive. Then, go to File>Save As, select Photoshop PDF in
the new layer, and select Paste Layer Style. the Format drop-down menu, and click Save (ignore the first
Lastly, InDesign and Illustrator will output the file with warning box). Make sure that the Adobe PDF Preset drop-
crop marks, which helps in getting the printed document down menu at the top of the Save Adobe PDF dialog is set to
trimmed accurately. Even if we output to PDF in Photoshop High Quality Print. (Note: Your printer may have you choose
(the printers choice of format), we wont have the ability to another available option.)
add crop marks and bleed, so its a good idea to add these if
we want to see them. This is pretty easy to doits a work-
around, but it does work.
First, create a new layer above the topmost layer, dou-
ble-click this new layers name, and label it CROPMARKS.
Select the Rectangular Marquee tool (M), hold the Shift key
for proportion, and drag out a selection around one of the
top corners until it snaps to the crossing guides. After the
first square selection, you can then hold the Shift key to
add each additional corner until you have four marching-
ant squares.
And thats it. Weve set up our first print-ready Photo-

shop file. If youd like to save this as a template, heres
how: After saving the final document, delete all the lay-
ers except for the Background layer and the CROPMARKS
layer. Leave the guides showing, and then save this file as
Then, go to Edit>Stroke. Make the Width 2 px, select A4 Print Template.
Center, and choose a contrasting color thats easy to see. In Over the coming issues, well delve into more great
this case, we chose 100% magenta by clicking on the Color options that you can use in Photoshop to create other
swatch and selecting the color in the Color Picker. Click OK projects, both large and small. So as the poster says,
twice, then press Command-D (PC: Ctrl-D) to deselect. Keep learning, keep earning.
CLICK TO RATE
090
2107 Corey Barker
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HOW TO
Photoshop Tips COLIN SMITH

boost your productivity and creativity
Welcome to a fresh set of Photoshop tips. These tips are sure to alleviate those little Photoshop frustrations,
as well as put you on the fast track to speed and proficiency in Photoshop. This is my 14th year writing this
column, so if youve been reading it regularly, you should be a speed demon by now. If youre a newer member
and new to this column, fasten your seatbelts and check out some of the back issues on the KelbyOne site.
EXPORT LAYER AS AN IMAGE documents into tiles. Finally, wed select each image and
When working in a multi-layered document, there may drag it into one common image. This was time-intensive.
be times when you want to export a specific layer as a new I no longer use this method, do you? If youre newer to
image. Maybe youre making variations of an image, or Photoshop, or you havent updated your workflow in
perhaps you have a perfect background that youd like to years, heres a faster way of accomplishing this laborious
reuse later. A beginners option is to hide all the other lay- task: Choose File>Scripts>Load Files into Stack. In the Load
ers and then export as an image, or Save for Web. Heres a Layers dialog, click Browse, select the images, click Open,
better option: Right-click on the layer in the Layers panel, and then click OK in the Load Layers dialog. Photoshop will
and choose Export As. In the Export As dialog, choose your now do all the work for you. Oh, thats what the Scripts
format (JPG, PNG or GIF), click Export All, navigate to where menu does? Yep, its a very scary name for a very useful
you want to save the file, and click Export. That isolated layer set of automation tools.
will be exported without playing hide and seek.
RETINA WOES
RESET ALL TOOLS Are you using a Retina or HiDPI display? Most of the time
There are times when your tools get all messed up, or after this is great; however, when youre working with Web
a heavy editing session, all the alternative tools are showing or multimedia images, they appear half their actual size.
in the Toolbar. You may have changed some of the default This can throw you off. One solution is to display them
settings on the tools too. This doesnt seem like a big deal at 200% magnification and then theyll look normal. The
until youre trying to do something later and the tools arent problem is that every time you open an image, youll need
working properly. The usual response is to blame Photoshop to change the magnification to 200%. You could set
and say its not working right. Chances are that you changed a keyboard shortcut
a setting, such as a blend mode, and now things arent work- for this, or skip the
ing as expected. You can easily reset all your tool defaults at extra step entirely
the top left of Photoshop in the Options Bar where you see and make Photo-
the currently selected tool icon. Right-click on that icon and shop display the
choose Reset Tool (for the current tool), or Reset all Tools to regular resolution.
reset all the tools in the Toolbar to their default settings. Wheres the set-
ting? you may ask.

Ive looked in every
menu and prefer-
ence and cant find
it! This is a hid-
den gem. Go to
LOAD AS STACK the launch icon for
Do you have multiple images that you want to combine Photoshop (not the
in Photoshop? In the old days, we used to open all of shortcut on the tool-
the different images in Photoshop, and then arrange the bar, but the actual
092
P H O T O S H O P T I PS
install in the Finder [PC: Explorer]). Right-click on it and ADDING COLOR TO CURVES
choose Get Info. Youll see a window with info, includ- Curves is a very useful tool for adjusting images in Photo-
ing a checkbox that says, Open in Low Resolution. Click shop. You can sample an area in your image and pin it to
that box on, and the next time you launch Photoshop, the the curve. In the Properties panel for the Curves adjustment
images will appear at 100% normal instead of the Retina layer (Layer>New Adjustment Layer>Curves), click the top-
half size. left icon that looks like a little finger. When you click in your
image, it will leave a point on the curve that can be adjusted.
RESET DIALOG What if you want to add a point to one of the color chan-
When youre working in a dialog, sometimes you may mess nels? If you click RGB near the top of the Properties panel
up the settings so much that youd prefer to start over again. and choose a color channel under the drop-down menu,
You could click the Cancel button and try again, or you youll see that a point wasnt added. To add the point, hold
could click the hidden Reset button and carry on working down Shift-Command (PC: Shift-Ctrl) and click in the photo.
with the initial settings when you first opened the dialog. Youll now see a point in the color channels of the curves.
Where is this hidden Reset button? If you hold down the This is great for doing advanced color correction.
Option (PC: Alt) key, the Cancel button will turn into a Reset
button. Click it and youre good to go.
VISUALIZE SPOTS
When youre in Camera Raw and doing cleanup work,
theres a way to get Photoshop to show you all the specks
and sensor dust in your image without having to pan
through the entire image at 100%. When you choose the
Spot Removal tool (B), youll see options in the lower right.
See the box next to Visualize Spots? Click the box and youll
see the specks. If you need some help, you can fine-tune it
by moving the slider and changing the intensity.
SCALE WITH PROPERTIES PANEL

When youre creating something on a layer, you can always
resize it afterwards. Free Transform (Command-T [PC: Ctrl-T])
is the common command to scale the contents of a layer.
In Photoshop CC theres a unified Properties panel. Make
a layer active by clicking on it in the Layers panel. In the
Properties panel, you can adjust the width (W) and height
(H) together or separately (by turning the Link icon on/off).

Either type in a specific size (this is how you make something
an exact size) or click-and-drag over the name of a field to
enlarge or shrink an object. You can also change position,
or set a specific position, using the X and Y fields.
093
ALL IMAGES BY COLIN SMITH

CLICK TO RATE
COLUMN
DesignMakeover JAKE WIDMAN CLIENT

77K Freeze
www.77kfreeze.ca
freeze frame
before For the past four years, Yasumiko Garry and some of
her friends have shared an unusual hobby: using liquid
nitrogen to make frozen desserts at home. After years of
controlling the ingredients and the freezing by hand, they
decided to see if they could design an electronic system
that would let them manage the process just by pushing
buttons. They put together a prototype of their Cryogenic
Control Unit and debuted it at a Maker Faire this past June.
The system worked well all weekend, serving about 600
desserts, and we didnt kill anybody, says Garry.
After that success, the group decided to open a retail
operation called 77K Freeze, named for the temperature
(on the Kelvin scale) at which nitrogen turns to liquid.
Located in Vancouver, British Columbia, the caf and
lounge will feature five Cryogenic Control Units and will
let patrons concoct their own freezes, as well as ordering
the specialties of the house. Customers who cant or dont
eat commercial ice cream will be able to order freezes with
their own choice of ingredientspure milk and fruit, low
sugar or no sugar, or whatever their diet requires. Were
targeting a personalized dessert for individual people, says
Garry. Theyll also use the data on what people order and
what makes a good freezethe optimal combination of
fruit, fat, and sugar, for exampleto work toward pro-
ducing a fully automated, self-serve system.
Garry had put together a website to support the teams
appearance at the Maker Faire, but to prepare for the
retail launch, she wanted to find a designer with extensive
website experience to look at their website with a fresh
pair of eyesto look at it from a customers point of

view, she says.
Before (Top)
makeover submissions
Were looking for product packaging or labels, print advertisements, websites, and magazine covers that are currently in the marketplace for
future design makeovers. So if you or someone you know has a design that youd like us to consider making over, or if youre a designer and
youd like to be considered for a future Design Makeover, send us an email at letters@photoshopuser.com. (Note: This is purely a design
exercise and the designers do not work directly with the client, create functioning websites, etc.)
Well also be covering real-world makeovers in this column, so let us know if you recently had a branding makeover or if you did a branding
makeover for a client that youd like us to consider.
094
DESIGN MAKEOVER
CLIENT
77K Freeze
www.77kfreeze.ca
the project Garry put a website together using Wix to promote the
teams appearance at the Maker Faire. It was visible to the
public, but wasnt advertised beyond that. And after the
Faire, nobody put much effort into it.
In preparation for the launch, Garry looked for a designer
to polish up the websitesomeone to act as a reviewer,
she says, and offer suggestions of ways to improve it. At
the same time, though, she didnt want to change it too
much. Shed consulted the other team members exten-
sively during the creation of the initial site and incorporated
a lot of their preferences into the design. She didnt want to
have to take a whole new design back and get everyones
approval again, so she wanted the designer to stick fairly
closely to the existing site.
One of the team members found designer Sony Lin
through a Web search. This project was a unique expe-
rience for me, says Lin, because its not a new Web
design project from scratch or a total makeover of an old
website. Miko and her partners at 77K Freeze had already
spent hours discussing and building a fully functional con-
cept website that I could look at. She didnt want me to
change the structure of their concept site but to add a few
of my personal touches. The limitations actually made it a
fun challenge for me.
Garry also didnt want to implement changes to the
website that might wind up having to be undone later.
After working with Sony for a while, I realized that after
we launch, there may still be other changes, she says.
Shes prepared to tweak the design as necessary and
didnt want to add another layer of revisions to the ini-
tial version.
Before (Bottom)
about the client

The 77K teams goal is to return control back into the hands of consumers and to rid the world of boring and harmful desserts. Theyve been creating freezes
in private for several years and sharing these high-quality desserts with friends and families. They perfected their recipes and designed a system to safely handle liquid
nitrogen for food making. Now, they want to share these creations with the public.
Behind 77K Freeze is, in their own words, a team of sevenour trades are scientist, engineer, designer, artist, manager, health care professional, and creative
genius. But none of us can, hand-on-heart, say that we enjoy commercial frozen desserts for taste, aesthetic, health, and dietary reasons. We want simple, high-quality
ingredients that we know are good for us and good for our Freeze. We want to provide personalized Artisan desserts in the European style that stand out from the
crowd. Most of all, we want dessert nowfreshly made and the way we like it!
095
DESIGN MAKEOVER
DESIGNER
Sony Lin
www.sonykun.com
the process What struck Lin right away about the concept website
was its one-page design. It has become a trend to have
all your information on one page so your target clients
find it easier to navigate, especially on a mobile device,
Lin says.
Lin also identified a few weak points he wanted
to address. One was that the navigation didnt work
smoothly, but that was more of a technical issue than a
design one. From the design point of view, Lin focused on
improving the sites overall color selection and graphics.
Before He wanted to keep the design simple, clean, and elegant
in order to make it work well on a single page: You cant
just upload all the images and text into this one page, he
says. He decided that instead of showing all the photo-
graphs Garry provided, he would turn some of them into
background art.
Working with the product shots Garry provided,
Lin applied colors and effects to give them a consistent
appearance. In addition, he added a cold fog effect in the
After first image and frost marks in the second to create a freez-
ing mood (see next page). Finally, he used a dark gray color
to tone down the background images so they wouldnt
compete with the text, and tied them all together with a
blue wash, again reinforcing the overall freezing mood.
To keep the whole site from looking too dark and cold,
Lin alternated the dark background areas with lighter
ones. I chose more colorful photos for the light back-
ground images to bring some cheerfulness to the website,
because ice cream is supposed to be fun and enjoyable,
he says.
Before
Lin chose Agency FB (originally designed by The Font
Bureau) for the company name and the introductory
information. Its modern and sci-fi style fits perfectly with
the blue and cold style of the overall theme, he says. For
the subtitles, he chose Googles Reenie Beanie script font
to add a human touch. He set much of the text in a
gold color to add another touch of warmth.
096 After
DESIGN MAKEOVER
DESIGNER
Sony Lin
www.sonykun.com
the result Working with Lin was very smooth, says Garry. Lin would
post revisions to the design for her to review (the two still
havent met), and she praises his clear communication.
Its a great improvement on the original website, Garry
continues. Its got a responsive design that Sony checked
on different devices; something Id never have had time
to do. Shes also glad that Lin incorporated some ideas
that will support the caf going forward, such as adding
buttons for social marketing via Facebook, Instagram, et al.
We already have ideas on how to take it further, she
says. Its opening new doors and new ideas.
Its got a responsive

design that Sony checked
on different devices;
something Id [Garry] never
have had time to do.
After CLICK TO RATE
about the designer

Sony Lin is a freelance graphic and Web designer and photographer in Vancouver, BC. He graduated from Vancouvers Emily Carr University of Art and Design in 2002 with
a fine arts degree, but lately hes been doing more design work than oil painting. I live by the premise that your goals and my stunning design go hand-in-hand, he says.
The first website Lin created, gatchafive.com, showcases his photographs of 80s toys. He also built the website for his familys framing business, hsinframing.com,
and offers custom framing through his own site.
His Web address, sonykun.com, leads a lot of people to ask if his last name is really Kun. No, its Lin; -kun ( ) is a Japanese honorific used by anyone when addressing
or referring to male children or male teenagers, or among male friends. I would like my clients to feel comfortable working with me as their friend, says Lin, so I named my
website sonykun.com and incorporated the ideogram into my logo. 097
REVIEWS
Macphun
Macphun has produced an inexpensive ($69), yet extraordinarily
comprehensive image editor called Luminar, and it warrants
attention from beginners to seasoned professionals. Currently,
Luminar its exclusively for Macs running at least OS 10.10.5 and it works
as a standalone or as a plug-in for Adobe Photoshop, Lightroom,
Aperture, and Elements. You can also launch it as an extension
Powerful, Bargain-Priced Image Editor from inside Apples Photo application.
Review by Steve Baczewski If youve used any of Macphuns other applications, such as
Aurora HDR, Luminars interface will be familiar; but just in case,
Macphun has posted 63 video tutorials, a users guide, and a
comparison chart stacking Luminar up against Photoshop and
Company: Macphun
Lightroom. Macphuns commitment to Luminars development
Price: $69 is both reassuring and impressive. Since launch, Macphun has
Rating: 5 added batch processing, Touch Bar support for new Mac laptops,
and dehaze and golden-hour filtersthe latter adds a warm-
Hot: Powerful, inexpensive image editor;
p h ot o s h o p u s e r j a n u a r y 2 0 17
customizable
tone sunlight effect thats just beautifully nuanced. Also coming
up is a DAM (digital asset management) feature.
Not:
Working with Luminar as a standalone, you can navigate
to a folder or simply drag-and-drop a file on the splash screen.
Luminar quickly opens JPEGs, TIFFs, and every major proprietary
RAW file. Its clear-cut interface has a large image window
with most of its editing features along the windows right
side. On top is a toolbar and, with the standalone version, you
098
GET THE SCOOP ON THE LATEST GEAR
can export a finished file to a desktop folder or image by letting the user customize the workspace with just the
share it on Facebook, Flickr, SmugMug, or to an filters necessary for specific work, like architectural, portraiture,
email. You cant print directly from the stand- or landscape photography.
alone version, but you can if you use Luminar Luminar has dozens of image-editing filters (Macphuns term
as a Lightroom or Photoshop plug-in. for features) like those youd see in a standard RAW processor,
Under the image window are 60 presets broken for example: Exposure, Tone, Curves, HSL; but it also includes
down into categories, such as outdoor, drama, conventional filters, such as fog or texture overlay. Built into
portrait, etc. This is a great place to start if youre each filter are unique options for blending modes and mask-
new to image editing. The large preset thumbnails ing. When you select from the list of filters, a before-and-after
help visualize the effect, and integrated into each illustration helps you visualize the impact of each filter on your
thumbnail is a slider that lets you adjust the degree image. You can add as many filters to your image as you need
of the presets effect. You can also customize or by clicking the Add Filter icon. Sliders control the degree of
create and save your own presets. Many of the each filter effect, and many of the filters (Tone, for example)
presets are superb, from stylized color to black- have multiple sliders. The sliders are well designed and imple-
and-white, and sometimes the effect is so good mented, needing only slight incremental movements to create
that no further tweaking is necessary. Tweaking, visible distinctions.
however, is where Luminar shines. Overall, theres a simplicity to the Luminar interface that belies
Theres a comprehensive set of more advanced the power, fast processing, and sophistication under the hood.
features that will be familiar to professionals Luminar is missing some of the niceties that are in Photoshop or
including: layers, adjustment layers, layer masks, Lightroom, like the target adjustment tool or the white-point tur-
blending modes, object removal, a history panel, key baster, but Macphun listens and responds to users requests,
curves, a histogram, and much more. Luminar so we just might find them with the next update. Try the 30-day
allows you to streamline the process of editing an trial and see for yourself. This is quite a strong first version.
099
REVIEWS
Perfectly
When it comes to digital photography, I think wed all agree
that what we want is less time spent editing and more time
spent shooting. The folks at Athentech Imaging have come up
Clear with Perfectly Clear Complete to help us do just that! Com-

patible with both Lightroom and Photoshop, Perfectly Clear
Complete
Complete does the majority of the heavy lifting for us. In
fact, this software, long the industry-standard backend for
photofinishing labs, provides an astounding 20 corrections
with just a single mouse click! As its name implies, Perfectly
Suite of Plug-Ins Brings Out the Best Clear Complete is comprised of a suite of several useful
in Your Photos
and well-integrated imaging tools. In addition to its name-
Review by Michael Corsentino
sake, Clear, also included in the suite of plug-ins are Perfect
Eyes, Perfect Exposure, and Perfect Skin. Each plug-in is also
included as an individual title that allows slightly more options
Company: Athentech Imaging Inc.
when used separately.
Price: $149 The 40 award-winning presets in Perfectly Clear Complete

will have you expertly tuning up your images in a heartbeat,
Rating:
rapidly improving both color and detail. Being a manually
Hot: 20 corrections with a single click; quickly inclined person and a natural-born skeptic, I have to say that I
fixes images; strong batch processing
was amazed by what this software can do and how quickly it
Not: Skin corrections can lack pore structure can do it. Images go from average to amazing with literally a
after smoothing
few clicks. When custom refinements are called for, presets can
100
Before
After Before After
be tweaked easily using the set of robust control

sliders that are provided for just about every attri-
bute imaginable. These adjustments can then be
saved as new user-created presets for future use.
The real magic happens when you combine Per-
fectly Clear Completes automatic corrections and
its ability to batch-process thousands of images
in minutes.
Perfect Skin does a fairly good job of getting
you started with basic skin retouching, corrections,
cleaning up blemishes, skin smoothing, etc. As is Before
typically the case with retouching plug-ins, how-
ever, youll probably want to lean on Photoshop for
additional refinements. (Again, this perspective is
from someone who does all their retouching man-
ually.) Ideally, Id like to have more pore structure
maintained, and additional controls for skin-tone
uniformity. All in all, its a good entry point.
Note: The Perfect Eyes and Perfect Skin plug-
ins can be purchased individually for $79 and
$99, respectively. Perfect Exposure is available

as a free plug-in.
After
101
REVIEWS
Mark Mawson
Capture One
Imaging powerhouse Phase One recently released version 10 of
their venerable RAW-conversion software, Capture One Pro. For
any software, version 10 represents a milestone, as it speaks to
Pro 10 staying power and a history of continued development. Capture

One Pro is already mature software with a sophisticated set
of best-in-class tools, so updates, even major ones, are less
Image-Editing Software for Professionals about reinventing the wheel and more about refinements.
Review by Michael Corsentino In fact, there are actually 15 new features in Pro 10, along with
plenty of interface improvements and under-the-hood fine-
tuning, that provide a superior user experience compared with
previous iterations.
Company: Phase One
Capture One Pro 10 sees improvements in speed across the
Price: $299; $15/month for 12-month, board with faster image browsing, zooming, panning, and
single-user subscription
switching between images at 100% view and below. Also
Rating: added is a new, more intuitive, default workplace for new users
that includes getting-started examples.
Hot: Improved speed and user interface
refinements; powerful new sharpening This updated software also gives users more control over
sharpening with the addition of a new, powerful, three-stage
Not:
image-sharpening process that corrects for lost sharpness
102
Emil Mony Freddie

caused by diffraction; allows sharpening to be applied globally
or locally to elements within an image; and allows user-defined
sharpening options during image output.
Another noteworthy new feature is onscreen proofing. An
enhanced proof mode takes the guesswork out of the RAW
conversion process. From the viewer panel, users can now
This updated software also simulate the final size, resolution, color, compression artifacts,
and sharpening of images. This is particularly useful with small
gives users more control files intended for Web use and for optimizing image-compres-
over sharpening with a new, sion quality.

Rounding out Capture One Pro 10 are full integration with
powerful three-stage image- Tangent editing panels, added flexibility with folder organization,
sharpening process the ability to search by image orientation, and a new camera-
focus tool module for tethered cameras, among others.
Capture One Pro supports more than 400 digital camera
models and version 10 adds support for the following cameras
and lenses: Olympus E-M1 Mark II, Sony RX100M5, Sony A6500,
Sony A99M2, Sony FE 70200mm f/4 G OSS, Sony 70200mm
f/2.8 G, and Sony E 18200mm f/3.56.3 OSS.
103
REVIEWS
DxO
DxO has a reputation for automating image editing. With DxO
ViewPoint 3, you can now also automate the correction of image
distortions such as perspective and horizon problems. ViewPoint 3
ViewPoint 3
has one new feature as well: a tilt-shift effect (miniature effect).
I tried DxO ViewPoint 3 with a whole series of photographs.
With DxO ViewPoint 2, you could easily correct for any perspec-
tive and horizon problems, but you needed to do it yourself. With
Automatic Corrections & Tilt-Shift Effect DxO ViewPoint 3, however, you can still do it yourself and it will
Review by Erik Vlietinck be user-friendlier than before with a flatter, uncluttered look, and
easier-to-use correction tools.
In addition, DxO ViewPoint 3 lets you have fully automatic
corrections based on the camera-lens combination data you down-
Company: DxO Labs load from DxOs servers. I was expecting the app to make a mess
of those images that were really badly skewed on multiple axes;
Price: $79
but it managed the most difficult corrections spot on. Of course,
Rating: the automatic correction also takes care of the necessary cropping.
The tilt-shift effect is said to simulate perfectly the depth-of-field
Hot: Automatic corrections get it right
reduction thats identical to the creative look that usually requires

even with difficult photos
you to purchase a costly tilt-shift lens. To replicate the miniature
Not: look, DxO ViewPoint 3 shows handles for the location and inten-
sity of two blur gradients the user can adjust symmetrically or
asymmetricallyeven at an angle. The application also enables
photographers to simulate several types of bokeh.
It works well and gives a nice effect, but I cant tell if it comes
even close to the effect you achieve with an actual tilt-shift lens
because I dont have one. As far as Im concerned, this new effect
resembles photos taken with a tilt-shift lens; whether the effect is
104 identical to that of an expensive tilt-shift lens is a different matter.
GoPro
GoPros Black action cameras are among the best money can buy.
I bought a HERO5 Black to test its new features and image quality.
Lets start with the photography features. The new HERO5
HERO5 Black
Black allows you to shoot RAW images, which are saved as .gpr
files. Youll need Lightroom 6.7 or later to use these files. A Wide
Dynamic Range (WDR) JPEG mode is also available. The WDR
mode creates a pleasing, higher-than-normal dynamic range
Real Exposure Control & a RAW-Image Format photo. Both photos and videos can be tagged with GPS metadata.
Review by Erik Vlietinck The HERO5 has a brilliant 2" built-in, LCD display, and its water-
proof with no further protection required for depths of up to 33'.
The SD card is in a hopelessly tight spot, next to the battery behind
a sealed door thats quite difficult to open and close.
Company: GoPro Inc. I could control the HERO5 by voice, but it often went hilariously
wrong. More useful is the surprisingly-responsive touch color
Price: $399
display. The QuikCapture modewhich lets you use the record
Rating: 4 button to turn on the camera and automatically start recording,
as well as stop recording and turn off the cameragave a mixed
Hot: 4K HDMI-out; RAW photos; LCD display; experience. Its not clear what all the powering up and down does
audio quality; stabilization
to the electronics, so in the end I turned it off.
Not: Voice control isnt 100% dependable; The built-in electronic video stabilization (EIS) works wonders
SD-card is hard to remove when shooting while walking. But what really made me happy are
the HERO5s clean 4K HDMI-out and its exposure control. For the
latter you hold your finger on a target area on the LCD screen
and select whether the camera should lock on or not.
Finally, the HERO5 gets audio quality right. You can record to a
separate .wav file with control over the quality of these recordings.
In addition, you can connect an external microphone via a USB-C
adapter. The sound will be richer than ever before, either way. 105
BOO K RE V I E WS P E T E R B A U E R
Rick Sammons Evolution of an Image:

A Behind-the-Scenes Look at the Creative Taming your Photo Library
Photographic Process with Adobe Lightroom
By Rick Sammon By Rob Sylvan
At last, a couple of new non-eBooks to review! And a cou- My colleague Rob Sylvan comes through again with another
ple of great ones at that. In this book, Rick Sammon walks great book on working with Lightroom. If youre new to
you through his image capture and development process Lightroom, the first chapter, Getting in a Lightroom Frame
using Lightroom and various third-party plug-ins. His final of Mind, will be especially valuable. Other chapters cover the
chapters are entitled The Photoshop Advantage, focus- Library module and importing image files; the Folders panel,
ing on adjustment layers and smart filters. (As a bonus, creating and deleting folders, deleting and renaming photos,
the photos themselves are inspirational as well.) He shares and how to deal with missing folders and files; organizing with
Behind-the-Scenes stories about many of the images. Collections; working with image metadata; taking care of your
Dont skip the Preface in which he shares his Sammon- catalog; becoming more efficient in Lightroom; common and
isms. Theres both a short version, in which he explains advanced workflows; integrating with Lightroom Mobile (an
important concepts in a single sentence, and a long version, important chapter for todays mobile world); and trouble-
in which he explains in more depth (and using different shooting. While the title focuses on the Lightroom Library, as
images). The Introduction is also an important part of the you can see, no stone goes untouched when it comes to this
book. The author discusses the sequential steps required program. Youll find this book easy to read and understand,
to produce a great image: seeing, thinking, photograph- and well documented with appropriate photos and screen-
ing, and processing. (Rick doesnt discuss printingits not shots. Even experienced Lightroom users will find this book
among his specialties.) has much to offer.
Publisher: Focal Press Pages: 268 Publisher: Adobe Press Pages: 256
Price: $34.95 (paperback) Price: 39.99 (paperback)
Rating: Rating:
106
#KelbyOneBooks
D E PA R T M E N T
From the Help Desk PETER BAUER

answers to photoshop & gear-related questions
Do you have any quick tips on photographing people?Pauline
To: Pauline
From: KelbyOne Help Desk
Every photographer who shoots portraits or group out. And shoot a couple of shots, at least one with the
shots has favorite techniques. And many are very subject looking at the lens and another with the person
dogmatic about their techniques. This is the only looking straight ahead.
way to, You must always, Make sure that, You may need to use your flash to add fill lighting,
If you dont. Ive heard it all in classes I teach, especially if the background is quite bright. Pointing the
and Ive read about absolutes in many of the books flash directly at the subject may be overwhelming, so you
I review for Photoshop User magazine. may want to bounce the flash off the ceiling when shoot-
Im more flexible and think that every image is unique ing indoors, or use a FlashBender (or similar device) to
and each situation has its own requirements; however, diffuse the light. And, of course, you may have forgotten
I do have some general Do and Dont advice, little about it, but your flash may have come with its own snap-
things that may (or may not) improve your photoagain, on diffuser. And you can often use a longer lens and shoot
depending on the individual situation. from farther away to soften your fill flash.
Generally speaking, try to avoid mixed lighting and Dont forget to control the environment before you
locations where dark shadows and bright sunlight (or arti- click rather than thinking, Oh, Ill fix it in Photoshop.
ficial lighting) fall on the subject. I know a lot of people If, for example, youre taking a shot of a wedding party
will strongly disagree with me on this, but I love shoot- and theres a cocktail napkin in the foreground, walk over
ing outside on overcast days. The lighting will generally and pick it up. Not only will it save time in post-processing
be flat, which enables me to add highlights, shadows, (okay, save a few seconds in this case), people who see you
and perhaps tint in Photoshop. And its a piece of cake pick up a piece of trash may be impressed with what a nice
to select that overcast sky and replace it with a beautiful person you are. (You are a nice person, arent you?)
blue sky and the clouds I want. (I have a library of skies While I was waiting for a car in maintenance, one of the
on my server from which to choose. Some are shot at dealers account executives, Ron Bell, inspired me to add
an angle and some with the lens parallel to the ground. one more tip: Dont overlook taking a photo of a person
My collection includes sunny and stormy skies, as well as with his or her favorite or signature item. Ron suggested
night skies.) that the perfect photo would be of someone behind the
When shooting a head shot, its often (again not wheel of a brand-new, bright red, Mustang convertible. Of
always) good to have the subjects jawline aligned with course, it could be someone with their golf bag, a teddy
the lens. That enables the subjects cheekbones to stand bear, a special hat, or perhaps in uniform.
KelbyOne Member CLICK TO RATE
HELP DESK
Are you taking advantage of the Help Desk at the KelbyOne member website? This is the place where you can get all of your
Photoshop and Lightroom questions answered by our Help Desk experts. Not only that, you can get photo and computer gear
help and advice, as well. What are you waiting for? Visit the Help Desk section under My Account on the KelbyOne member
108 site today!
Photoshop User magazine is an official
publication of KelbyOne.
Each issue features in-depth Photoshop

tutorials written by the most talented
designers, photographers, and leading
authors in the industry.
As a KelbyOne member, you

automatically receive Photoshop User
delivered digitally ten times a year.
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THE A D O B E P H O T O S H O P H O W -T 0 MAGAZINE J a n u a r y 2 0 1 7

DYNAMIC Transform midday landscape In this new column, DESIGN WITH

THE OFFICIAL PUBLICATION OF

devices to desktops, enabling you to continue

The Benefits of Membership

Heard on the Tweet

From the Help Desk

034 DOWN & DIRTY TRICKS

0 56 PHOTOSHOP PROVING GROUND

094 DESIGN MAKEOVER

Log on to KelbyOnes website:

420 Ninth Ave, NYC

A Note from Scott

THE OFFICIAL PUBLICATION OF

GRAPHICS: THE OFFICIAL PUBLICATION OF

Jessica Maldonado, Art Director

Jean A. Kendra, Business Manager

U.S. Mail: 118 Douglas Road East Oldsmar, FL 34677-2922

his knowledge of Adobe software. Dave lives by the mantra,

Sean Ferguson, Guru Winner 2016

The Benefits of Membership

One-On-One Help Desk 24/7 Access

2 Magazines Interactive Webcasts

10 times per year with tutori- learn the latest techniques,

Discounts Learning Tracks

Youve Updated Photoshop ,

Now Update Your Photo Editing Skills!

fuel for creativity

12 Days of Christmas Recap

Instructor Recognition: Welcome to the

KelbyOne Artist Spotlight >> Tim Swart

KelbyOne Artist Spotlight >> Cathy Weatherston

How did you become aware of NAPP/KelbyOne

Just One Flash Portrait Retouching in

Under the Milky Way: Lightpainting How to Build an Audience

Finding Your Artistic Voice Inexpensive and DIY Photography

Rockin the Free Nik Collection Becoming a Marketing Genius

Top Ten Things Every Photographer

Dog Photography: Overcoming

Just One Flash

with Scott Kelby

Down create a football poster composite

of a football player combined with a few tricks to create a polished

Step One: You only need two images to create this

Step Two: Start by creating a new document

Step Three: Open the perf_texture.jpg image from

the exercise downloads. Of course, you can use your

appear in the image.

Step Four: Back in the main design file that

Step Five: Click on the x icon at the bot-

Step Six: Click On Blending Options at the

Step Seven: With the perforated back-

ground in place, lets bring in the first of the

Step Eight: Open the other player image and

Step Nine: Click on the Add Layer Mask

subject, thus revealing the larger subject

Step 10: Now add a layer mask to the larger

dients to either side of his head on the layer

Step 11: Lets create a frame element with

an inset frame like you see here. The shape

Step 12: Back in the Layers panel, set the

Step 13: Select the Brush tool (B) in the Tool-

subject to make it appear as though the yel-

Step 14: Now lets add a particle element.