Photoshop User 2018 03

THE A D O B E® P H O T O S H O P ® “ H O W -T 0 ” MAGA ZINE › › m a r c h 2 0 1 8
Retouching Learn how to easily fix uneven lighting

on faces using Color Range, adjustment
At first glance, Hard Mix looks like
a one-trick wonder, but there’s so
Proving
Magic layers, and blend modes much more to this layer blend mode Ground

Sandeep Mathur | KelbyOne Member
PHOTOSHOP
TO THE RESCUE!
What do you do when that
almost-perfect photo has
one little flaw that towers over
everything else in the image?
Fix it in Photoshop, of course!
Watch What’s Trending on the
KelbyOne Channel!
Photo Tip Friday: Scott Kelby “Finding the Right Type of Natural Light”
Photo Tip Friday: Moose Peterson Photo Tip Friday: Scott Kelby
“New Camera” “Creating Movement with a Makeshift Fan”
Photo Tip Friday: Clay Rasmussen “Clone Variant”
Lightroom Tips | Photoshop Tutorials | Photography Tips

“Photo Tip Friday” Quick Tips | Online Class Trailers | Full Episodes of The Grid
[ P H O T O S H O P U S E R • M A R C H 2 0 18 • V O L 2 1 • N O 3 ]
CONTENTS
Background: Adobe Stock; Images: Dave Williams; Layout: Jessica Maldonado

[064] FIXING PHOTOGRAPHIC MISTAKES IN PHOTOSHOP By Dave Williams
Does this sound familiar? You have an amazing photograph, but there’s just one little thing that’s
FEATURE
off and it ruins the entire image. Well, that’s what Photoshop is for! This article by Dave Williams is
all about making the most of what’s packed into Adobe Photoshop to help fix the images you got
just right—apart from that one thing. Dave covers cropping for composition, removing distractions,
selectively removing chromatic aberrations, targeted HDR for fixing contrast, digitally applying a
polarizer when you forgot to pack one in your kit bag, and adding depth of field when you left your
prime lens at home.
©Adobe Stock/WitR
©Adobe Stock/Burlingham
[024] [034]
HOW TO
DEPARTMENTS
[007]
A NOTE FROM SCOTT
[024] DOWN & DIRTY TRICKS
[009] How to Add a 3D Display Effect to a Simple Photo
CONTRIBUTORS
[034] DOWN & DIRTY TRICKS
[010] Portrait Quotation
BENEFIT SPOTLIGHT
[050] BEGINNERS’ WORKSHOP
[012] Conquering Content-Aware Scale
KELBYONE COMMUNITY
[056] RETOUCHING MAGIC
[020] Fixing Uneven Lighting
HEARD ON THE TWEET
[076] DESIGNING WITH PHOTOSHOP
[022] Mocking Up Your Artwork
NEW ONLINE TRAINING
[094]
FROM THE HELP DESK COLUMNS
[060] PHOTOSHOP PROVING GROUND
Hard Mix Tricks
DOWNLOADABLE CONTENT
Whenever you see this symbol at the
end of an article, it means there are either
[080] PRODUCT REVIEWS
downloadable practice files or additional Get the Scoop on the Latest Gear
content for KelbyOne members at
http://kelbyone.com/magazine.
Whenever you see this button Discuss this Issue at [090] BOOK REVIEWS
the end of an article, click it to go to the Reviews of Photoshop and Photography Books
Online Community to ask questions or
make comments about this issue.
Click this symbol in the nav bar at the top [092] PHOTOSHOP TIPS
of the online reader to access the Contents. Boost Your Productivity and Creativity
©Adobe Stock/honored
Kristina Sherk
[056] [060]
KelbyOne Members
Receive Exclusive Discounts
The
Professional’s
Source
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Log on to KelbyOne’s website:

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› › FROM THE EDITOR
> A Note from Scott

MAKING YOUR MEMBERSHIP BETTER EVERY SINGLE DAY
Before we get into all the news, I want to give a big high- Not only have we already released some courses
five to Adam and the KelbyOne web team, because in the based on your feedback, we already have some amaz-
past few weeks they’ve tweaked, fixed, and improved all ing courses lined up from some absolutely incred-
sorts of things with our site to make your course-watch- ible instructors. One I’m particularly excited about is
ing experience better than ever. Big improvements to the Melanie Kern-Favilla’s course on flower photography. If
video player included fixing the issue where it wouldn’t her name sounds familiar, it’s because she won one of
auto-advance to the next lesson when you were watch- our The Gallery at KelbyOne competitions with her amaz-
ing in full-screen mode (you had to leave full-screen and ing floral photography. After members saw Melanie’s
play the next lesson manually). It drove me just as crazy work in the gallery, and during her live interview session
as it did you, but I’m happy to say “the fix is in,” and after her gallery opening, we had many requests for Mel-
it’s working great! Plus, there are a lot of other tweaks anie to teach a class on her techniques. So I’m delighted
and improvements, and the feedback from members to say that we’ve already recorded the course. Melanie
has been awesome! Adam started a topic all about the totally crushed it, and we’ll be releasing it very soon.
improvements over on the KelbyOne Community, and That’s just one of the many great courses and new
the comments there are just awesome. Thanks to Adam instructors we’ve lined up for this year. Other courses
and crew, and thanks to our members for being so include how to get cinematic-quality shots from your
patient while we were working on those upgrades. drone, creating amazing portraits on location, landscape
Also, I want to make sure you’re checking out the photography in national parks, more amazing Photoshop
KelbyOne Insider blog on a regular basis. We post all our and Lightroom courses, and so much more. I can’t wait to
important news there from new courses, magazines, and share all these new courses (a new one comes out every
discounts to industry news, plus we feature the work of Thursday). Editor’s Pick: Check out Lindsay Adler’s new
our members, post contest details, and so much more. Master High Key and Low Key Lighting course, which
You can access it from the menu bar at the top of any is already online. You’ll learn a ton. We also did one of our
KelbyOne Community web page, or from your Member fun instructor interviews with Lindsay on page 18.
Dashboard on the left. It’s how you can stay on top of all I also want to congratulate UK-based photographer
this stuff and not miss a thing! Ian Munro who’s the latest KelbyOne member to win his
Okay, I’m super-psyched about this! As I’m writing own solo gallery show at The Gallery at KelbyOne. We’ll
this note, we’re less than three months from KelbyOne’s be welcoming Ian to our headquarters in Florida for his
annual member event—The Photoshop World Conference gallery opening on Friday, March 16. Ian is an amazing
(Orlando, Florida, May 31–June 2, 2018). Of course, as a photographer and Photoshop artist, and you just have to
KelbyOne member you’re not only invited but you also see his fascinating and witty fine-art images. Of course,
save a bunch of money on the already low price (but it’s you’re welcome to come to the gallery opening and see his
even lower if you book now before the early-bird deadline. work in person (and meet Ian) if you’re down this way, or
So, if I were you, I’d reserve my tickets now). you can watch Ian’s post-opening interview streamed live
This event is where KelbyOne members from around and learn more about the art and the artist. Keep an eye
the world come together with the instructors you learn on the KelbyOne Insider for details and a link to the event.
from online. We just shut out the rest of the world and We’re still working on a lot of other important and fun
get totally immersed in learning, laughing, exploring, stuff, and I’ll have more to share with you soon, but until
and making new friends. It’s such an amazing event, then, thanks for being a KelbyOne member (you rock!),
and one that I hope you’ll be a part of. Head over to and here’s to the start of something big.
photoshopworld.com to get your ticket, and I’ll see you
in Orlando before you know it. (We’re all staying at the All my best,
beautiful Hyatt Regency on International Drive—snag a
> K ELBY ON E . CO M
room with our discounted rate on the Photoshop World

travel page before they’re all gone.)
In other news, we’ve been analyzing the results from Scott Kelby
our recent member survey, and we’re hard at work on KelbyOne President & CEO
the types of courses you let us know you’re looking for. Editor & Publisher, Photoshop User [ 7 ]
M A R C H 2 0 18 • V O L 2 1 • N O 3
AN OFFICIAL PUBLICATION OF
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
CONTRIBUTING WRITERS:
Steve Baczewski • Corey Barker • Peter Bauer • Dave Clayton
Michael Corsentino • Kirk Nelson • Kristina Sherk • Colin Smith
Lesa Snider • Scott Valentine • Erik Vlietinck • Dave Williams
GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Senior Web/Graphic Designer
MARKETING:
Jacque Johnson • Rachel Scott • Kleber Stephenson
John Warwick • Melissa White
WEB:
Adam Frick • Curt Husting • Yojance Rabelo • Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152
HOW TO CONTACT KELBYONE:

U.S. Mail: 118 Douglas Road East • Oldsmar, FL 34677-2922
Voice: 813-433-5000 • Fax: 813-433-5015 Each issue we feature cover art
Customer Service: info@kelbyone.com by a KelbyOne member!
Letters to the Editor: letters@photoshopuser.com
Help Desk: http://kelbyone.com/my-account/helpdesk This issue’s cover is by Sandeep Mathur, a passionate traveler and a serious photog-
raphy hobbyist from New Delhi. Running an engineering company allows him to
travel to various parts of the world. His wife and kids are equally fond of travelling,
COLOPHON: and he usually plans his photography jaunts around work travel or family holidays.
Photoshop User was produced using Adobe Photoshop CC 2018 Every year, Sandeep tries to tick off his ever-increasing photography bucket list.
and Adobe InDesign CC 2018. Korolev was used for headlines and His choice of photography is shooting natural landscapes and cityscapes, and
subheads. Frutiger LT Std for text. he particularly loves mixing ambient light with artificial lights. Learn more about
Sandeep on page 17.
All contents ©COPYRIGHT 2018 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)
DAVEWILLIAMS
is a well-seasoned, UK-based travel photographer with internationally pub-
lished work and a passion for sharing his knowledge of Adobe software. Dave,
who is known as Hybrid Dave, lives by the mantra, “Lend me your eyes and I’ll
show you what I see.” His work has been featured in Time, National Geographic,
Lonely Planet, The Times, Marie Claire, and many more.
CONTRIBUTORS
STEVEBACZEWSKI KRISTINASHERK
is a freelance writer, professional photographer, graphic designer, is a high-end retoucher based in D.C. and has worked for clients
and consultant. He also teaches classes in traditional and digital such as Time Inc. and Hasselblad. She loves “translating” Photoshop
fine arts photography. His company, Sore Tooth Productions, is for people and has written for Shutter Magazine, as well as authored
based in Albany, California. KelbyOne courses and PhotoshopCAFE’s Fashion Retouching DVD.
COREYBARKER COLINSMITH
is an award-winning designer and illustrator. A featured instructor is an award-winning digital artist, photographer, and lecturer
at the Photoshop World Conference and an Adobe MAX Master who has authored 19 books and has created a series of training
Instructor, he has produced numerous training titles for KelbyOne. videos. Colin is also the founder of the online resource
Look for his latest book Photoshop Tricks for Designers. PhotoshopCAFE.com and president of Software-Cinema.com.
PETERBAUER LESASNIDER
is an Adobe Certified Expert that does computer graphics con- is the author of Adobe Lightroom CC and Photoshop CC for
sulting for a select group of corporate clients. His latest book is Photographers: Classroom in a Book (2016), Photoshop CC: The
Photoshop CC for Dummies. He was inducted into the Photoshop Missing Manual, TheSkinnyBooks.com eBooks, more than 40
Hall of Fame in 2010. video courses, and the “Creaticity” column for Macworld.
DAVECLAYTON SCOTTVALENTINE
is a UK-based graphic designer, creative specialist, and KelbyOne/ blends his education in physics with his love for art, bringing a
Photoshop World instructor with more than 30 years of experience. unique voice to teaching through experimentation. His Hidden
Specializing in all things design and marketing, Dave is also an Power books (Adobe Press) are used in colleges across the US,
Adobe Influencer and Training Manager at Astute Graphics. and he’s a longtime member of Adobe’s prerelease team.
MICHAELCORSENTINO ERIKVLIETINCK
is an award-winning wedding and portrait photographer, founded IT Enquirer in 1999. A J.D. by education, Erik has been
Photoshop and Lightroom expert, author, columnist for Shutter a freelance technology editor for more than 22 years. He has
Magazine and Resource Magazine, and speaker and international written for Macworld, Computer Arts, and many others. He also
workshop leader. Learn more at www.michaelcorsentino.com. contributes to UK-based Red Shark News and Red Shark Sound.
KIRKNELSON
is a professional graphics artist in the Washington, D.C., area. He
has a B.A. from George Mason University and is an Adobe Certified
Expert in Photoshop. Kirk’s career has touched on a broad range of
subjects from logo design to animation. He can be reached here.
[ 09 ]
> Benefit Spotlight
PHOTOSHOP WORLD CONFERENCE 2018:

SPECIAL PRICING FOR KELBYONE MEMBERS!
We’re counting down the days until the

biggest creative conference in the world—
Photoshop World! This three-day event
is jam-packed with hands-on training,
photo contests, fun events, and endless
networking opportunities with like-minded
creative individuals and the best instruc-
tors in the industry.
You can attend a myriad of different
design and photography classes or learn
something specific from one of our six spe-
> PHOTOSHOP USER > M A RC H 2018
cialized learning tracks to create the train-

ing experience that’s best suited for you.
Join us in Orlando, Florida, May 31–June 2,
2018, and come be inspired!
As an added bonus, KelbyOne mem-
bers save an extra $100 off the early-bird
pricing if you register by April 27, 2018
(that’s a savings of $200 off the normal
[ 10 ] price!). We’ll see you there! n
NEXT STOPS: ATLANTA, GA | MILWAUKEE, WI
Atlanta, GA | 03.26.18 • Milwaukee, WI | 03.28.18

Columbus, OH | 04.13.18
view more dates
SARAHFREEMAN & DAVECLAYTON
> KelbyOne Community
Inspiration, information, and member musings to fuel your creativity
We Love Our New Instructors! Let’s give a his go-to lenses and camera settings to capture natural light,
warm welcome to Irene Rudnyk! and then discusses a variety of different lighting scenarios
We have lots of new faces making their way to the and offers tips on how to work with and modify natural light.
KelbyOne studio. This month we want to welcome Irene Then in the second part of the series, Mastering the Nat-
Rudnyk to the family! Irene came to visit us all the way ural Light Portrait: Post Processing, Scott works through his
from Calgary, Canada, and inspired us with her bright and process for editing the photos from part 1. In this course,
friendly personality. We’re excited to introduce her to you you’ll learn the core types of edits you’ll apply to all of your
as a new KelbyOne instructor. natural light portraits. You’ll also learn different techniques
Irene is known for the soft style and mood of her portrait for reducing distractions and making the face the most eye-
photography and her use of natural light. Along with her catching part of the photo. From soft, northern-exposure
love of photography, she also has a passion for teaching, light to dappled light, Scott teaches you how to analyze the
which is great news for us! Make sure to check out her up- photo, plan your approach, and get the most out of what
coming courses on creating Creative Portraits on a Budget Lightroom and Photoshop have to offer.
and The Secrets of Posing and Styling. After you watch Scott’s two courses, you can put all of
For now, you can get introduced to Irene on The Grid, these tips and tricks to good use in our Member Challenge
where she and Scott talk through the importance of social | Natural Light Portraits contest! We can’t wait to see what
media and how to build up your following. you come up with.
If you want to learn more about Irene, take a look at her
portfolio, visit her YouTube channel, and follow her on
Congratulations to Ian Munro, Our Latest The
Instagram. Be sure to check back in your Member Dash-
board for her upcoming classes!
Gallery at KelbyOne Winner
Our latest winner of The Gallery at KelbyOne is UK-based
photographer and Photoshop artist Ian Munro! Ian’s fine-
art conceptual storytelling (or “tableau”) style is unique and
powerful. He truly knows how to create a scene, master the
postprocessing, and tell his story.
As our winner, Ian receives a solo gallery show at The Gal-
lery at KelbyOne, which will take place on Friday, March 16,
2018. Following the gallery, Ian will be interviewed in the
KelbyOne Theater, which will be streamed live and open to
everyone, so you can learn what inspires him and his work.
If you want a sneak peek of Ian’s work, take a look at his
awesome website. And make sure to keep an eye on The
Gallery at KelbyOne to learn how you could be our next
featured artist!
Mastering Photos in the

Best Light: Natural Light
We’re right on the brink of the start of spring, and what
better way to kick off springtime than with natural light por-
traits. We’ve been all about this beautiful light in our Kel-
byOne courses recently.
Our very own Scott Kelby, President and CEO of
KelbyOne, the original “Photoshop Guy,” and bestselling au-
thor, has been in the studio and on location focusing on mas-
tering the natural light portrait. In the first part of his two-part
series, Mastering the Natural Light Portrait, Scott teaches
you how to shoot with natural light. You’ll walk through an
[ 1 2 ] entire shoot from planning to postprocessing. Scott discusses
ARTIST SPOTLIGHT >> SANDY HANSEN
MEMBER SINCE 2016
ARTIST SPOTLIGHT >> ROB SIROTA PHOTOGRAPHY
MEMBER SINCE 2012
ARTIST SPOTLIGHT >> ARRAN ANDERSON PHOTOGRAPHY
MEMBER SINCE 2016
WHO’S WHO IN THE KELBYONE COMMUNITY >> SANDEEP MATHUR
MEMBER SINCE 2014
› › K E L BYO N E C O M M U N I TY
Who’s Who in the KelbyOne Community: Sandeep Mathur

Sandeep Mathur’s photography is featured on the cover of this issue of Photoshop User magazine.
Running an engineering company in New Delhi allows Sandeep to travel to various parts of the world
where he can immerse himself in his love of travel photography.
How has KelbyOne helped with your photography? where to go, and will spend the next few days researching
I discovered KelbyOne Training after watching Scott Kelby’s and finalizing locations for my trip.
Photoshop for Travel Photographers on B&H’s YouTube
channel. From there I discovered Scott’s books—The Adobe What was your biggest photography challenge? What
Photoshop Lightroom 5 Book for Digital Photographers, gear do you always take with you?
The Digital Photography Book series (which in my opinion My trip to Iceland was a huge learning experience on how
is a series that every budding photographer should read)— to shoot in trying conditions—extreme temperatures,
and then eventually signed up for KelbyOne Training. howling wind, rain, mist, etc. It also taught me to not be
I’ve enjoyed watching and learning from various training set in my ways, and to an extent, unlearn a few things.
modules by Scott Kelby, Rick Sammon, Erik Valind, Moose My main camera is a Nikon D750 and I have a D7000 and
Peterson, and Peter Hurley, to name a few. But the course D5500 for backup. My go-to lens is a Tamron 24–70 f/2.8.
I keep going back to is Matt Kloskowski’s Landscape Pho- I usually carry a wide-angle NIKKOR 16–35 f/4 and a Tam-
tography. Every time I see it, I pick up something new. ron 28–300mm on every trip. I have a few primes and a
superzoom lying around, but I don’t use them very often.
You have a great portfolio of travel images. How
do you decide where to go, and how much do you What advice would you give to fellow KelbyOne
research your destinations? members who want to become travel photographers?
To a large extent, my travel depends on where my work I took up photography because I was travelling to all
takes me. We have offices in France and Germany, and these exotic locations for work and wanted to take
customers in Europe, Africa, the Middle East, and South- back pictures for my family and friends. It’s easy to get
east Asia, which has allowed me to travel to all sorts of so involved in taking a technically perfect shot that you
exotic locations. Looking at great images online fires my forget to enjoy the view, and I’m guilty of this too. My
imagination, and then the urge to go to a particular des- advice would be to be well prepared so that you do
tination becomes a compelling desire. This is what hap- justice to your talent as a photographer and the location,
pened with my recent trip to Slovenia, and I had the most but at the same time make sure you also enjoy the
wonderful six days photographing Lake Bled and Lju- location, view, local food, culture, and history too. Also,
bljana. I do spend time researching the places I’m visiting it’s very important to be respectful of the local customs,
for shooting locations, compositions, sunset and sunrise people, and fellow photographers—this will enhance
times, etc. Instagram, 500px, and Pinterest are excellent your photography experience.
resources. For deciding on the best compositions, I often
refer to the app PhotoPills. What advice would you give to someone thinking
about joining KelbyOne?
What’s your favorite place to photograph, and There’s a lot of free content and tutorials out there for
where are you headed next? learning photography and photo editing, especially on
By far, Paris is my favorite destination for photograph- YouTube, and the quality is at times quite good. It’s
ing. It could be because Serge Ramelli was my god when tempting to depend entirely on this free content, but
I started dabbling in photography. He was a huge inspira- it’s easy to get lost in this sea of information and get
tion with his photographs of Paris and his weekly tutorials. distracted from your photography goals. The advantage
I can never get tired of going back to Paris. Rome comes in of joining a professionally managed photography training
a very close second. Iceland was an out-of-this world des- organization such as KelbyOne is that your learning
tination, and I do feel my visit to Iceland helped my pho- curve will be structured with strong basics and in-depth
tography grow. I’ll be in Munich in April this year for work, knowledge from the top industry professionals. You can
and I intend to take a few days off to photograph land- learn at your pace and will have the advantage of an entire
scapes. I have some advice from fellow photographers on community helping you grow as a photographer. n [ 17 ]
WHO’S WHO ON THE KELBYONE INSTRUCTOR TEAM >> LINDSAY ADLER
INSTRUCTOR SINCE 2012
› › K E L BYO N E C O M M U N I TY
Who’s Who on the KelbyOne Instructor Team: Lindsay Adler
Where are you from, and what kind of work do you do?
I’m originally from a small town in upstate New York, but I’ve
[10]
made the move to the big city! I’ve lived in New York City for
the last eight years and specialize in fashion and beauty photog-
raphy. I shoot a range of subjects including portraits, cosmetic
RAPID-FIRE
campaigns, fashion editorials, and much more. They’re all united QUESTIONS
by my bold and graphic style of photograph.
Where do you look for inspiration? LINDSAYADLER

I try to get inspiration everywhere so that my fountains of inspira-
1. Favorite movie
tion do not run dry. I get inspired by movies, book, art exhibitions,
Lord of the Rings

makeup artists, travel, and so much more.
2. What can’t you live without?
What do you enjoy most about teaching? Cheese
I love so many things about teaching. First, I love that when I teach
it forces me to better understand my own craft. I always learn 3. Favorite type of music
photography at a deeper level when I have to explain my process. Depends on my mood
Second, I love to help others pursue and perfect their passion.
I love my job and my life, and I want to help others achieve the 4. What do you do in your spare time?
same. Finally, when I share all my secrets, it forces me to discover Cuddle my dog
new ones!
5. What’s your favorite place to travel?
Someplace new!
Do you have any work rituals?
I eat dark chocolate when shooting and pet the dog (a lot) when 6. What are three things you always
working from home. take with you when you travel?
Hair gel, Canon 24–105mm lens,
Are there any hardware or software tools and headphones
you just couldn’t live without?
My Canon 180mm macro lens. I use it for so many of my portraits 7. What’s your favorite new app?
and cosmetic beauty images! Mobile Passport: Lets me skip the lines
at customs!
8. What’s the best advice you’ve

ever received?
Value yourself. That’s the only way other
people will value you as well.
9. Who would you recommend some—

one to follow on social media?
Chris Knight: Cause he’s talented, and

my man.
10. What’s the one thing you wish

somebody would ask you?
What’s the most important thing in life? n
Be sure to check out Lindsay’s brand-new KelbyOne course

Master High Key and Low Key Lighting! [ 19 ]
> Heard on the Tweet
A Quick Glance at Some Highlights from our Twitter Feed
> P H O T O S H O P U S E R > M A R C H 2 0 18
[ 2 0 ]
› › HEARD ON THE TWEET
Follow KelbyOne and Scott Kelby on Twitter!
[ 2 1 ]
Here Are Your Late
Every week we publish at least one new training c
Unlocking the Power of Capture One

Join Clay Rasmussen to learn how to get up and running with Capture One. From live tethered capture to
powerful image editing to output, Capture One is a one-stop-shop photography workflow tool.
In this course Clay teaches you how to set up the workspace, organize your photos, shoot while tethered,
leverage the editing suite, and prepare your files for a range of output scenarios.
A User’s Guide for the Sony a7R III

Join Larry Becker in this fantastic guide to the full-featured Sony a7R III! Larry starts off with a look
at the things you need to know to get up and running quickly, and then proceeds through shooting
modes, autofocus options, video capture, and customizations to make this camera your own.
[22 ]
est Online Courses
course. Check out the brand-new offerings below:
Just One
Mastering the Natural More
Light Flash Post Processing
Portrait:
LearnJoin
howScott Kelby
to add onefor the flash
more conclusion
to yourtoportrait
his Mastering
lighting the
withNatural Light Portrait
Scott Kelby! Buildingcourse, as he works
on the foundation you through
gained
inhis process
Just for editing
One Flash, the photos
Scott teaches youfrom
the that
why,shoot.
when,In thishow
and course, you’llalearn
of adding the flash
second core to
types
yourofSpeedlight
edits you’ll
applyyou
setup. Whether to all of your
want natural
to create light portraits,
separation different
between techniques
your subject and for
thereducing distractions,
background, add a fill light, or
and making
change the look of the background theyou’ll
itself, face be
theamazed
most eye-catching part
at all the great of theyou
things photo.
can do with a second flash.
Master High Key and Low Key Lighting

Join Lindsay Adler for a class about the extremes of lighting! Lindsay starts you at the beginning where
your shoot’s purpose determines the type of lighting you’ll use and all the choices you make from that point
onward. You’ll go through low-key setups and then how to morph them into high-key. All throughout the class,
Lindsay shares her perspectives on why and when she uses a particular setup and the gear she uses. [ 2 3 ]
COREYBARKER
HOW TO ADD A
3D DISPLAY EFFECT
TO A SIMPLE PHOTO
This is a cool effect inspired by something I recently saw on
Pinterest. (Yes, there are quite a few good ideas to be found
there.) Anyway, this is a cool way to use 3D in Photoshop to add
a modern look to a simple image. You can use this effect in a
variety of ways with a variety of images.
[ 24 ]
› › DOWN & DIRTY TRICKS
Step One: The great thing about
©Adobe Stock/WitR
this technique is that you can cater it
to any type of photo. Here we have
a cool shot of the pyramids in Egypt.
You can download a comp of this very
image over at Adobe Stock or use a
photo of your own.
To download the watermarked pre-
view from Adobe Stock directly to your
Libraries panel (Window>Libraries),
click on the link for the image below.
When the Adobe Stock web page
opens, make sure you’re logged in to
your Adobe account, then to the right
of the image, you’ll see the option to
Save Preview to My Library (you can
click on My Library to select a differ-
ent library or download option). Click
on the cloud-with-an-arrow icon, and
the preview image will automatically
be downloaded to your Libraries panel
in Photoshop. Simply double-click the
image in the Libraries panel to open it
in Photoshop.
• Egypt. Cairo - Giza

Step Two
Step Two: Open the Layers panel

(Window>Layers), and make a dupli-
cate of the Background layer by
pressing Command-J (PC: Ctrl-J).
Step Three: Go to the Toolbar and

select the Rectangular Marquee tool
(M). Hold down the Shift key and
draw a square selection that encom-
passes the main focus of the image.
Here you can see we have a nice bal-
ance of pyramids and sky inside the
selection. While you’re drawing your
selection, you can press-and-hold the
Spacebar to reposition it. After you
finish drawing your selection, you can
click-and-drag inside it to reposition it

as well. When done press Command-J
(PC: Ctrl-J) to copy the selected area
to a new layer.
[ 2 5 ]
› › HOW TO
Step Four: With this layer active in

the Layers panel, go under the 3D
menu and choose New 3D Extru-
sion from Selected Layer. If Photo-
shop asks if you’d like to switch to
the 3D workspace, click Yes. This
will extrude the shape and apply
the extracted image to the front
face of the new 3D object. You’ll
see the layer in the Layers panel has
been converted to a 3D layer.
Step Five: Click the Eye icon next

to this 3D layer in the Layers panel
to turn it off for the moment, and
reselect the duplicate layer we cre-
ated in Step Two. Go under the 3D
menu again, but this time go to
New Mesh from Layer and choose
Postcard. This will convert the flat
image into a 3D layer that can be
manipulated in 3D space. For our
purposes here, we need this layer

in 3D space to receive the shadow
effect from the main 3D layer.
[ 2 6 ]
Step Six: To do that, we need to merge

the two 3D layers. When you merge 3D lay-
ers, the scene will assume the lighting of the
lowest-lying 3D layer. In this case, we want
to maintain the lighting in the extruded layer.
So drag the postcard layer we just created
to the top of the layer stack in the Layers
panel. Then, click where the Eye icon for the
extruded 3D layer used to be to turn that
layer back on. With the top layer active, press
Command-E (PC: Ctrl-E) to merge it with the
3D layer below. You’ll see the shadow being
cast from the shape above.
Step Seven: The 3D layers may have jumped

back in space a bit. We can fix this with a
simple camera adjustment. Go to the 3D
panel (Window>3D) and select Current View
in the asset list. Then, switch to the Move
tool (V), and choose the Slide the 3D Camera
tool in the 3D Mode tools in the Options Bar.
Hold the Shift key, and click-and-drag down
in the canvas to position the 3D layers so they
fill the canvas frame. The Shift key constrains
the movement as you drag.
Step Eight: You’ll also notice that the

extruded 3D object is sticking out from the
background postcard image a little too much.
To adjust it, go back to the 3D panel and look
for Layer 2 and Layer 1 Mesh. You can rename
a layer in the 3D panel by double-clicking its
name and inputting your own. Here we’ve
renamed Layer 2 to “Main Image” and Layer
1 Mesh to “Background.” Click on the Main
Image layer to make it active.
With the Move tool active, select the Slide
the 3D Object tool in the Options Bar. Place
your cursor over the face of the extruded
object. You’ll see a large square yellow high-
light appear, and the blue arrow (the one
pointing directly at you) in the widget will
turn yellow. Click-and-drag up to push the
extruded object back into the scene to bet-
ter align it with the postcard image. Use the

shadow to help you determine where to
stop. The further back you push the extruded
object, the less shadow it will cast.
[ 2 7 ]
› › HOW TO
Step Nine: Let’s start processing the background image. In the

3D panel, click on the material layer for the Background layer,
which is called “Layer 1.” At the top of the Properties panel
(Window>Properties), click on the page icon to the right of
the Diffuse property thumbnail, and choose Edit Texture in the
menu. The original image will open in a new document.
Step 10: The grid you see is an

overlay indicating the areas of the
3D layer, which helps for placement.
You can adjust and even turn this
feature off in the UV Overlays sec-
tion in the Properties panel.
Press D to set the default Fore-
ground and Background colors, and
then go under the Image menu, to
Adjustments, and choose Gradient
Map. Click OK in the Gradient Map
dialog to convert the image to a
sharp black-and-white image.
Step 11: Next go under the Filter

menu, to Blur, and choose Sur-
face Blur. Set both the Radius and
Threshold to 10 and click OK. This
will soften the background but
maintain sharp details in the image,
enhancing the sense of depth.
[ 2 8 ]
Step 12: Now go to bottom of the

Layers panel and hold down the
Command (PC: Ctrl) key as you
click the Create a New Layer icon.
This will create a new layer below
the active layer. Press Shift-Delete
(PC: Shift-Backspace) to open the
Fill dialog, set the Contents drop-
down menu to Black, and click OK
to fill this layer with black.
Step 13: Click on the top image

layer in the Layers panel and lower
its Opacity to 85%. This will dim the
image a bit more. Close this image
and save the changes. This will then
update the image on the 3D post-
card. Lastly, go back to the Proper-
ties panel, click on the Materials
icon at the top left, and lower the
Shine from 20% to 0%.
Step 14: Before we get to the main

image, let’s adjust the lighting a
little. Go to the 3D panel and select
Infinite Light 1 in the list. With the
Move tool active, a large orb will
appear over the 3D image. You can
click-and-drag to move the light
around using the orb as a visual aid.
The small sphere is the light source;
the larger orb is the 3D object. Here
we want the light coming in from
the upper right, giving us a longer
shadow.
Finally, in the Properties panel,
set the Intensity of the Infinite Light
to 125% and the Softness to 85%.
[ 2 9 ]
› › HOW TO
Step 15: Back in the 3D panel,

click on Environment at the top of
the list. In the Properties panel, set
the Ground Plane Shadows Opacity
to 0%.
Step 16: In the 3D panel, click the

arrow to the left of Main Image to
reveal the individual material layers.
Select the Layer 2 Front Inflation
Material. At the top of the Proper-
ties panel, click on the page icon to
the right of the Diffuse setting, and
choose Edit Texture.
Step 17: The original layer will open

in a new document. Go to the File
menu and choose Save As. Change
the name to “illumin_texture,” and
set the Format to Photoshop (.psd).
Just save it to your desktop, and
then close this file.
[ 3 0 ]
Step 18: Go back to the Proper-

ties panel and once again choose
Edit Texture under the Diffuse
menu. When the image opens
again, go to the Layers panel and
create a new blank layer above
the extracted image layer. Fill this
layer with black and then close
the file and save the changes. This
will make the front face of the 3D
extruded object black.
Step 19: With the Layer 2 Front

Inflation Material still selected in
the 3D panel, go to the Illumination
setting in the Properties panel just
down from the Diffuse setting. Click
on its folder icon and choose Load
Texture. Locate the illum_texture
.psd image from Step 17 and click
Open. This will apply that image as
an illuminated surface. This helps
enhance the image by projecting
light rather than reflecting it, isolat-
ing the light effect in the scene on
the background.
[ 31 ]
› › HOW TO
Step 20: Go back to the Illumina-

tion menu in the Properties panel
and choose Edit Texture. Press D
to set the default colors. Go to
the Image menu, to Adjustments,
choose Gradient Map again, and
click OK.
Step 21: Hold down the Command

(PC: Ctrl) key and click the layer Step 21
thumbnail in the Layers panel to

load the square shape as a selection.
Step 20
Step 22: Create a new blank layer,

go to the Toolbar, and choose the
Gradient tool (G). Then set the Fore-
ground and Background colors to
two different colors (to select colors,
click on the swatches near the
bottom of the Toolbar). Here, we
chose a blue for the Foreground
color (the sky) and an orange for
the Background color (the pyra-
mids). In the Options Bar, click on
the gradient preview thumbnail,
select the Foreground to Back-
ground preset in the Gradient Edi-
tor, and click OK. Select the Linear
Gradient icon in the Options Bar.
Back in the image, hold the Shift
key, click at the top of the selec-
tion and drag to the bottom of the
selection to apply the gradient.
Step 23: In the Layers panel, set

the blending layer mode to Over-
lay. This will colorize the image
in a stylish way.
[ 3 2 ]
Step 24: Now select the Type tool

(T) and click on the image to cre-
ate a text layer. Here we typed
“PYRAMIDS” in Futura Book and
placed it in the upper-right area of
the sky. Go ahead and close this
image and save the changes.
Step 25: Go back to the Properties

panel and set the Shine to 0%. Also,
click on the Specular color swatch
just below Diffuse. Set the color to
a solid black in the Color Picker, and
click OK.
Step 26: Finally, go back to the

3D panel and choose Environment.
Then go to the Properties panel and
set the IBL Intensity to 50%.
Step 27: All you need to do now is

render the image. Go under the 3D
menu and choose Render 3D Layer.
You can also press Shift-Option-
Command-R (PC: Shift-Alt-Ctrl-R).
Depending on your system, it will
take about 5–10 minutes to render.
Now try this with some of your own

photos. You may be able to resur-
rect some old photos and give them
new life. n
[ 3 3 ]
KIRKNELSON
PORTRAIT QUOTATION
Combining a portrait headshot along with a quote is a time-
honored practice that’s been used for generations. The clas-
sic practice of placing the quote beneath the portrait can get
a bit stale once you’ve seen it a few hundred times. Instead,
why not incorporate the quote directly into the portrait? One of
the benefits of the human face is that it’s nearly symmetrical.
That means one half of the face is virtually redundant when it
comes to visual information. So, using text to create that half
won’t obscure the identity of the portrait. The result is a tech-
nique that adds a lot of visual interest to a portrait and makes
it much more memorable.
[ 3 4 ]
Step One: For this tutorial, we’re using an
©Adobe Stock/Burlingham
image from Adobe Stock. Feel free to fol-
low along with the smaller, preview size of
the image. We’ve made note for when the
instructions are adjusted to account for the
smaller resolution.
To download the watermarked preview
from Adobe Stock directly to your Librar-
ies panel (Window>Libraries), click on the
link for the image below. When the Adobe
Stock web page opens, make sure you’re
logged in to your Adobe account, then
to the right of the image, you’ll see the
option to Save Preview to My Library (you
can click on My Library to select a different
library or download option). Click on the
cloud-with-an-arrow icon, and the preview
image will automatically be downloaded
to your Libraries panel in Photoshop. Sim-
ply double-click the image in the Libraries
panel to open it in Photoshop.
• Studio portrait of an
African American man
Once the image is open in Photoshop,

go to the Layers panel, Right-click on the
Background layer, and select Convert to
Smart Object.
Step Two: Go to Filter>Camera Raw Filter.

In the Basic tab, set the Exposure to +0.75,
Highlights to –12, Clarity to +58, and the
Saturation to –100. Then go to the Detail
tab and set the Sharpening Amount to 70
(if using the smaller, preview image, set

the Amount to +25), the Radius to 1.0,
and Detail to 33. This applies a desatu-
rating effect while boosting the image
details. Click OK. [ 3 5 ]
› › HOW TO
Step Three: Go to Select>All to

create a selection of the entire image,
then go to Layer>New>Layer Via
Copy. Double-click the name of the
layer and rename it to “High Pass.”
Then, go to Filter>Other>High Pass,
set the Radius to 10 pixels (for the
preview image, use a Radius of 5),
and click OK. Near the top of the
Layers panel, set the blending mode
to Overlay and reduce the Opacity
to 50%.
Step Four: With the High Pass

layer active, hold down the Shift
key while clicking on the image
layer (Layer 0) in the Layers panel
so both layers are selected. Press
Command-G (PC: Ctrl-G) to group
the layers together, and rename the
group to “Base Portrait.”
[ 3 6 ]
Step Five: Expand the group in

the Layers panel and make Layer
0 the active layer. Grab the Quick
Selection tool (W), and click the
new Select Subject button in the
Options Bar. Photoshop will auto-
matically create a selection around
the contour of the model.
Step Six: Click the Select and Mask

button to open the Refine Selection
tools. In the Properties panel, set
the Radius to 12 pixels (4 pixels for
the smaller preview image), Feather
to 2 pixels, and Shift Edge to –28%
(–4% for the smaller preview
image). Open the Output Settings
and change the Output To drop-
down menu to Layer Mask. When
you click OK, Photoshop will mask
out the background of the layer,
leaving just the model.
[ 3 7 ]
› › HOW TO
Step Seven: Create a new layer

and name it “Black.” Move this
layer to the bottom of the layer
stack and make sure it’s outside
the Base Portrait layer group. Go
to Edit>Fill, set the Contents drop-
down menu to Black, and click OK.
Step Eight: Use the Crop tool (C)

to pull in the sides of the frame. Work
the center point so it’s directly in the
middle of the model’s nose and the
right edge is just inside his earlobe.
Press Enter to commit the crop.
[ 3 8 ]
Step Nine: Press D then X to set

your Foreground color to white, and
then use the Type tool (T) to begin
adding in lines of text. Choose a
font that’s wide, bold, and blocky.
Here we used the Impact font.
Make each line a separate text layer,
so the text will be easier to manipu-
late into place. Also select the Right
Align Text option in the Options Bar,
and make sure these text layers are
above the layer group that contains
the portrait.
Step 10: Work on scaling and

positioning the text layers to fit the
contour of the model’s face. Use
Edit>Transform>Scale to manip-
ulate the size of each line of text.
Avoid stretching the text too much;
just use a uniform scale. If necessary,
break up words into multiple lines,
as we did with the word “REPUTA-
TION” at the end of the quote, by
inserting your Type cursor into the
text and pressing Return (PC: Enter).
You may need to adjust the lead-
ing (space between lines of text) in
any line were you add a Return. To
do that, select all the letters with
the Type tool, hold the Option
(PC: Alt) key, and tap the Up and
Down Arrow keys. Also, make sure
all the text aligns neatly along the
right edge. As you move a text layer

with the Move tool (V), the Smart
Guides will assist in aligning it to
the other layers.
[ 3 9 ]
› › HOW TO
Step 11: Use the Rectangular Mar-

quee tool (M) to select the right side
of the canvas from the center of the
model’s face to the far right edge.
(Tip: Press-and-hold the Spacebar
while drawing your selection to
reposition it as needed.) Then make
the Base Portrait group the active
element. Click on the Add Layer
Mask icon (circle in a square) at the
bottom of the Layers panel to mask
out the left side of the portrait.
Step 12: With the group layer mask

still active, hide all the text layers by
clicking the Eye icon next to each
of them in the Layers panel. Then
hold down the Shift and Command
(PC: Ctrl) keys and click on each text
layer’s thumbnail in turn to build a
selection of all the text.
[ 40 ]
Step 13: Be sure the group layer mask

is still the active element and go to
Edit>Fill. Change the Contents drop-
down menu to White and click OK
to reveal the model’s face through
the text area. Go to Select>Deselect
to cancel the selection.
Step 14: Use the Rectangle tool (U)

set to Shape in the Options Bar with
the Fill set to none and the Stroke
set to white with a width of 1 pixel.
Then draw out a rectangle to frame
the image and finish off the effect.
Not only is this technique ideal

for creating a memorable portrait
image, it’s also a good exercise in
creative typography work. Using the
text to create the mask on the por-
trait group makes it rather straight-
forward to change the quote if
needed. This is a great effect to use
for online avatars, résumé photos,
or even advertisements. Enjoy your
new portrait quote technique and
all the applications for it! n
[ 4 1 ]
PHOTOSHOP WORLD 2018
Get ready to learn from the best instructors in the industry!

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we’ve made sure to include time for you to interact with them after each class and at events. Don’t
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To view all the amazing Photoshop World instructors visit

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PHOTOGRAPHERS PLUG INS
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LESASNIDER
> BEGINNERS’ WORKSHOP
CONQUERING CONTENT-AWARE SCALE
The Content-Aware Scale (CAS) command examines what’s in an image and intelligently adds or
removes pixels from unimportant areas as you drag the resizing handles. Photoshop leaves the
important bits—such as people—unchanged. This is just the ticket for scooting objects closer together
or for adding more background pixels.
SCOOTING OBJECTS TOGETHER

CAS is great for scooting objects closer together in order to option to Save Preview to My Library (you can click on My
convert the orientation of a photo from landscape to por- Library to select a different library or download option). Click
trait. You could use the Crop tool, but if there’s an impor- on the cloud-with-an-arrow icon, and the preview image
tant visual near either edge of the image, you’ll snip it off. will automatically be downloaded to your Libraries panel
in Photoshop. Simply double-click an image in the Libraries
Step One: In Photoshop, choose File>Open and navigate panel to open it in Photoshop.
to a photo. If you’re starting in Lightroom, select a photo
• Beach Surf and Vacationers
in the Library module and then choose Photo>Edit In>
Adobe Photoshop CC, or press Command-E (PC: Ctrl-E). In • Starfish, kids and Footprints on Beach
Photoshop, duplicate the image layer by pressing Command-J
(PC: Ctrl-J). Double-click the duplicate layer’s name and enter Step Two: Choose Edit>Content-Aware Scale. Mouse over
“portrait.” Turn off the visibility Eye icon for the original Back- to the image and drag the middle handle on the right side
ground layer. to the left. Keep an eye on your subject(s) as you drag—if
To obtain the stock images used in this exercise so you body shapes start to become squished, drag rightward until
can follow along, download the watermarked previews from they look correct again. Press Return (PC: Enter) on your key-
Adobe Stock directly to your Libraries panel (Window>Libraries) board when you’re finished.
by clicking on the links for the image below. When the Adobe Tip: In some cases, it’s helpful to turn on Protect Skin Tones
Stock web page opens, make sure you’re logged in to your in the Options Bar (it looks like a stick person); however, this
Adobe account, then to the right of the image, you’ll see the photo has too much beige in the background for that to work.
©Adobe Stock/Cheryl Casey
[ 5 0 ]
› › BEGINNERS’ WORKSHOP
Step Three: Press C to grab the

Crop tool (circled) and in the Options
Bar, turn off Delete Cropped Pixels
(also circled). Drag to draw a crop
box around the image and then
press Return (PC: Enter).
Tip: To retrieve the cropped pixels,
choose Image>Reveal All and then
turn on the visibility Eye of the origi-
nal layer. Alternatively, instead of
using the Crop tool, you can use the
Image>Trim command to zap trans-
parent pixels; however, that method
nixes your ability to retrieve the origi-
nal image within this document. But
if you’re happy with your CAS results,
go for it!
As you can see in this before (top)

and after (bottom) comparison, the
image was narrowed to portrait orien
tation, though the kids and sailboat
remain unchanged. Photoshop did
a great job of resizing only the
unimportant parts of the image in
this particular photo, but that won’t
always be the case. Oftentimes it’s
best to mark the areas you want to
protect first, which is covered next.
[ 51 ]
› › HOW TO
ADDING MORE BACKGROUND
©Adobe Stock/Cheryl Casey

CAS is also helpful for adding more
background to a photo in order to
achieve a certain aspect ratio for
printing or to leave room for matting.
It’s also handy for creating room for
text on social media cover images,
business cards, postcard mailers, and
so on. This time we’ll give Photoshop
a hand by first marking the areas we
want to protect.
Step One: Follow Step One in the

section above, and name the dupli-
cate layer “bigger.” We’re using
the “Starfish, kids and Footprints on
Beach” image for this technique.
Step Two: Press C to grab the Crop

tool and drag the upper-left handle
(circled) outward to create a little
more room on the left and top of the
photo. Press Return (PC: Enter).
Tip: To be exact with your resizing,
skip the Crop tool and use the Image>
Canvas Size command instead.
Step Three: Press Q to enter Quick

Mask mode or click the circle-within-
a-square icon at the bottom of the
Toolbar panel (circled). This mode lets
you create a selection by painting,
which is incredibly useful for many
Photoshop tasks. The active layer
also turns red in the Layers panel to
indicate that Quick Mask mode is
turned on.
Note: Double-click the Quick Mask

mode icon at the bottom of the Tool-
bar to open the Quick Mask Options
dialog, make sure that Color Indicates
is set to Masked Areas, and click OK.
If your layer is no longer highlighted
in red after exiting the Quick Mask
Options dialog, just press Q to enter
[ 5 2 ] Quick Mask mode again.
› › BEGINNERS’ WORKSHOP
Step Four: Press B to grab the Brush tool (circled).

Trot up to the Options Bar and from the Brush
Preset Picker (also circled), pick a hard-edged
brush (set the Hardness to 100%) that’s around
200 pixels (try 40 pixels on the Adobe Stock pre-
view image). Set the Mode to Normal, Opac-
ity and Flow to 100%, and Smoothing to 10%.
Press D on your keyboard to set the color chips
at the bottom of the Toolbar to the factory-fresh
settings of black and white. Press X on your key-
board until black is on top. Mouse over to the
image and paint the areas you want to protect:
the kids, starfish, and sailboat. Be sure not to
paint to the edges of the image.
Step Five: When you’re finished, press Q on your

keyboard to exit Quick Mask mode. Marching ants
appear around everything except those areas, as
indicated by the selection going around the entire
outer edge of the document (shown below left).
Flip-flop your selection by choosing Select>Inverse
or by pressing Shift-Command-I (PC: Shift-Ctrl-I).
Now the marching ants appear only around the
areas you painted across (shown below right).
[ 5 3 ]
› › HOW TO
Step Six: Choose Window>Channels and click the

circle-within-a-square icon at the bottom of the panel
to save the selection as an alpha channel (a fancy
name for a saved selection). Photoshop adds a chan-
nel named Alpha 1.
Step Seven: Click the Layers tab (circled) to return to

the Layers panel. Deactivate the selection by choosing
Select>Deselect or by pressing Command-D (PC: Ctrl-D).
Step Eight: Choose Edit>Content-Aware Scale. Trot

up to the Options Bar and choose Alpha 1 from the
Protect drop-down menu (circled). Mouse over to the
image and drag the left-middle handle leftward, and
then drag the top-middle handle upward. Press Enter
when you’re finished.
Until next time, may the creative force be with you all! n
[ 5 4 ]
HANDS UP IF YOU WANT TO LOVE YOUR FLASH
HANDS DOWN,
THIS IS THE BOOK
THAT WILL
GET YOU THERE
Standing in front of a room packed with 360 photographers at his seminar, Scott asked for a show of hands:
“How many of you own some kind of an off-camera flash? A Nikon, Canon, Yongnuo, etc.?” About 340 hands went up.
“Okay, I have one more question, but before you raise your hand, I want you to really think about your answer.
Let’s see a show of hands—how many of you love using your off-camera flash?” Out of those 360 people, just four
people raised their hands. He was stunned. That’s why this book was created—to help you finally fall in love with
your flash—and the best news is, it’s way easier than you’d think. It’s time to fall truly head-over-heels in love with
your flash, so you can start creating the type of images with your flash that you’ve always dreamed of.
| KELBYONE.COM | #KELBYONEBOOKS
KRISTINASHERK
> Retouching Magic
FIXING UNEVEN LIGHTING

Owning a retouching company allows me a very unique view into other photographers’ businesses.
I’m always interested by the different requests that come through the door; for example, I received an
email from a very concerned wedding photographer a few years ago who was desperate for my help.
On this specific wedding, the bride’s make-up ran late and, highlighted side are quite extreme. I’d like to soften the
as you may have guessed, they made it up by removing time difference in light exposure between the two sides, which
from the group portrait section of the photography itinerary. means we’ll need to darken the bright side, and lighten the
I felt so sorry for the photographer. She was on time and dark side.
ready to shoot, but because someone else ran late, she was [KelbyOne members may download the file used in this
penalized for it. I wish I could say this is the exception, but tutorial by clicking this link or at http://kelbyone.com
it happens all the time at weddings. The photographer was /magazine. All files are for personal use only.]
trying to work as fast as she humanly could, but she just
didn’t have the time she needed to create group portraits
with which she was happy.
“We didn’t have time to go to the second location that
I’d picked out for the group portraits, so I had to make do
with what I had. Unfortunately, the location we were in had
really dappled light shining through the trees, and when
I zoomed out to get the larger groups, some people ended
up with dappled-light hot spots on their faces. Can you fix
this kind of thing?” she asked.
I really felt for her, and luckily, since I too had been faced
with the same problem some years ago when shooting a
wedding, I could help her out! While I don’t shoot many
weddings, I do one or two a year for past clients. I like it
because it challenges me to do something creative and
unique that I don’t do every day. I’m not known as a wed-
ding photographer, so I know that when clients ask me to
shoot their big day, it’s because of the relationship we have,
not a specific aesthetic from my portfolio—but I digress.
In this issue, I’m going to teach you a technique for
evening light on faces. Here’s a preliminary overview of
what we’re going to do below: We’ll use Photoshop’s
powerful selection tools to isolate the brighter tones on
the face, and use an adjustment layer on a darkening

blend mode to darken those areas, while simultaneously
isolating the darker tones on the same face and using
an adjustment layer on a brightening blend mode to
brighten those darker areas. Wait, what? Don’t worry. I’ll Step Two: Next, we’ll isolate the highlighted tones on her
explain this in detail below. face. Let’s start by creating a Hue/Saturation adjustment layer
(Layer>New Adjustment Layer>Hue/Saturation). We’ll name
Step One: Let’s start with this image of a beautiful bride. this layer “Tone Down Highlights,” and click OK. The layer
As you can see, the shadowed side of her face and the mask thumbnail for the adjustment layer should be active, but
[ 5 6 ]
› › RETOUCHING MAGIC
if it’s not, just click on it in the Layers panel. Then we’ll use my Here’s what the image looks like at this point. I know you
favorite tool to select the highlighted areas: Color Range. So can see the lines where the darkening effect is visible and
go to the Select menu and choose Color Range from the list. where it isn’t, but just bear with me!
Step Three: Once the Color Range dialog opens, choose

Highlights from the Select drop-down menu. In the Color
Range preview, you’ll see that the bright side of her face is
white and the dark side is black. Note: Make sure the Invert
checkbox isn’t checked in the Color Range dialog. Click OK.
You shouldn’t see a change on your image just yet, but if
you look at the mask icon of your Tone Down Highlights
layer, you should see both black and white on the mask now,
based on the Color Range settings. Step Five: Let’s create a second Hue/Saturation adjustment
layer and call this one “Brighten Shadows.” Again, make
sure the layer mask thumbnail for this adjustment layer is
active. Go back to Select>Color Range, but this time choose
Midtones from the Select drop-down menu.
Note that the darker side of her face is now white and the
highlight areas are now black. That’s because of the place-
ment of the two Range sliders within the Color Range dialog.
Move those arrows back
and forth to isolate the
area of the image that
you’d like to brighten. For
this image, those values
are 105 and 134. Click OK.
Step Four: Now, we can change the blend mode of our

Tone Down Highlights layer from Normal to Multiply. That
will immediately darken all the bright areas in the image.
[ 5 7 ]
› › HOW TO
Step Six: You won’t see a visible change (just like last time), decrease the Opacity slider until the image was 50% visible.
but now that we have our mask created, we can change Next, just as in Step Seven, we’ll Feather the mask of the Tone
the blend mode of our Brighten Shadows layer from Nor- Down Highlights layer by 10 pixels. This will blur the lines that
mal to Screen, which will brighten that area. Looks pretty were originally made by this adjustment layer.
crazy, right?
Step Nine: Now her face looks great, and the light has
been softened. Yay! But this effect is currently being applied
to the whole image, which means all the bright tones of the
image have been darkened, and all the midtones have been
brightened. So the whole image is looking kind of flat.
We’ll fix this by putting both of our adjustment layers
into a layer group. In your Layers panel, select the Tone
Down Highlights layer, and then hold down Shift as you click
on the Brighten Shadows layer to select both of them at
the same time. Next, press Command-G (PC: Ctrl-G) to put
them both in a layer group. Double-click the name of the
group and rename it “Even Face Tone.” Then, we’ll add a
black mask to this layer group by holding the Option (PC:
Alt) key while clicking the Add Layer Mask icon (circle in a
square) at the bottom of the Layers panel. This will remove
the effect from the entire image.
Step Seven: Now it’s time to add some finesse to these
adjustments we’ve created. I like to do that using two things:
the Opacity slider in the Layers panel, and the Feather slider
located in the Properties panel.
Let’s first tackle the
Brighten Shadows por-
tion. Click on the Brighten
Shadows mask thumbnail
in the Layers panel. Then
click on the word “Opac-
ity” and drag to the left. Step 10: Now, we can reveal our super-duper, light-evening
This will decrease the effect only over the bride’s face by painting with a white
amount of visibility that brush over the head and neck area! With the mask active for
layer has. I decreased the layer group, just choose the Brush tool (B), press D to set
the Opacity of this layer your Foreground color to white, and paint where you want
to 30%. Next, we need to reveal the effect.
to blur the lines of the Here’s a side-by-side close-up of the before and after.
mask. To do this, go to
your Properties panel and

increase the mask Feather
to 10 pixels.
Step Eight: Let’s do

the same for the Tone
Down Highlights layer.
We’ll decrease the Opacity of this layer until we feel it does
a good job of darkening the right side of her face. I chose to
[ 5 8 ] ALL IMAGES BY KRISTINA SHERK
› › RETOUCHING MAGIC
And here’s the full final image.

I know this effect is minimal, but the
best retouching is always minimal and
unnoticeable! That’s what makes it
good retouching.
This technique can be used on any-

thing to create intricate masks (auto-
matically, with no freehand masking by
you) and selectively decrease contrast.
So there’s how you fix the photo-
graphic mistake of shooting in light
that’s too harsh! n
If you’d like to learn more

from Kristina Sherk on fixing
photographic mistakes, check out
her awesome KelbyOne course,
Master Post-Processing:
10 Mistakes Every New
Photographer Makes and
How to Fix Them.
[ 5 9 ]
SCOTTVALENTINE
> Photoshop Proving Ground
HARD MIX TRICKS

When you think of useful blending modes, I’m going to bet that Hard Mix doesn’t show up at the top
of your list. At first glance, it looks like a one-trick wonder, useful mostly for creating quirky pop art.
Of course, there’s more to it than meets the eye, so let’s see what there is to discover about this
underappreciated Photoshop tool.
HOW HARD MIX WORKS

Hard Mix is actually a pretty simple blend mode in operation. how the black-to-white versions get turned all black to the
For any given set of base and blend layers, the individual 50% point (that is, 127 on each channel), then turn all
channel values are added together (that is, reds are added white. The color gradient divides up into six unevenly sized
to reds, greens to greens, etc.). If the layer pixel values of the solid blocks. The size difference has to do with how Photo-
channel add up to 255 (for 8-bit images) or greater, then the shop interprets brightness (see the November 2015 issue
result is 255 (white) on that channel. If the value is less than of Photoshop User).
255, then the result is zero (black) on that channel. Since this
happens for each channel, the results give up to eight total
combinations: Red (255, 0, 0), Green (0, 255, 0), Blue (0, 0,
255), Yellow (255, 255, 0), Magenta (255, 0, 255), Cyan (0,
255, 255), Black (0, 0, 0), and White (255, 255, 255).
Tip: You can apply a blending mode to an adjustment

layer that’s clipped to a regular layer, which behaves exactly
like duplicating a layer and changing the blending mode,
but gains you the advantage of being able to use the adjust-
ments, too.
Of course a visual is helpful, so check out the gradient
demo to the right. There are three gradients, which I split
in half horizontally. The top half of each pair is the result
of blending, the bottom half is the original. You can see
[ 6 0 ]
› › PHOTOSHOP PROVING GROUND
Looking at the channels in the Channels panel OPACITY AND FILL

(Window>Channels), you can see how the combinations It turns out that Hard Mix is one of the “magic” blending
are formed. modes that behaves differently between Fill and Opacity.
In the following example, the first image shows Opacity at
33%, and the second shows Fill at 33%. As you can see,
lowering Opacity does exactly what you’d expect—you still
see the hard edges caused by the Hard Mix blending, they’re
just becoming transparent. But lowering the Fill actually
blends the effect in a surprising way.
Red channel
Opacity: 33%
Green channel
Fill: 33%
One way to think about it is as if Hard Mix were a con-

trast tool cranked to absurd levels. As soon as the Fill slider
is nudged below 100%, it begins to show a soft transition
between the areas of solid color. You can use this to add con-
trast to hazy photos. For this image from San Diego (see next
page), I added two Curves adjustment layers above the back-

Blue channel
ground (Layer>New Adjustment Layer>Curves), both set to
For each of the channels, I’ve added guides as markers to Hard Mix. The first one is meant to adjust only the buildings,
make it easier to compare the overlapping regions. so I lowered the Fill to 33%, modified the curve a little, then
[ 61 ]
› › COLUMN
used the Blend If sliders to target the dark regions and avoid You could start from here; but what if you want to tweak
affecting the sky. (To access the Blend If sliders, double-click the output a bit to change up the color boundaries? An easy
to the right of the layer’s name in the Layers panel to open way to do this is to add a Black & White adjustment layer
the Blending Options in the Layer Style dialog.) The second between the photo and the Curves adjustment. In order to
adjustment layer is set to 21% Fill, and again I used Blend If, retain the colors, you need to change the blending mode of
but this time to target the sky and highlight areas. the B&W layer to Luminosity. From here, you can adjust the
various color sliders in the Properties panel to change the
balance a bit. I wanted more detail in her hair, so I moved
the Yellows and Reds sliders until I got the result I wanted.
Create a flat copy of the results by clicking on the
top layer in the Layers panel and pressing Command-
Shift-Option-E (PC: Ctrl-Shift-Alt-E) to stamp a copy to
a new layer. Here’s the fun part: Grab the Mixer Brush
tool (nested under the Brush tool [B] in the Toolbar) and
choose the Fan - Flat Blender from the Tool Presets panel
(Window>Tool Presets). (Note: If you don’t see any tool
presets for the Mixer Brush, open the Brushes panel, select
Converted Legacy Tool Presets from the flyout menu at
the top right, and click OK in the resulting dialog. In the
Before After Brushes panel, expand the Converted Legacy Tool Presets
folder, and then expand the Default Tool Presets folder to
Pairing up a Curves adjustment with Hard Mix is a fast find the Fan – Flat Bender preset.)
way to jam on the contrast for quick fixes. Don’t forget that On the stamped layer, start brushing! This particular pre-
Curves also lets you target channels individually in the Prop- set has a texture built in, so it gives the impression of paint-
erties panel, so you get some control over colors as well. ing on a canvas. For best results, use a digitizing tablet like a
Wacom Intuos Pro or Cintiq—that opens up the expressive
capabilities by letting you use pressure and rotation.
CREATING POP ART
Now let’s do something a bit more creative and use the
results of the Hard Mix filter as input for a painted effect. I’m
using a portrait from Adobe Stock and, just like the build-
ing above, I’ve added a Curves adjustment layer set to Hard
Mix. This time, however, I’m leaving both Fill and Opacity at
100% to get this gnarly pop poster look.
©Adobe Stock/honored
Before Blend result Painted portrait

[ 6 2 ]
› › PHOTOSHOP PROVING GROUND
While you’ll be painting with the eight basic colors we Oh, one last effect you can do is add a 50% gray
discovered above, the Mixer Brush lets you blend, blur, and layer above your photo, and add some noise to the gray
mix (hence the name!) the various colors to get softer transi- (Filter>Noise>Add Noise). Choose Gaussian, Monochromatic,
tions. If you want the same effect with different colors, you and set the slider anywhere from 20% to 50%. Click OK.
can always add a Gradient Map or Color Lookup adjustment Change the blending mode of the gray layer to Hard Mix and
layer before stamping, or even after you’re done painting. lower the Fill to about 70%. This starts you out with a kind of
Variations on portrait colors Half-tone grunge portrait
colorized half-tone effect. To make it more interesting, experi-

ment with some blur, pixelization, and artistic filters on the
gray noise layer to change the characteristic patterns. Cross-
hatch is a good one! (You can find Crosshatch by going to
Filter>Filter Gallery, and expanding the Brush Strokes folder.)
I love this trick for creating stylized, lo-fi images.
Remember that these effects don’t have to be the final
result—use them as starting points for deeper techniques
and looks, and push the boundaries wherever you can,
which frequently sparks new ideas and approaches.
As always, please share what you discover! The KelbyOne

Community forum is eager to see your work, and remember
to tag #kelbyone and #pspg in your social media posts. n
Variations on portrait colors ALL IMAGES BY SCOTT VALENTINE EXCEPT WHERE NOTED
[ 6 3 ]
So, there are generally two schools of thought when it the perspective, but you can’t afford thousands of dollars
comes to the application of Adobe Photoshop to photog- for that tilt-shift lens that sits on your wish list with so many
raphy: There are the people like me who believe in the other cool, shiny things.
power of postproduction and, morals upstanding, will edit Or, how about this? You’ve shot the Eiffel Tower from a
anything, anytime, anyhow; and then there’s a hardcore brand-new perspective with beautiful blossoms in the fore-
clan of camera-purists who insist that if you can’t get it ground, but the sky is so blown out against the blossoms
right in-camera, you’re no photographer. Well, photog- that the image is going in the trash folder! You have an
raphy is an art and a skill. You get better at it through amazing photo, but there’s just one thing that’s off, and it’s
practice, practice, practice, and as part of the rounded, ruined the entire image. Well guess what? This is where we
much wider skillset is the retouching in Photoshop. We’re push the purists aside and use the power in Photoshop to
in the digital age and, although it would be nice to get save that shot.
everything nailed in-camera, it just doesn’t happen that
way every time. Fortunately, we’re in a position whereby
we can afford for this to be the case!
How familiar is this? You’re standing in front of a beauti-
[ 6 4 ] ful building with wonderful lines and you can’t quite get
Cropping Past the Length
of the Lens You Used
A shot might need a little crop to bring it back. A mistake that in cropping, you’re chopping off pixels. When
that’s often made, sometimes owing to kit and some- using this method, set the top left drop-down menu
times to the photographer, is not getting quite as tight in the Options Bar to W x H x Resolution. You can
as you could. If there’s just that extra bit of space around now set the width and height of the crop to the new
our main subject, for example, or if we couldn’t get tight proportions based on the intended print size, as well as
enough in-camera because the subject is a tad too far the resolution.
away for our 200mm lens, we can fix it all with a crop— The advantage here is that in resizing and cropping
but the crop needs to be right! your image, Photoshop is doing all it can to preserve the
When using the Crop tool (C) on your image, be image’s sharpness through sampling and adding extra
mindful of what size the end result will be. If you’re pixels, using one of its many clever algorithms. You win,
sending your image to the lab for print, bear in mind the lab wins, everybody wins!
Poles & Pylons
Poles and pylons pop up all over the place—

literally! Sometimes when you’re standing in
front of an amazing scene, your mind does
an incredible job of mentally filtering these
distractions out, along with all the other
oddities and undesirability of the scene. The
scene I’m working on here is packed full of
little bits of clutter: rocks, mud, and trees dot
the landscape all around. Fortunately, we
can easily cut them out in Photoshop with
the Spot Healing Brush tool (J).
But what if you remove something undesir-
able and then actually decide it was desirable?
We photographers have many traits in com-
mon and uncertainty is one of them. With this tip, our Healing Brush tool to a nondestructive level whereby we
uncertainty and indecisiveness is addressed to help us can remove what we want, but bring things back if we
easily achieve that optimum image. We can take the Spot change our minds. Here’s how:
Step One: When we press J to use the Spot Healing Brush

tool, there’s an option up in the Options Bar that allows us
to Sample All layers. Check on this option and create a
new layer with Command-Shift-N (PC: Ctrl-Shift-N). [ 6 5 ]
Step Two: With the new, blank
layer active in the Layers panel, we
simply brush away the distractions.
When we do this, the corrections
show up on the new layer. In this
example, we’ve removed a whole
bunch of little things, including the
tree sticking up above the dog on
the left (called Martin from Tromsø,
Norway, if you were wondering).
Step Three: Let’s assume that we

actually liked the image better when
the tree was still there, but we’ve
already taken it out. Don’t worry;
it’s simple to bring it back. Select the
Eraser tool (E), and while still work-
ing on the new layer, just brush over
where the tree was and it’s back.
We didn’t have to go through the
History panel or Undo a bunch of
brushstrokes; we’ve hit the problem
square on.
[ 6 6 ]
Step One: First, duplicate the Background layer by pressing
Chromatic Aberration Command-J (PC: Ctrl-J).
This is an unconscious image killer, and most of the time

it can’t be helped. The key is knowing how to attack it
to revitalize the shot, and that’s exactly what we’re going
to do here. This photo is from a trip I took to New York,
New York (as a Brit I’ve been assured that’s the correct way
to say it), this past Christmas. I’m a big fan of American
patriotism (’Merica!) and these flags just had to have their
photo taken.
Step Two: With the new layer active, apply a Gaussian Blur
by choosing it from the Filter>Blur menu. Set the blur Radius
to 15 pixels, and click OK. This smoothes out and blends the
fringing, which is the basis of this technique’s effectiveness.
The problem is up at the top of the building on the

right where you can see a magenta tinge, which is why
chromatic aberration is commonly referred to as “purple
fringing.” It has a pretty complex cause, which originates
in the lens: Essentially, it’s a type of distortion where the
glass fails to focus all the colors to the same focal plane,
because their independent wavelengths split their paths
slightly from one another. All too often we rely on a
checkbox to fix chromatic aberration, but we can target it
specifically to our liking. Let’s tackle this together.
[ 6 7 ]
Step Three: Next up, change the
layer blend mode to Color near the
top left of the Layers panel. The
chromatic aberration has gone, but
we’ve lost a lot of the saturation in
our image.
Step Four: To fix this, we’ll add a

layer mask so that we can target this
blend to specific parts of the image.
Click on the Add Layer Mask icon (cir-
cle in a square) at the bottom of the
Layers panel. Press Command-I (PC:
Ctrl-I) to invert the mask from white
to black, which will hide the effect.
Step Five: Select the Brush tool (B),

and set it to white. The quick short-
cut is to press the letter D to set the
default colors, which is white for
the Foreground and black for the
Background when a mask is active.
In the Options Bar, set both the
Opacity and Flow to 50% to allow
subtle changes that we can build up
as we paint.
Step Six: With the layer mask active

in the Layers panel, use the Bracket
keys ([ and ]) on your keyboard to
decrease and increase the size of your
brush as needed, then brush over the
areas with chromatic aberration and
watch it fade away, bringing your
[ 6 8 ] image back to its rightful glory!
Targeted HDR
This tip is top secret! It’s brand-new information

(first seen right here in Photoshop User maga-
zine) that allows you to target a specific part of an
image with an HDR tone to make it really pop. It’s
a really cool, effective way to bring things out of
the shadows and to make things that are already
out of the shadows command center stage. (It
really is top secret, so don’t tell anyone! Promise?)
Right, here goes:
Step One: First, open your image. From here,

duplicate the Background layer with Command-J
(PC: Ctrl-J).
Step Two: From the Image menu, select

Adjustments>Shadows/Highlights, and using the
part of the image you’re targeting as a reference
(in this case the Fire Department pickup truck),
drag your Shadows slider up a bit to make it
pop. Click OK. It’s having an affect on the entire
image, but we’ll take the image back to how it
was and just target the pickup in a second.
Step Three: Next up, add a layer mask to this

duplicate layer, and then press Command-I (PC:
Ctrl-I) to invert the color of the mask (to black) to
hide the effect.
Step Four: Now we’re going to

paint on the layer mask to reveal
the Shadows/Highlights adjustment
lying underneath and target which
parts of the image has HDR quali-
ties. With our Brush tool (B) set to
white so that we’re revealing when
we paint on the black mask, set
the Opacity to 30% and the Flow
to 50% in the Options Bar, so we
can brush over the pickup gradu-
ally to reveal that hidden layer.
The more we brush, the more we
reveal; simply keep painting until

you’ve reached the desired out-
come. I may have added the effect
to the building and removed some
other distractions…. [ 6 9 ]
Postprocess Polarizer
Ever wish you’d taken a polarizer out for

your shoot? Has the midday sun bleached
the colors in your images? Are the clouds in
the sky just not popping like they were when
you were standing there taking the shot?
Polarizing filters are widely considered the
most useful filter in your kit bag, and they
help with all those things and more. But
this is Photoshop User magazine, so I won’t
tell you what to put in your kit bag; I’ll show
you how to make it look as if you had packed
a polarizer, as we can fix that in post. It’s an awe-
some technique too. Let’s crack on, just like this:
Step One: We’ll start with this shot from North-

ern Italy. The mountains are begging to stand out
against an awesome sky, and the greens want to
be greener.
Step Two: We begin, as usual, by duplicating

the layer with Command-J (PC: Ctrl-J) so we can
stay nondestructive.
Step Two
Step Three: When we break down the color

Step Three
channels of an image, the one that most closely
matches the effects of a polarizing filter in terms of
its characteristics is the Red channel. It has reduced
glare and reflections, darker and more contrasted
skies, and greener organic elements. We’ll start
pulling these characteristics from the Red channel
and apply them to the entire image, so go ahead
and click on the Channels tab (Window>Channels),
and click on the Red channel.
Step Four: With this Red channel active, press

Command-A (PC: Ctrl-A) to Select All on the can-
vas, then Command-C (PC: Ctrl-C) to copy the
image. Don’t get carried away and paste any-

thing just yet, though; there’s some wizardry to
complete first!
Step Five: We’re going to change the color mode

now, and I’ll explain why in a second. Head to the
Image menu and select Mode>Lab Color, and
when the dialog appears, select Don’t Flatten, so
[ 70 ] you keep your layers.
Step Six: We’ve now entered a differ-
ent color space, and in the Channels panel
you’ll see there’s now a channel named
Lightness—that’s the L in Lab. This channel is use-
ful to us here because rather than being a color
channel as in the RGB color space, it’s a channel
that defines the relative brightness of the pixels
without regard to their color. We’re going to take
advantage of that, and use the brightness levels
we’ve copied from the Red channel, and paste that
information right into this channel.
Step Seven: With the Lightness channel active,

press Command-V (PC: Ctrl-V) to paste in the Red
image we previously copied. Step Eight
Step Eight: Now we can translate our image

back to the RGB color mode by selecting
Image>Mode>RGB Color. Just as you did before,
choose Don’t Flatten when prompted so that you
keep your layers.
Step Nine: There’s another issue to resolve,

though, and that’s the fact that we took the Light-
ness information from the Red channel and
applied it to the entire image. Although it’s
what we want for our polarizer look, it’s not
actually correct for the entire image.
Step 10: To fix this discrepancy, we can

mask out the work we just did on the areas
that are actually red. Switch from the Chan-
nels panel back to the Layers panel and

select the duplicate layer, which is where
we’ve been doing all our work. Add a layer
mask by clicking the Add Layer Mask icon at
the bottom of the Layers panel. [ 7 1 ]
Step 11: Next up, click on the layer mask thumb-
nail in the Layers panel to ensure it’s active because
we’re going to attack those reds. Use the Apply
Image tool by selecting it from the Image menu.
Step 12: The settings we want to apply are:
• Layer: Background
• Channel: Red
• Invert: Checked
• Blending: Multiply
• Opacity: 100%
Click OK and now we’ve retroactively put a

polarizing filter on the end of our lens!
Step 13: We can lower the intensity of the effect

by reducing the Opacity of the top layer in the
Layers panel if it’s too strong, or we can make it
stronger by duplicating the top layer with Com-
mand-J (PC: Ctrl-J).
[ 72 ]
Have you ever been in a situation where
you’re travelling light and you only have Add Your Own Depth of Field
your cover-all-bases lens? I certainly have,
and more often than not that cover-all-
bases lens is something wide ranging
with about a 3.5–6.3 aperture. And have
you then taken a shot that you wish you’d
captured with a prime, and smashed the
depth out of it? Well, now I’ll show you
how to get creative with focus in Adobe
Photoshop to re-create a prime lens look
on a non-prime image. Here’s the shot:
I quite like the composition of this
image taken in Kanab, Utah. What I don’t
like is that the car doesn’t pop quite as
much as I want it to. It’s not taking center
stage because there’s too much going on
around it to grab your eye. To bring more
attention to the car, we’ll simulate a depth-
of-field blur, leaving the front in focus.
Step One: To start, let’s duplicate the layer using Com-

mand-J (PC: Ctrl-J) to keep our nondestructive ways going.
Step Two: We can specify just how much we blur different

areas of the image if we first create a depth map. So at the
bottom of the Channels panel (Window>Channels), click
on the Create New Channel icon to create a new channel.
Step One Step Two
Step Three: A new channel has appeared named “Alpha

1,” and the image has changed to black because our new
channel is now visible and it’s filled with black. We’ll use
this Alpha channel to designate exactly where we want our
blur to have its fullest effect and where we don’t want any
blur at all. To do this, we’ll paint on our black-filled layer
with a white brush, so hit B to select the Brush tool and
then D to set your Foreground color to white. Now in the
Options Bar, change the Brush Opacity to 50% and the
Flow to 100% to allow a smoother edging.
Step Four: We need to be able to see what we’re doing!

With the Alpha 1 channel still the active channel, click in the
empty box to the left of the RGB channel to reveal its Eye
icon, and therefore revealing that channel. It will automati-
cally turn on the other three channels, so you don’t have to
worry about turning them on individually. [ 73 ]
Step Five: The image
now has that familiar red
mask. It’s time to consider
where to brush to create
our depth map for a con-
vincing, realistic depth-of-
field effect. With a decent-
sized, soft-edged brush,
start brushing the areas
of the image that you
want to remain sharp. I’ve
brushed over the features
at the front of the car, as
well as the bush that sits
at the same distance in
the image to keep it con-
vincing. If you want any
areas to be tack sharp,
paint over them again, as
the Brush tool is set at 50% Opacity. We
can check the mask by switching the
RGB channel’s visibility off with the same
checkbox we used to turn it on.
Step Six: Now that we’ve finished the

work on the Alpha channel, we can use
it as the depth map for the Lens Blur fil-
ter. Start by clicking on the RGB channel,
turn off the Alpha 1 channel by clicking
its Eye icon, and then switch back to the
Layers panel.
Step Seven: We need to get that Lens

Blur filter on there, so from the Filter
menu, select Blur>Lens Blur. This brings

up the Lens Blur dialog, and it’s time to
start shifting some sliders. First, take a
look in the section labeled Depth Map.
From the Source drop-down menu, select
Alpha 1. This takes the information we’ve
just created in that channel, but it’s show-
ing blacks in focus and whites as blur, so
[ 74 ] check the Invert box.
Step Eight: In the section labeled Iris,
we’ll make our blur adjustments. Adjust
the Radius to a position that suits the look
you want. I’ve settled on 25 after much
back and forth.
Step Nine: When you’re happy with

your Lens Blur, click OK, and it applies it
to your image. That’s it!
At the beginning of
this article, I asked the
question: Have you
ever taken an image
that would be great
if it weren’t for that
one little, niggling dis-
crepancy? Well, I hope
you’ve learned some
cool new tricks to pack
into your Photoshop
back pocket, and that
you use these tech-
niques to revive images

that you thought were
lost forever! n
[ 7 5 ]
ALL IMAGES BY DAVE WILLIAMS
DAVECLAYTON
> Designing in Photoshop
MOCKING UP YOUR ARTWORK

Over the past couple of years, I’ve been fortunate enough to design book covers for Rocky Nook
(Glyn Dewis and Alan Hess) and Peachpit (Glyn Dewis). During this process, we have to go through
the whole layout stage, finesse the final artwork, and then present the design to the author and the
publisher. If we send a two-dimensional image, it’s hard to imagine how the final book will actually look
sitting on a desk or table. I found the best way to present book artwork, or any artwork that’s intended
for a physical or digital output, is to let the recipient view it in a realistic, mocked-up environment.
This process has become much easier since Photoshop To help us make the cover artwork, we’ll grab a free
introduced smart objects, which allow us to use the same bundle of images by awesome artist Lisa Glanz from Design-
template over and over and just replace the artwork as Cuts.com to make a children’s book cover, The Adventures
needed. Have you ever wondered how KelbyOne is able of Yittle* Mouse. Just click on this link, and then click the
to show off Scott Kelby’s books as if they’re final printed Download button on the web page (you’ll need to register
products before they’ve even received actual copies? It’s all for a free account). Save these resources with the mock-up
about the mock-up! book template you downloaded from Covervault.
This tutorial isn’t going to show you how to make a
mock-up template. There are many awesome free (and for Step One: First we need to set up our document, so go to
pay) templates available online for personal and commercial File>New and choose the size defined by our mock-up tem-
use; but, unless you want to make your own for others to plate, which is 6x9" with a 1" spine. So create a document
use, it’s not worth spending time making them. (If you do that’s 6x9", tick the Artboards checkbox, and click Create.
want to see a tutorial on creating a mock-up template, how- Also, ensure your rulers are active (Command-R [PC:
ever, please leave a comment on the KelbyOne Community. Ctrl-R]), Right-click on one of the rulers, and change the
While you’re there, let us know what other tutorials you’d measurement to Inches.
like to see in the magazine.)
This tutorial is going to show you how you can create a
fake book cover to use in a downloadable mock-up template
I found over at Covervault.com. You can also get mock-ups
from Adobe Stock that are worth looking at.
Click here to find the PSD book mock-up template that
we’re using for this exercise. Scroll down the web page to
the “Download Photoshop PSD” link. Save the file in a safe
place for your project.
So let’s get “mocking” (now I have the Dumb and
Dumber scene of Lloyd singing “Mockingbird” in my head—
and now it’s in your head!) We’re going to lay out the front Step Two: Now that we have our front cover, we need
and rear cover, plus the spine, using artboards, which we’ll to add two more artboards, one for the spine and one for
export as files for use with the mock-up. the back cover. To do this, switch to the Move tool (V), and
As this tutorial is to show how to use the mock-up with drag out the bottom-right corner of the document until you
smart objects, we’ll quickly make a very fun and simple can see the words “Artboard 1” at the top left. Click on the
book cover, with placeholder text for the rear just to make words “Artboard 1,” and you’ll see the document surround-
it more realistic. You can always create your own cover ed by four circles with + symbols. Clicking one of the + sym-
artwork in Adobe Illustrator or InDesign and export the bols will create a new artboard on that side of the current art-
files from either application. Photoshop has big-boy pants; board, so click the right-hand + to create a second artboard
[ 76 ] it can handle anything! to the right. Then click on the + symbol to the right of the
*Thank you to the Kelby girls for the cover inspiration!
› › DESIGNING IN PHOTOSHOP
new artboard to create a third. If you were working on, say, Step Five: We need to add a background color to all three
nine images for an Instagram campaign, you could click on artboards, but first, each artboard needs a blank layer, so
the appropriate + symbols around the artboards to create click on each artboard in the Layers panel, and click the
a 3x3 grid layout. Create a New Layer icon at the bottom of the Layers panel.
Next, select the Rectangle tool (U) in the Toolbar, and in the
Step Three: We now have three 6x9" artboards, but we Options Bar, select Shape in the drop-down menu on the
need our spine to be 1x9". This is where our improved left. Click on the Fill color swatch and select a color in the
Properties panel comes into play. Click on the words “Art- swatches panel that appears (we’ve gone for a light minty
board 2" in the document, and in the Properties panel, green). Set the Stroke to none. Now draw out three rect-
you’ll see the setting for the selected artboard. Change the angle shapes that completely fill each of the artboards.
W (width) value to 1 in but leave the height at 9 in. Now
you have a 1"-wide artboard for the spine.
Step Four: We have a big gap between the second and third Step Six: Next, we’ll start adding our images for the front
artboards. You can move the third artboard over by clicking cover. Go to File>Place Embedded, navigate to the Lisa
on “Artboard 3” and dragging it over toward the spine. If Glanz folder, look for the MouseLamp.ai file in the AI folder,
you have smart guides on, it will show you when you have and click Place. Click OK in the Open as Smart Object dialog,
equal gaps between the three artboards, but that’s not really resize the mouse and lamp accordingly, and press Enter to
important. By the way, you probably didn’t notice, but when commit the image (see image next page).
you click on any of the artboard names in the document, the Note: We could have selected File>Place Linked instead
Move tool automatically changes to the Artboard tool. of Place Embedded, which means that if we alter the mouse
image in Illustrator, it will auto-update in our PSD file. For
now, we can just go with Place Embedded. Since these
images are being placed as smart objects, you can always
double-click their layer thumbnails in the Layers panel to
open them in Illustrator and edit the files. When you close
and save the file in Illustrator, it will update in Photoshop.
Step Seven: Next add the Houses.ai file. Place the houses
a little higher than the mouse as shown on the next
page. Then, add the TexturePattern.ai file and resize it to
fill the artboard. Drag this layer to the bottom of the layer
stack, above the green Rectangle shape layer in Artboard 1. [ 7 7 ]
› › HOW TO
Change the blend mode for the TexturePattern layer in the Step 10: To make the text stand out, click the Add a Layer
Layers panel to Overlay, and reduce the Opacity to about Style icon (fx) at the bottom of the Layers panel, and select
40%. This gives us some texture to the background. Stroke. Set the Size to 8 px, the Position to Outside, and the
Design Cuts/Lisa Glanz
Color to white. Click OK. Press Command-J (PC: Ctrl-J) to

copy the text layer, and use the Move tool to drag it to the
Step Eight: Next we’ll add our title. Let’s pick a font from bottom of the cover. Select all the letters in the text layer,
Typekit because, why not? We have a ton of awesome and type the author’s name. Resize and position this line of
fonts to choose from in Typekit. (Of course, you can text as desired.
always choose something from your own font library if
you wish.) Switch to the Type tool (T), then in the Options Step 11: Add some text and artwork to the spine and back
Bar, click on the down-facing arrow to the right of the cover using the techniques described in the previous steps.
current font’s name, and select Add Fonts from Typekit at To make things even easier, you can copy-and-paste text
the top right of the drop-down menu. This will take you and art layers from one artboard to another. Just make the
to the Typekit web page where you can search for and layer active that you wish to copy, and press Command-C
sync fonts to your CC apps. We’ve gone for FILOSOFIA (PC: Ctrl-C). Then click on the artboard in the Layers panel
UNICASE OT REGULAR. Once a font has synced to Photo- to which you wish to paste the layer, and press Command-
shop, you can start typing its name in the font field in the V (PC: Ctrl-V). Resize, reposition, rotate, and retype each
Options Bar to quickly locate it. element as needed. To create the lorem ipsum text on the
back cover, just drag out a selection with the Type tool,
Step Nine: Click on the Foreground color swatch near and go to Type>Paste Lorem Ipsum. The design of the
the bottom of your Toolbar, select a color for your text cover is less critical for this tutorial than the use of the
in the Color Picker, and click OK. Then, click the Cen- mock-up template, so you don’t need to spend a lot of
ter Text icon in the Options Bar. Click in your document, time on the cover.
type out “THE ADVENTURES OF,” press Return (PC: Enter),
and then type “YITTLE MOUSE” as the next line of text.
Using the Type tool, select each line of your text sepa-
rately and resize it using the Options Bar or Character

panel (Window>Character). Our top line is 30 pts, and
the second line is 55 pts. Make sure the text is horizon-
tally centered in the document by clicking on the Move
tool in the Toolbar, and clicking on the Align Horizontal
Centers icon in the Options Bar.
[ 78 ]
› › DESIGNING IN PHOTOSHOP
Step 12: Now we need to export our artboards out as JPEG Step 15: Repeat Step 14 for the Front Spine and Back
files, so go to File>Export>Artboards to Files. In the resulting Cover layer smart objects. With the shadows and perspec-
dialog, choose Artboard Content Only, set the File Type drop- tive of the smart objects that are already present in the
down menu to JPEG, and check Export Options so that you mock-up file, you now have a professional-looking, three-
can set the Quality to 12 (Max). Choose your project folder as dimensional book cover you can share with the author or
the destination and click Run. publisher to get them excited, and they can start taking all
those lovely orders for the launch.
Step 13: Go to your project folder, open the Covervault
download folder, and open the file called “038-6x9-Paper-
back-Upright-Front-Back-COVERVAULT.PSD.” Take a look in
the Layers panel and you’ll see all the elements that make
up the mock-up book cover in two layer groups: one for the
Front Cover (which also includes the spine) and one for the
Back Cover. To make it easier to identify layers, switch to
the Move tool, and in the Options Bar, turn on the Show
Transform Controls option. Now when you click on a layer
in the Layers panel, that element in the document will have
a bounding box around it.
Covervault.com
There are many different kinds of mock-up templates

available, including stacks of books, magazine layouts,
T-shirts, cups and mugs, billboards, digital devices, and more.
They all use the smart-object method so that you can easily
change the design elements. If you have an Adobe Stock
account then you can use their templates; otherwise, places
such as designcuts.com have professional, commercial
mock-ups that you can purchase for your projects.
If you’re creating commercial artwork, always ensure
that the mock-up templates can be used for commercial
purposes; or if they’ve been made available for free, credit
Step 14: To add your cover art, double-click the Front the creator where requested. If in doubt, always contact
Cover smart object layer thumbnail in the Layers panel. This the website where the resources came from and ask them
will open the cover in a new, temporary document. Go to directly. It’s always better to get permission before starting
File>Place Embedded, navigate to the JPEG that you export- any project.
ed of your front cover artwork, and click Place. Once the file is
placed, close and save the temporary document. Back in the And there you have it, a quick way to make professional
mock-up file, the front cover will change to your new cover. and effective mock-ups to give life to your designs. Try
this technique out on the many other types of mock-up
templates available online. Even in this tutorial, you can
change the background color, texture, artwork, and text
for a completely different design in no time at all. Because

it’s all layered with smart objects, shadows, etc., you can
edit each element accordingly. It’s great fun, and a really
effective way to present artwork to clients and get them
to give a thumbs up! n [ 79 ]
> Reviews
GET THE SCOOP ON THE LATEST GEAR
GoPro
If you put a GoPro HERO5 and a HERO6 Black next to each other,
you won’t notice any difference. The experience and results,
though, are vastly different.
Hero6 Black
The first thing I noticed was that the HERO5’s lowest ISO is
400, while for the HERO6 it’s 100, and the HERO6 also lets you
set a bracket for ISO sensitivity. The camera will then decide for
itself which value in-between is best for a scene. Needless to say,
A Much-Improved GoPro Model this has a positive effect on noise, which is still visible when you’re
with a Few Limitations shooting in scarcely lit locations, but less so than with other cam-
Review by Erik Vlietinck eras. Let’s just say the HERO6 level of noise is something that you’d
expect from a camera with a much bigger sensor.
A specification that caught my eye was the ability to shoot
Company:
GoPro, Inc.
HDR photos. Normally, HDR requires a series of bracketed shots.
Price: $399.99
The HERO6 can’t bracket shots, but the camera does intelli-
gently expose different areas in a shot. When a dark, indoor
Rating: scene has a brightly lit window, the HERO6 succeeds at keeping
the bright areas more in check with the darker areas, and it
Hot: 4K/60; HEVC encoding; low noise levels;
does a good job of exposing the entire frame correctly without
zooming in photo mode
sacrificing contrast too much.
Not: No 4K out via HDMI; no zoom while The new zoom option promised a lot of control over framing
shooting video
your shot, but it was a little disappointing, because you cannot
actually zoom in while you’re shooting video. Of course, you’re
[ 8 0 ]
› › REVIEWS
only cropping the frame; but it would have been nice The ability to shoot 4K/60 is even nicer, and having
if that were possible, and it has other limitations as 4K and 2.7K in 4:3 formats is absolutely wonderful.
well. For example, zooming won’t work at all in 4K or With the higher frame rates, when downscaled prop-
1080p/240. Still, it’s kind of nice that you have more erly, come crisper footage than you could ever imagine
control over framing the subject, both in video and from such a small sensor, while the 4:3 ratio gives you
photo mode. extra framing control for footage you’ll output in 16:9
Stabilization in the HERO6 is way better than it was format, by allowing you to move the clip vertically
in the HERO5, but sharpness suffers, with larger, evenly inside the frame.
colored objects suffering the most. It’s still a lot better to What makes the whole thing truly superb is that
use a Karma Grip instead. the most demanding mode/speed combinations are
Colors were more accurate. The ColorChecker Pass- recorded in HEVC (H.265), which allows for a very
port colors were less off with the HERO6 than with decent bitrate and problem-free editing, even on
previous models. older Macs.
A bit disappointing is the inability to shoot 720p But, as with all things in life, there are disappoint-
at frame rates higher than 60 fps. Granted, you can ments too. One big disappointment is that you can’t
now shoot in 1080p at 240 fps, but if you were able record to 4K via the HDMI out port, which is some-
to shoot 720p/480…that would have been awesome. thing you can do with a HERO5. GoPro should really
This was probably a design choice with an eye on unit be clearer in their communications about this. Judging
temperature as the limiting factor. Having said that, from the company’s forum comments, most custom-
the ability to shoot 1080p/240 or 2.7K/120 without ers consider the ability to send only 1080p/60 to an
the camera overheating after a few seconds is kind of external monitor/recorder a big step backwards from
mind-boggling. the previous model. n
[ 81 ]
REVIEWS › ›
Sony RX0
The Sony DSC-RX0 is equipped with a one-inch, 21-megapixel
(15.3 effective) Exmor RS CMOS sensor and a fixed Zeiss 24mm
F4 wide-angle lens. It has a shutter that goes all the way up to
1/32,000, ISO levels that max out at 12,800 in video mode and
Shockproof, Waterproof Digital Camera 25,600 in still mode, and slow-motion capabilities that extend
Fits in the Palm of Your Hand to 960 fps in 1080p/24. It supports recording to XAVC S (in
Review by Erik Vlietinck 8-bit/4:2:0 subsampling at 50-Mbit/s), AVCHD V2.0, and MP4.
Images can be shot in RAW and JPEG.
The RXO has a crush resistance of 2000 N, an impact resistance
Company:
Sony Corporation of America that allows you to drop it from 2 meters high, and a waterproof
certification for depths of up 10 meters without underwater hous-
Price: $699.99
ing—yet it’s not an action camera. Weighing only 110 g, it’s a
Rating: tiny system camera with a fixed aperture. It can handle specialized
setups, such as the ability to control up to five RX0 cameras if you
Hot: Autofocus speed; sharpness; video install PlayMemories Mobile on your device. For true Hollywood-
capabilities; multi-usage functionality;

still-image noise performance grade filmmaking, there’s the ability to control up to 15 RX0s with
the addition of an FA-WRC1M wireless radio commander.
Not: Battery life; white balance customization All this power allows you to set up n-camera array panels, 360
rigs, and bullet camera setups. In such setups, the RX0 operator
can synchronize all of the cameras together remotely.
Less exotic usage scenarios include shooting time-lapse (up to
16 fps) images in environments where a “proper” camera would
intrude—be it the opera or a violent street protest.
[ 8 2 ]
› › REVIEWS
The RX0 has toughened glass on the front and back, While letting the camera decide its settings is easiest,
and a 1/4" tripod socket. Once it has been switched on, you can control much of the RX0 yourself; for example,
the tiny, but sharp LCD display shows you an abundance you can set white balance as with any DSLR, but you’ll
of information. need sufficient lighting to get a proper setting. I found it
Around the LCD display, you have the menu, horizon- better to work with a light meter.
tal and vertical scroll, and Enter buttons—all rather fiddly Autofocus is very fast and accurate. You can set the
to operate. Once you’re in the 23-page menu system, it focus manually with the help of customizable focus
will look like you’re handling the settings of a full-blown peaking. Preset Focus mode lets the RX0 automatically
DSLR camera on a very small screen. There’s one minor focus on a subject that’s further away than 1 meter, and
criticism with regard to handling the RX0: You need a when you also activate “NEAR” focusing range, it selects
trip to the menu for almost every change in your setup. a subject within the 1-meter range.
Beneath the surface lies access to S-Log2 gamma set- In my testing of the RX0, images were tack sharp and
tings and 4:2:2 4K video out. Less impressive is battery colors were saturated.
life: only 35 minutes or 240 images of actual shooting I couldn’t resist trying the maximum photo shutter
time, but you can also power the RX0 from the mains speed of 1/32,000, so I set up the RX0 with a 1,100-
via the USB port. lumen continuous light at a distance of 50 cm to see if
I tested the camera’s noise levels by setting up it would freeze motion as well as what you’d get work-
lighting at 75, 180, 450, and 700 lux, and then shooting with a flash. The result was a pitch-black background
ing photos/video clips at ISOs of 400, 1600 (mini- with the moving object barely visible! n
mum Slog-2 setting), 3200, and 6400 in each lighting

scenario at a distance of 50 cm. Some combinations
unexpectedly generated more noise than others, so it
pays to experiment.
[ 8 3 ]
REVIEWS › ›
CalDigit
All-in-one computers, like the iMac, rarely have enough ports
to satisfy our needs. CalDigit’s small-footprint, cast aluminum
Thunderbolt Station 3 Plus (TS3 Plus) is a dock that adds a whop-
Thunderbolt
ping 15 ports to any Thunderbolt 3 machine. The options go
beyond the conventional, allowing users not only to expand
connectivity but also charge their laptops.
Station 3 Plus
The TS3 Plus has the following: two Thunderbolt 3 (40 Gb/s)
ports; one USB-C 3.1 Gen.2 (10 Gb/s) port; one USB-C 3.1 Gen.1
(5 Gb/s) port; five USB-A 3.1 Gen.1 (5 Gb/s) ports; stereo audio I/O
ports; an S/PDIF out port; a Gigabit Ethernet port; a DisplayPort 1.2
The Most Ports and the Most (4K/60Hz) port; and an SD 4.0 UHS-II card reader.
Useful Dock on the Market Some of these ports are unique to the TS3 Plus. No other dock
Review by Erik Vlietinck currently on the market offers a 10 Gb/s USB-C, as well as an
S/PDIF port and a UHS-II card reader. Thanks to Thunderbolt 3,
I was able to connect three 5 Gb/s USB-A devices and one 10
Company: CalDigit, Inc. Gb/s USB-C device. I had no trouble backing up to a USB-C 10
Gb/s CalDigit Tuff SSD drive, offloading to an OWC Mercury Elite
Price: $249.99 (incl. 0.5m TB3 cable)
Pro Dual, and playing a music piece without any hiccups using
Rating: Audirvana Plus as the player app from the CalDigit AV Pro 2.
A real boon, in my opinion, is the addition of the high-speed

Hot: Number of ports; 10-Gb/s USB-C port; card reader. It does require you to use an SD adapter and it needs
UHS-II card reader; small form factor
to be a UHS-II type to get the fastest possible offloading perfor-
Not: mance, but offloading 5.58 GB of image data took only a few
minutes instead of the 15 minutes or more with slower readers.
The TS3 Plus provides both Mac and PC charging at 60W or
85W. Finally, it’s the only dock that’s small enough to be unob-
trusive and that handles as well standing up as on its side. In the
vertical position, it’s only a tad harder to read the port labels. n
[ 8 4 ]
› › REVIEWS
Hasselblad
If God is in the details, then Hasselblad’s new H6D-400c MS
medium-format digital camera might just be a religious experi-
ence. The MS at the end of its name stands for “multi-shot,” as the
H6D-400c
camera’s digital back combines six captures to produce one image
with an effective resolution of 400 megapixels in a 2.4-GB, 16-bit
TIFF (23200x17400 pixel) file. The resulting detail is astounding!
MS
Hasselblad’s H6D-400c MS combines the company’s previous
flagship H6D’s feature set and usability with the new sensor shift-
ing, MS technology that’s able to deliver a new level of detail.
In addition to the MS mode, the 100-megapixel single-shot
Dual-Mode, Medium-Format DSLR Camera mode functions the same as in Hasselblad’s standard cameras.
Review by Michael Corsentino The flexibility of a two-mode design was a smart decision, as
it avoids relegating the H6D-400c MS to one-trick-pony status.
Each mode serves a very different purpose with a different work-
flow. MS mode is intended for static reproduction, conservation,
Company: Hasselblad technical, and scientific applications. Also, in MS mode, a tethered
laptop is required.
Pricing: $47,995
Additional features worth mentioning are: a USB 3.0 Type-C
Rating: connection for tethered shooting, high-speed data transfers, and
30-fps live view; dual media card slots (CFast 2.0 and SD card—
Hot: Dual modes w/400-megapixel multi- that’s cool); a 3" touch rear display that functions like a smart-
shot and 100-megapixel single-shot
functionality; built-in Wi-Fi; smartphone- phone-style user interface—again, very cool; HD and UHD video
style user interface (another great inclusion); a modular system with improved back-
removal process; built-in Wi-Fi, HDMI, and audio inputs and
Not: Expensive
outputs; and Hasselblad’s lauded True Focus II technology.
At $47,995, this imaging beast isn’t for the faint of heart, far
from it! But when you need a camera that can capture drool-
worthy detail, you’d be hard-pressed to find a better candidate. n
[ 8 5 ]
REVIEWS › ›
Pixellu
There’s nothing like a slide show to get clients, friends, or family
excited about the images you’ve captured for them. Add music
SmartSlides
to the equation and the emotional impact gets ratcheted up
exponentially. Music creates a sense of drama and impact like
nothing else does.
Until now, if you wanted to stand out from the crowd and
Get the Beat Matching on Your Slide Show!
create slide shows that matched your images to the beat of the
Review by Michael Corsentino
music, it’s been a painstaking, time-consuming process requiring
advanced expertise with expensive and complicated video-editing
Company: Pixellu LLC

software. Who has time for all that?
The clever development team at Pixellu, creators of Smart-
Pricing: Starting at $8/month
Albums and SmartSlides, has come to the rescue by adding
Rating: Automatic Beat-Matching technology to their web-based
Hot: Automatic Beat-Matching; built-in SmartSlides application. Better still, they’re making it available
song library; manual mode; high-quality
HTML5 slide shows to all current users at no additional cost.
Like all Pixellu software, the guiding principle with their new
Not:
Automatic Beat-Matching technology is simplicity, ease of use,
and a clutter-free interface. Creating a beat-matched slide show
is as easy as choosing a song from Pixellu’s built-in library of
music. Each song lists the suggested number of images needed
[ 8 6 ]
› › REVIEWS
to automatically match the images to the beat of that song in

one of two flavors, “Slow” or “Uptempo.”
If you opt for a slower show, fewer images are required,
which results in a show with fewer transitions and increased
“Creating a beat-matched screen time for each image. Conversely, if you choose the faster
Uptempo option, you’ll use more images, which produces
slide show is as easy as a show with more transitions and reduced screen time for
choosing a song from Pixellu’s individual images. The best part is it’s all up to you!
In the event that the number of images you have doesn’t
built-in library of music. Each song
meet the criteria for either of the Automatic Beat-Matching
lists the suggested number of options, SmartSlides still has you covered with a manual mode
images needed to automatically that allows you to trim the song, add or delete images, or add
an additional song segment.
match the images to the beat of No slouch in the image-quality department either, Smart-
that song in one of two flavors, Slides uses uncompressed HTML5 to display images, resulting
‘Slow’ or ‘Uptempo.’” in stunning, high-quality, 4K-compatible slide shows. Shows can

also be easily shared or distributed using built-in social media
badges online or via downloadable, high-definition 1080p MP4

video files. n
[ 8 7 ]
REVIEWS › ›
Sony
The Sony a7R III is a flexible workhorse that rivals the best DSLRs
at shooting landscapes, capturing continuous action, and videos.
It’s built around the same 42.4-megapixel, BSI CMOS sensor as its
Alpha 7R III
predecessor, the a7R II; however, there’s been a major revamping
of the sensor’s circuitry, a faster image processor, and the body is
modified for faster performance.
At first glance, the body looks the same as the a7R II, but the
a7R III now has a joystick for moving the focus point and navigat-
Enhanced Resolution, Dynamic Range, ing the menus. Right above the joystick is a back button focus
Processing Speed, & Shooting Response
and to the left is the relocated movie button, all within easy reach
Review by Steve Baczewski
of your thumb, and designed for faster performance. Sony now
boasts that the in-camera 5-axis sensor stabilization is good for up
to 5.5 stops. The articulated LCD now incorporates touchscreen
Company: Sony Corporation of America technology, but it’s limited to moving the focus point; it lacks such
features as swiping images in playback mode, navigating menus,
Rating:
or opening icons that appear on the screen. The EVF has a new
Price: $3,199.99
3.69 million dot Quad-VGA OLED for increased detail, and it’s a
pleasure to compose with a 0.78 magnification.
Hot: Autofocus; battery life; Connectivity now includes both USB 2 and USB Type-C ports so
image quality; customization you can simultaneously charge the battery and tether the camera.
One significant change in the aR7 III is the use of two memory card
Not: No time lapse; menus; expensive;
slots; however, it’s “half-baked” as only one of the slots supports
rolling shutter
the faster UHS-II SD card—leaves me wondering why not both?
The a7R III’s larger battery is the big game changer with, in my
estimation, approximately 3x (Sony states 2x) the life of the a7R II’s
battery. I shot for an entire day—800 exposures including several
videos—and still had 20% charge remaining.
The main menu is improved, but it’s spread out over 35 pages
and in need of tighter and more intuitive organization. The remedy
[ 8 8 ]
› › REVIEWS
for this is the body’s numerous customizable buttons however, the electronic shutter does suffer from rolling
and quickly accessed function menu. The camera’s per- shutter that’s clearly noticeable, as vertical objects are
formance depends on users taking time to arrange and distorted on pans.
repurpose the camera to their particular needs. Sony has added a Pixel Shift technology that increases
The a7R III maintains the 399 phase-detection focus file resolution to 169 megapixels by taking four pictures
points and increases the contrast detection points from while shifting the sensor one pixel in each direction,
25 to 425 to cover approximately 68% of the screen, which results in images with cleaner, sharper detail. The
which is key to its faster autofocus, and is especially downside is that the subject has to be totally still, which
noticeable in low-light situations. makes it realistically limited to a controlled studio situ-
Users can now shoot at 8 or 10 fps with the a7R III, ation. Unlike other camera manufacturer’s versions of
twice the speed of its predecessor, in both compressed pixel shift that process the image in-camera, Sony’s
and uncompressed 14-bit RAW, using either the mechan- uses proprietary software, so the entire process is com-
ical or electronic shutter. At 8 fps your viewing is live, paratively slow and, to my eyes, not always better than
while at 10 fps you’re always seeing the last frame shot, a single 42-megapixel file.
and so a slight lag. Both burst speeds did a reliable job of The Sony a7R III is also a sophisticated camera for
keeping up with a moving subject. I shot with continuous video. It records full-frame, 4K UHD, or 5K at a reduced
AF in burst mode photographing sports, birds, moving APC-size cropped sensor for increased detail. It can shoot
children, and pets, and on average, 85% were sharp. At 1080p at up to 120 fps, and when played back at 24
times tracking was lost, but the camera quickly re-estab- fps, you have slow motion. The S-Log3 gamma curves
lished the target. and Hybrid gamma log have been borrowed from Sony’s
For portrait photographers, the improved Eye AF professional video cameras for optimizing exposure and
mode is sensational. It looks for, and then locks on and increasing dynamic range.
tracks one of your subject’s eyes. If eye tracking is lost The Sony a7R III is one of the top cameras that
temporarily, the camera reverts to facial recognition while I’ve used and, with the numerous lenses available, it
it re-establishes locking onto the eye—very impressive! adds up to a professional system that should be seri-
The redesigned mechanical shutter reduces shut- ously considered. n
ter shock vibration using a braking mechanism to slow
the shutter at the end. Of course, there’s no vibration e sure to check out Larry Becker’s brand-new KelbyOne
B
course on A User’s Guide for the Sony a7R III.
using the electronic shutter, and it can operate in silence;
[ 8 9 ]
R E V I EWS › ›
Adobe Photoshop CC
Classroom in a Book
(2018 release)
Updated to cover the latest features, including the Start work-
By Andrew Faulkner & Conrad Chavez
space, the New Document dialog, working with the improved
Review by Peter Bauer
Select and Mask feature, and Face-Aware Liquify, this is an
excellent look into the nooks and crannies of the latest version
of Photoshop. There’s also an online interactive Web Edition of
Publisher: Adobe Press the book, which includes the full version of the book and addi-
Pages: 400 (Kindle edition) with tional video instruction and interactive quizzes. Best of all, the
downloadable work files Web Edition is free to download when you purchase the eBook
Price: $47.99 (eBook); $59.99 (paperback)

from adobepress.com or peachpit.com. If you purchased a
print version or from another vendor, such as Amazon, you
Rating:
simply need to register your purchase at peachpit.com/regis-
ter. You’ll need to have or create an account at peachpit.com,

but that takes only seconds. And to top things off, the Web
Edition will be updated as Adobe adds new features to Photo-
shop. The Web Edition is truly worthwhile. n
[ 9 0 ]
› › R E V I EWS
Adobe Photoshop Lightroom

Classic CC 2018 Introduction
Quick Reference Guide (Cheat
Sheet of Instructions, Tips &
Shortcuts—Laminated Card)
Beezix crammed an incredible amount of information onto this
By Beezix Inc
four-page laminated reference guide. (So much so that even with
Review by Peter Bauer
20/20 vision you may want to keep a magnifying glass handy,
especially for those little black boxes that show which button
to click—the only thing keeping this publication from a five-star
Publisher: Beezix Software Services rating.) I’ve reviewed Lightroom books that are hundreds of
Pages: 4 pages long that don’t cover as much as this four-page pamphlet.
It’s a truly stripped-down Lightroom reference. The front cover
Price: $5.75
includes a full-column list of more than 50 keyboard shortcuts,
Rating: 4.5 with the Mac and Windows shortcuts in separate columns for
clarity. The pamphlet is broken down into three sections: Cata-
loging Photos (including importing images, creating collections,
using keywords, flagging and rating images, and “quick edit-
ing”), Editing Photos, and Exporting and Printing Photos. There’s
no wasted space or extraneous explanations here, just the facts,
ma’am, just the facts. n
[ 91 ]
COLINSMITH
> Photoshop Tips
BOOST YOUR PRODUCTIVITY & CREATIVITY
Hi, everyone! Get ready for another column full of fun and exciting tips. In this issue, I’m going to
focus on quick tips that can save you a lot of time. I’m also going to keep them short, so you can read
through each one quickly. Of course, this gives me room to add even more tips than usual. Enjoy!
TURN WHITE INTO COLOR CREATE GUIDES

When working in Hue/Saturation (Layer>New Adjustment Guides are really useful to help you align and position objects.
Layer>Hue/Saturation), it’s nice to be able to shift colors to To create guides, press Command-R (PC: Ctrl-R) to show the
whatever you like. Have you noticed, however, that you can’t rulers, and then click-and-drag from a ruler to place a guide
add color to pure white or black, no matter how high you wherever you like. You can always reposition it later with the
turn up the Saturation in the Properties panel? Even if you Move tool (V). While dragging a guide, press the Option (PC:
click on Colorize, those areas won’t take color. You may have Alt) key to change the orientation from vertical to horizontal
noticed a Lightness slider in there. That’s not there to lighten or vice versa. To lock the guides, press Option-Command-;
or darken images; I mean, you can, but it looks bad. The (PC: Alt-Ctrl-;), or choose View>Lock Guides.
reason that slider is there is to lighten black or darken white.
When you move that magical slider, suddenly you can apply LAYER STYLES TO LAYERS
color to those areas, which previously seemed immovable. Layer styles are a lot of fun, but there may be times when
you want the styles to work like regular layers for such things
SNEAKY SKY REPLACEMENT as transforming or blended masking. To do this, apply the
Here’s a quick way to do a sky replacement, or at least layer styles as normal. In the Layers panel, right-click on any
make the sky transparent in a photograph. Instead of mak- of the styles applied to the layer and choose Create Layers.
ing selections, we can take advantage of blue skies and blue All the styles associated with that layer will be rasterized and
channels. (Remember, photos are generally represented generated on separate layers. You now have the flexibility to
by three channels: RGB—red, green, and blue). Click the do whatever you like to them.
padlock icon next to the Background layer in the Layers
panel to make it a floating layer and not a locked back-
ground. Click on the ƒx icon at the bottom of the Layers
panel, and select Blending Options. When the dialog pops
up, click on the Blend If drop-down menu, and choose the
Blue channel. Slide the top-right slider to the left, and as
you do, the sky will miraculously turn transparent. Hold
Option (PC: Alt) and click on the triangle slider to split it to
create a smoother transition.
©Adobe Stock
[ 9 2 ]
› › PHOTOSHOP TIPS
AUTO ALIGN LAYERS TURN OFF TIMES SQUARE

I love shooting multiple photos of the same scene for tasks Are the new video tool tips getting you down? You know,
like face swapping in group pictures or exposure blending those huge animated rectangles that appear when you roll
of landscape photos. Unless you’re on a good, steady tri- over your favorite tools in the Toolbar. This is a recent edi-
pod, the photos won’t quite align perfectly when you place tion in Photoshop CC 2018 called “Rich Tooltips,” which
them in the same Photoshop document. You can nudge are perfect if you’re just starting out. If you’ve been using
them with the Arrow keys until they’re perfectly aligned Photoshop for a while, however, and already know how
(as I used to do), but here’s a faster and better way to do to use the tools, these animations can really get in the
it. Shift-click all the layers in the Layers panel that you want way. Thankfully, they’re easy enough to get rid of: Go to
to align so they’re all selected, and then choose Edit>Auto- Photoshop CC (PC: Edit)>Preferences>Tools and turn off
Align Layers. I prefer the Reposition option in the Auto- Use Rich Tooltips.
Align Layers dialog. Click OK and Photoshop will do all the
aligning work for you. RESET THE FOREGROUND
AND BACKGROUND COLORS
TRIM IMAGE TRANSPARENCY One of the first things I do upon opening Photoshop is to
Sometimes, when you’re building an image, you may reset the Foreground and Background color swatches to
start with a blank document and then drop in your layers their default of black and white, respectively. It’s so easy;
and other images. Once you’ve finished, you may be left just tap the D key. Tap the X key to switch the Foreground
with some transparent pixels around the edges, and you and Background colors.
may need to trim the image down as tightly as possible
for Web display. Rather than reaching for the Crop tool INSTANT OPACITY
and zooming into a gazillion percent, try this: Choose This tip works for both brush opacity and layer opacity.
Image>Trim, select the Transparent Pixels option, and If your Brush tool (B) is active, it will work on your brush;
click OK. otherwise, it will affect the currently selected layer. To
change the Opacity in increments of 10, tap a number
VANISHING POINT ACCURACY (0–9) on your keyboard: 1=10%, 3=30%, 8=80%, etc.
A really useful tool for painting, healing, and cloning in per- Zero represents 100%. Tap two numbers in quick succes-
spective is Vanishing Point (under the Filter menu). The accu- sion for exact values like 33%, etc.
racy of Vanishing Point depends on accurate placement of
the grid points. Hold down the X key to temporarily zoom CREATE AN INVERTED MASK
in close to place your points exactly where you want them When you create a layer mask, it’s usually white and has
with precision. no effect on the current layer until you paint with black to
hide areas of the layer. There may be times when you want
WHEN GRADIENTS BECOME A DRAG the layer to be mostly hidden, and only want little pieces of
If you’ve ever used Gradient Overlays, here’s a cool tip it visible. To do this, hold down the Option (PC: Alt) key as
for you. Say you’re applying a Gradient Overlay layer style you click the Add Layer Mask icon (circle in a square) at the
and you’ve scaled it up in the Layer Style dialog. If you’re bottom of the Layers panel. This will apply a mask filled with
not seeing the part of the gradient in exactly the spot black, where everything is hidden. Then, to show areas in
that you want, or you’re using a multicolored gradient the layer, paint with a white brush. n
that’s not showing your desired color, try this: With the
Layer Style dialog still open, move your cursor over the
image, and click-and-drag on the gradient—it moves!
That’s right, you can drag inside the image window and
reposition your gradient.
[ 9 3 ]
ALL IMAGES BY COLIN SMITH EXCEPT WHERE NOTED
PETERBAUER
> From the Help Desk
ANSWERS TO PHOTOSHOP AND GEAR-RELATED QUESTIONS
I’m having some problems with Content-Aware Fill—it seems to be choosing random pixels to fill areas.
For example, I have a photo of an outdoor wedding and there’s a cocktail napkin in the foreground.
Rather than simply picking up surrounding grass to fill the area, Photoshop seems to be pulling in
pixels from wedding guests as well.—Abe
I assume that you didn’t notice the napkin before you • In the Layers panel, click the Eye icon in the left
took the shot. (If you had, I’m sure you would have picked column to hide the lower layer. If you have multiple
it up. Not only does that save you time in Photoshop, it layers in the document already, hide them all so
makes you look good to those who watch you cleaning that only the new layer is visible.
up the litter.)
• Make a selection of the “destination” area, the area
Photoshop’s Content-Aware option for the Edit>
you want to remove. Make this a very tight selection,
Fill command fills an active selection with pixels from the
perhaps using the Magnetic Lasso tool. You want
surrounding area. (Content-Aware is also available for the
to avoid including any transparent pixels around the
Spot Healing Brush and the Content-Aware Move tools.)
problem area. (Do not select the “source” pixels, the
One of the keys to using the Fill command with the
pixels you want to use to cover the problem area.)
Content-Aware option is the initial selection. You’ll often
find that including some of the area surrounding the • Go to Edit>Fill, and choose the Content-Aware
element you want to remove is helpful. Additionally, depend- option in the Contents drop-down menu. Usually,
ing on the surrounding area and the size of the selection, you’ll want to set the Opacity to 100% and the
feathering (Select>Modify>Feather) the selection a couple blend Mode to Normal.
of pixels can also make the new fill blend more smoothly.
• Click the OK button.
(Feather primarily with detailed areas, such as grass, rather
than solid-color backgrounds.) • In the Layers panel, make the other layers visible again.
Here’s a neat trick using layers to control what pixels
Content-Aware Fill uses to cover up a boo-boo in a pic: As always, it’s a good idea to save the image with
layers in the PSD or TIFF file format, just in case you need
• Make a loose selection around the area you want
to make changes later. If you need a JPEG version, you can
to replace. (Think of this as the “destination.”) The
save another copy in that format. One quick note: In the
Lasso tool (L) is often the most appropriate tool to
JPEG Options dialog, you won’t see an estimated file size
make these selections.
when saving an image in 16-bit color. Photoshop will auto-
• Press-and-hold down the Shift key. matically flatten and convert to 8-bit color when saving as
JPEG, but if you need to see the estimated file size (perhaps
• Make a selection of the pixels you want to use to
for a web page or presentation), flatten the layers through
fill the problem area. (Think of this as the “source.”)
the Layer>Flatten Image menu, and convert to 8-bit mode
• Command-J (PC: Ctrl-J) to copy the selected areas through the Image>Mode menu before using the Save As
to a new layer. command to create the JPEG copy. n
[ 9 4 ]
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and shows how to get those tack sharp images. He covers one of the to-air, and ultimately air-to-air, and how to capture one of the most
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THE A D O B E® P H O T O S H O P ® “ H O W -T 0 ” MAGA ZINE › › m a r c h 2 0 1 8

Retouching Learn how to easily fix uneven lighting

Sandeep Mathur | KelbyOne Member

Photo Tip Friday: Clay Rasmussen “Clone Variant”

Lightroom Tips | Photoshop Tutorials | Photography Tips

Background: Adobe Stock; Images: Dave Williams; Layout: Jessica Maldonado

Log on to KelbyOne’s website:

420 Ninth Ave, NYC

> A Note from Scott

room with our discounted rate on the Photoshop World

HOW TO CONTACT KELBYONE:

subjects from logo design to animation. He can be reached here.

PHOTOSHOP WORLD CONFERENCE 2018:

We’re counting down the days until the

cialized learning tracks to create the train-

Atlanta, GA | 03.26.18 • Milwaukee, WI | 03.28.18

Mastering Photos in the

Who’s Who in the KelbyOne Community: Sandeep Mathur

Who’s Who on the KelbyOne Instructor Team: Lindsay Adler

Where do you look for inspiration? LINDSAYADLER

8. What’s the best advice you’ve

9. Who would you recommend some—

10. What’s the one thing you wish

Be sure to check out Lindsay’s brand-new KelbyOne course

Follow KelbyOne and Scott Kelby on Twitter!

Unlocking the Power of Capture One

A User’s Guide for the Sony a7R III

Master High Key and Low Key Lighting

Step One: The great thing about

• Egypt. Cairo - Giza

Step Two: Open the Layers panel

Step Three: Go to the Toolbar and

click-and-drag inside it to reposition it

Step Four: With this layer active in

Step Five: Click the Eye icon next

purposes here, we need this layer

Step Six: To do that, we need to merge

Step Seven: The 3D layers may have jumped

Step Eight: You’ll also notice that the

ter align it with the postcard image. Use the

Step Nine: Let’s start processing the background image. In the

Step 10: The grid you see is an

Step 11: Next go under the Filter

Step 12: Now go to bottom of the

Step 13: Click on the top image

Step 14: Before we get to the main

Step 15: Back in the 3D panel,

Step 16: In the 3D panel, click the

Step 17: The original layer will open

Step 18: Go back to the Proper-

Step 19: With the Layer 2 Front

Step 20: Go back to the Illumina-

Step 21: Hold down the Command

thumbnail in the Layers panel to

Step 22: Create a new blank layer,

Step 23: In the Layers panel, set

Step 24: Now select the Type tool

Step 25: Go back to the Properties

Step 26: Finally, go back to the

Step 27: All you need to do now is

Now try this with some of your own

Step One: For this tutorial, we’re using an

Once the image is open in Photoshop,

Step Two: Go to Filter>Camera Raw Filter.

8. What’s the best advice you’ve

9. Who would you recommend some—

10. What’s the one thing you wish

• Egypt. Cairo - Giza

Step Six: Choose Window>Channels and click the