PSUser April 2014
PSUser April 2014
Photoshop for
MPIXPRO.COM
TABLE OF CONTENTS › › APRIL 2014
TAFFY CLIFFORD
Photoshop. We asked Richard Harrington to talk to several video
gurus to learn not only how they use Photoshop in their everyday
work, but to also share some of their favorite tips and tricks for
enhancing any video workflow and creating video with more impact.
Richard Harrington
Departments Columns
From the Editor 6 46 DESIGN MAKEOVER
Pumped-Up Postcard
How-To
DOWN & DIRTY TRICKS 28 64 FROM BERT’S STUDIO
Gritty 3D Logo A Fancy Hubcap
Liquid Ballerina 34
98 PHOTOGRAPHER’S NOTEBOOK
Classic Flower Shower 40 Light and Photoshop
Lightroom Reviews
STORY OF AN IMAGE 72 106 Sound Forge Pro Mac 2
Going Deep
DYNAMIC
RANGE
Editing Video
In Photoshop
92 Now that most cameras shoot HD video and Photoshop has some
IBRAHIM HACHEM
ARE KNUDSEN
great tools for editing video, there’s no reason for photographers not
to add video to their business plans. Rod Harlan shows you how to
get up and running quickly editing your videos in Photoshop.
Rod Harlan
DENIS CULHANE
We have more to share, and some cool stuff coming up regarding the website and building our community online that I think you’re
going to love. We have an exciting lineup of new classes; new tutorials; new ways to learn, share, and get the help you need, and I can’t
wait to share more this spring. Thanks for being a KelbyOne member and Photoshop User reader. We’re so glad to have you on board.
All my best,
Scott Kelby
KelbyOne President & CEO
006 Editor & Publisher, Photoshop User
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EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Mike Mackenzie, Senior Editor
Contributing Writers
Kevin Ames • Steve Baczewski • Corey Barker • Peter Bauer • Bruce
Bicknell • Pete Collins • Michael Corsentino • David Creamer • Seán
Duggan • Katrin Eismann • Rod Harlan • Richard Harrington • Brian
Matiash • Sean McCormack • Bert Monroy • Scott Onstott • Heather
Shortt • Colin Smith • Lesa Snider • Rob Sylvan • Erik Vlietinck
Jake Widman
GRAPHICS:
Felix Nelson, Creative Director
Dave Damstra, Production Manager
Taffy Clifford, Senior Associate Designer
Dave Korman, Senior Premedia Specialist
Margie Rosenstein, Senior Graphic Designer
Eduardo Lowe • Jessica Maldonado • Angela Naymick
MARKETING:
Bruce Porter, V.P., Marketing
Krista Rosado, Marketing Director
Stephen Bell • Tracy Cook • Pauline Derosier • Alicen Rehnert
Diane Schroder • Heather Shortt
WEB:
Karey Johnson, Director of Web Development
Melissa Cozart • Christopher Reed • Will Stickles • Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
David Moser, Executive Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
Larry Becker, Executive Director of KelbyOne
ADVERTISING:
Kevin Agren, V.P., Sales 813-433-2370
Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 215
Veronica (Ronni) O’Neil, Director of Circulation/Distribution
800-738-8513 ext. 235
COLOPHON:
Photoshop User was produced using Adobe Photoshop CC and Adobe
InDesign CC. Roboto was used for headlines and subheads. Frutiger LT Std
for text.
This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.
All contents ©COPYRIGHT 2014 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 1535-4687
PHOTOSHOP’S MOST WANTED › ›
Contributing
Writers
KEVIN AMES
creates evocative photographs for clients such as Westin Hotels, AT&T, and
Coca-Cola. His fourth book, published by Peachpit Press, is The Digital Photog-
rapher’s Notebook: A Pro’s Guide to Photoshop CS3, Lightroom and Bridge.
BRIAN MATIASH
is a published photographer, writer, and Googler. When not out photographing,
he leverages his industry experience to help grow the Google+ Photos platform
STEVE BACZEWSKI
and community.
is a freelance writer, professional photographer, graphic designer, and consul-
tant. He also teaches classes in traditional and digital fine arts photography.
His company, Sore Tooth Productions, is based in Albany, California.
BERT MONROY
is considered one of the pioneers of digital art. His work has been seen in countless
magazines and books. He has served on the faculty of many well-known institutions,
PETER BAUER
written dozens of books, and appeared on hundreds of TV shows around the world.
is an Adobe Certified Expert that does computer graphics consulting for a select
group of corporate clients. His latest book is Photoshop CC for Dummies.
He was inducted into the Photoshop Hall of Fame in 2010.
JAY NELSON
has been writing about graphic design topics since 1992. As former publisher
of Design Tools Monthly, he knows a lot about digital publishing, fonts, and font
BRUCE BICKNELL
management. Learn more at www.DesignToolsMonthly.com.
is the founder of Digital Blue Productions. He has been an instructor on Adobe’s
in-box training, and is an instructor at Sessions.edu. His clients include Time Inc.,
NFSTC, DTCC, and magazines that include People and National Geographic.
SCOTT ONSTOTT
is the author of Photoshop CS6 Essentials, Enhancing Architectural Drawings
and Models with Photoshop, and many other books and videos. You can see
PETE COLLINS
what he’s up to at ScottOnstott.com.
is an education and curriculum developer and website overseer for KelbyOne. He
is one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts
background, Pete is well versed in photography, graphic design, and illustration.
COLIN SMITH
is an award-winning digital artist, photographer, and lecturer who has authored
18 books and has created a series of training videos. Colin is also the founder
MICHAEL CORSENTINO
of the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
is an award-winning wedding and portrait photographer, Photoshop and Lightroom
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker
and international workshop leader. Learn more at www.michaelcorsentino.com.
LESA SNIDER
is the author of Photoshop CC: The Missing Manual and several training videos (lesa
.in/clvideos), and co-author of iPhoto ’11: The Missing Manual. She’s on the Photo-
SEÁN DUGGAN
shop World Dream Team, a columnist for Macworld, and founder of PhotoLesa.com.
is the co-author of Photoshop Masking & Compositing, Real World Digital
Photography, and The Creative Digital Darkroom. He leads workshops on
digital photography, Photoshop, and Lightroom (SeanDuggan.com).
ROB SYLVAN
is the Lightroom Help Desk Specialist for KelbyOne, on staff at the Digital
Photo Workshops, and the author of Lightroom 5: Streamlining Your Digital
DANIEL EAST
Photography Process. You can learn more at www.lightroomers.com.
is an author, freelance writer, presenter/trainer, and consultant with more than
20 years’ experience in photography, pro-audio, and marketing. Daniel is also
founder and president of The Apple Groups Team support network for user groups.
ERIK VLIETINCK
founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik
has been a freelance technology editor for more than 20 years. He has written
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
KATRIN EISMANN
for Macworld, Computer Arts, Windows NT Magazine, and many others.
is the author of Photoshop Restoration & Retouching and co-author of Photoshop
Masking & Compositing and The Creative Digital Darkroom. Katrin is Chair of
the MPS in Digital Photography department at the School of Visual Arts in NYC.
JAKE WIDMAN
is a writer and editor who lives in San Francisco. He’s been covering the intersection
of computers and graphic design for about 25 years now—since back when it was
MATT KLOSKOWSKI called “desktop publishing” and Photoshop was just a piece of scanning software.
is a full-time education director for Kelby Media Group and a Tampa-based
photographer. He’s a best-selling author, and teaches Photoshop and Light-
room seminars around the world.
010
ABOUT PHOTOSHOP USER › ›
Photoshop User
Magazine
Photoshop User magazine is the official publication of
KelbyOne. It is for members and is not available to the
public by subscription.
About KelbyOne
KELBYONE MEMBER DISCOUNTS
is the world’s leading resource for Adobe® Photoshop®, Lightroom®, and Save anywhere from 2–4 times your membership cost by using our many
photography training, news, and education. Founded in 1998 as the National industry-related discounts.
Association of Photoshop Professionals (NAPP), KelbyOne has evolved from
NAPP and KelbyTraining to create a singular hub for creative people to learn, grow,
and inspire. From photographers to graphic designers, beginners to professionals,
TECH SUPPORT
Fast, friendly Photoshop, Lightroom, and photo gear help, equipment
KelbyOne is open to everyone.
advice, and more from certified experts.
There’s no faster, easier, and more affordable way to get really good at Photoshop
and photography. You can join for only $25 per month or $249 U.S. for a full year MEMBER COMMUNITY
of training. To learn more, visit www.kelbyone.com. KelbyOne members range from beginners to pros and love to lend each
other a hand. Together, we have built the friendliest, most knowledgeable
Photoshop and photography community on the Web.
WEEKLY E-NEWSLETTER
PHOTOSHOP USER MAGAZINE The Drift is your weekly connection to everything KelbyOne. It’s produced
exclusively for members to keep you informed of everything new in the
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
012 FIND KELBYONE MEMBERSHIP DETAILS AT www.kelbyone.com or call 800-738-8513 Monday–Friday, 8:30 a.m. to 7:00 p.m. EST.
Discover a Whole
New World of Printing!
Freestyle continues to be your dedicated supplier of traditional
photographic materials for over 66 years. Now... we are your BEST
resource for digital inkjet papers!
E
TRACY LE
ative brainiacs are free to romp around the right side of the brain.
Here, learning is made fun during three incredible days of hands-
on training from the industry’s top instructors in photography,
lighting, and graphic design. But you knew all that, right? (Shameless plug, we digress.)
Maybe you didn’t know that Photoshop World is the best place to let loose and have some fun, err, we mean network with
members who share the same passions and creative outlooks. A lot of this starts right on the floor of our free Expo. Mix and
mingle with fellow community members as you partake in amazing showroom photo shoots, classes, and exhibits. It’s like a field
trip with your favorite classmates—this time sans the chaperones.
If you’re near the Atlanta area (or not, you’re still welcome, Seattle!), make sure you come and say hello to your KelbyOne
community at this year’s Photoshop World, April 8–10 at the Cobb Galleria Centre. You won’t want to miss out on the chance
to meet the people that make up our inspiring community. Learn more at www.photoshopworld.com/expo.
might add, given the always amusing results that come from getting BRAD MOOR
E
Scott and Joe on stage together. No need to worry; they won’t be
quitting their day jobs anytime soon.
A few words to sum up this event: brilliant, inspiring, and magical. The best thing is we were able to capture all of this emotion
and we’ll be bringing it to a new KelbyOne class you can view very soon. Joe graciously provided his expert, constructive insights to
help beginners and experienced shooters alike improve their portfolios. To put it another way, Scott Kelby said, “Joe never touched
a camera, or a light, and he never showed even one of his own images, and yet he got a huge standing ovation. It was a truly
magical night, and I’m so thrilled our cameras were there to capture it.”
Stay tuned to kelbyone.com for the release of Behind the Lens: An Evening with Joe McNally to experience the magic first-hand
in this new critique class.
014
MEMBER SPOTLIGHT › › DARREN ELIAS
MEMBER SINCE 2010 | WWW.DARRENELIAS.COM
› › w w w. K E L BYO N E . c o m
015
MEMBER SPOTLIGHT › › Are Knudsen MEMBER SPOTLIGHT › › GLENDA CALLAHAN
MEMBER SINCE 2013 MEMBER SINCE 2012
MEMBER SPOTLIGHT › › DENIS CULHANE
MEMBER SINCE 2011
Pete Collins
@jasondwaltman www.petecollins.com
Glad I saw @MattKloskowski’s long exposure video on @Kelby @PeteCphoto
OneOnline before trying my own—would’ve certainly forgot to www.facebook.com/PhotoshopPete
http://kel.by/1npW18N
cover my viewfinder!
Podcasts and More
YouTube: YouTube.com/KelbyMediaGroup
@dori_weldon
The Grid: KelbyOne.com/thegrid
@ScottKelby I wanted to learn LR4 & not spend much money, so Photoshop User TV:
I took a chance & bought your book. Loved it so much I signed up KelbyOne.com/photoshopusertv
for @KelbyOneOnline. Photography Tips & Tricks:
KelbyOne.com/photographytnt
Kelby TV: KelbyTV.com
NOTABLE
TWEETS
Who's Who
in the kelbyone community
Say hello to Peter Hernandez, digital artist, retoucher, and
photographer who has been a KelbyOne member for more
than two years. Recently, he caught the attention of our very
own Pete Collins on our member site with his action-filled
composites. Here’s a little bit about Peter and what makes
him tick.
Any awards or other features you want to brag about? Well, Peter may not like to brag, so we’ll do it for him. He’s
I wouldn’t really call it bragging, but I’m honored and another inspiring representation of our creative commu-
humbled anytime someone is inspired by my images. nity. Keep up the good work, Peter!
Spread the
good word
Teaching is our passion. It’s in everything we do, and hearing “Just wanted to pop in and say that RC Concepcion is an amaz-
your success validates the very reason why we’re here. So ing instructor, and a pretty hilarious guy, too. Had a blast at the
preach on about the good word. We’re all ears. Adobe Photoshop for Photographers Seminar in Lansing. Kudos
to KelbyOne for another great seminar.”—Bill S.
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
018
One step beyond
SP 150-600mm
F/5-6.3 Di VC USD
www.tamron-usa.com
Exp sed
› › The latest news about photography gear, software, and services
BY MIKE MACKENZIE AND CHRIS MAIN
audio, and captures high-res still photos, slow motion, and time-lapse
images. To make sharing easy, you can link the Videography app to your
Dropbox account so your recordings are uploaded automatically.
Motrr Galileo is available in black or white and in two versions. The
first version is for iPhone 3GS through iPhone 4S and fourth generation
iPod touch devices and sells for $99.95. The second, a Bluetooth version for
iPhone 4S through iPhone 5S and fifth generation iPod touch. It costs $149.95. The
Videography app is available through iTunes for $3.99.
For more information on Motrr Galileo, including additional apps, visit http://motrr.com. To read more about Videography,
visit http://appologics.com.
020
continued on p. 22
Photo by:
www.dennispikephoto.com
phottix.com/kelbyone
Adorama Announces
the flashpoint streaklight
and line of accessories
The Flashpoint StreakLight is a new portable flash that you can use
on- or off-camera. Compact and lightweight (27.5 oz), this strobe uses
a bare bulb with a standard stippled parabolic reflector to produce
beautiful soft, even lighting. Aimed at location and wedding photog-
raphers, StreakLight is available in 180 or 360 Ws versions. It features
high-speed sync, built-in optical slave, four shooting modes, and
autofocus assist. Output is adjustable from 1/128 to full in 1/3-stop
increments. The unit also includes two diffusion disks for the reflec-
tor, and is compatible with accessories from well-known brands,
including Quantum and Lumedyne.
Powered with the new Flashpoint Blast Pack BP-960, the Streak-
Light can capture up to 1,800 images at full power with a recycle
time as fast as two seconds. The Blast Pack is lightweight (18 oz),
uses a replaceable lithium battery, and can power two flashes. For everything you need, you can go with the
Flashpoint StreakLight Creative Collection, which includes the 360 Ws version, a Blast Pack with a replacement battery, the new
Flashpoint Wireless Remote & Receiver, Umbrella Reflector kit, dome diffusor, 11.6" beauty dish and grid, snoot, and much more.
The Flashpoint StreakLight 360 Ws flash is available for $549, the Blast Pack for $249.95, and the Creative Collection for
$899.92. For pricing on other StreakLight accessories and bundles, visit www.adorama.com.
Anthropics Technology
takes portraitpro to version 12
Anthropics recently announced the availability of PortraitPro 12 (formerly Portrait Professional).
The latest version of their popular portrait-retouching software now includes the world’s first
face-relighting technology to bring out the beauty and character of any face. Anthropics has
improved PortraitPro’s ability to slim faces and enhance skin. It also includes a unique feature
for thickening, smoothing, and recoloring hair. In another world’s first, PortraitPro can detect
gender and age for the most appropriate enhancements. Anthropics also claims that version
12 is 4x faster. There are three versions available: a standalone version ($99); a Studio version
($159) that plugs into Lightroom, Aperture, and Photoshop and supports RAW files; and a
Studio Max version ($299) that adds batch processing. All editions support 32- and 64-bit
operation. For more info on the versions and pricing, visit www.portraitpro.com.
Nikon Updates
its flagship camera
In other recent news, Nikon released the Nikon D4s. According to Nikon, the D4s
pushes the boundaries of professional image and video quality with an unrivaled
combination of speed, accuracy, and low-light performance using the newly
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
with KelbyOneLive
photography and design instructors,
as they deliver proven, professional
methods to improving your creative
skills in just one day.
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Dates & Tour Stops Coming Soon! Dates & Tour Stops Coming Soon!
&Dirty
BY COREY BARKER
This time around we’re going to play with 3D to create some grit-
ty effects. This was inspired by the logo of a movie production
Tricks
company that I recently saw at the beginning of a film. While
it was slightly animated, I liked the depth and grittiness of the
image. Similar effects can be achieved right here in Photoshop.
› › DOWN AND DIRTY TRICKS
Step Two: In the Toolbox, locate the Rectangle tool (U). In the
Options Bar, set the mode drop-down menu to Path. In the
canvas, draw out a horizontal rectangular path, as shown here.
Once the shape is made, you’ll need to center it on the canvas. Step Two
Press Command-T (PC: Ctrl-T) to invoke Free Transform. Click
inside the object and drag it until the center control handles
snap to the guide. Press Enter to commit the transformation.
Step Three: In the Toolbox, locate the Pen tool (P). In the
Options Bar, make sure Auto Add/Delete is checked on. Then,
position the cursor where the top of the path intersects with the
guide and click to add a control point. Do this for the bottom of
the path, as well.
Step Three
Step Four: This time in the Toolbox, locate the Path Selection
tool (A), which is the standard black arrow. Click-and-hold on
it to reveal the other tool grouped therein, which is the Direct
Selection tool (the white arrow). This tool allows you to select
specific control points. Click-and-drag around the two center
control points to select them. Selected control points will appear
solid, whereas unselected points will appear hollow.
Step Six: Now we need a gritty, rusty texture. You can use
the rust texture file that’s provided as a download for this
exercise, or feel free to use your own texture. This one has
a lot of great color to create that weathered look. Using the
Move tool (V), hold the Shift key and click-and-drag this rust
texture into the working design file. The Shift key will center
Step Ten
030
› › DOWN AND DIRTY TRICKS
› › k e l b yo n e . c o m
the text. At the top of the Properties panel, click on the folder
icon to the right of the Diffuse setting and choose Load Texture.
When prompted, locate the scratched metal texture and click
Open. This will give the text a nice gritty finish that’s a little
cleaner than the background rust.
Step Eighteen: Now for one final touch. In the original logo,
there was an element of scratches, as if they were on the lens
when the image was shot. Here’s a cool trick to fake that.
Remember the texture we used on the face of the text? Open
that file and use the Move tool to drag it into the main file. Posi- Step Nineteen
tion it to cover the whole canvas area.
Step Twenty: In the Layers panel, change the blend mode from
Normal to Screen and drop the layer Opacity to 75%.
For more info, visit ReallyRightStuff.com or call us at 1-805-528-6321 or toll-free in the US and Canada 1-888-777-5557.
HOW TO › ›
&Dirty
BY FELIX NELSON
Tricks
printed examples mysteriously appear on my desk (no doubt the
work of handy editor elves or production manager fairies). The
technique itself is pretty simple but the visual effect is very dra-
matic and impactful. Give it try.
› › DOWN AND DIRTY TRICKS
Step One: Open the image to which you'd like to apply the
effect (a young ballet dancer on a white background in our
example). The first thing you'll want to do is remove any portion
of the skirt or tutu that you don’t want visible. Choose the Lasso
tool (L) or the selection tool of your choice, and draw a selection
around the tutu to the left and right of the dancer (press-and-
hold the Shift key to add to your selection). You don’t need to
draw the exact shape of the person (make your best guess), as
most of this will be hidden by the liquid we'll add later.
(PC: Ctrl-Shift-U).
ISTOCK, ARTJAZZ
ISTOCK, ARTJAZZ
Step Five: Click the Add Layer Mask icon (circle in a square)
› › k e l b yo n e . c o m
at the bottom of the Layers panel. Choose the Brush tool (B),
and using a soft-edged brush with the Foreground color set to
black, mask away the areas that will not be part of the dress
(in this example, above the dancer’s head, behind her back,
and her upper-right hip).
035
DOWN AND DIRTY TRICKS › ›
Step Nine: Click on the Add Layer Mask icon. Using a soft-
edged brush, mask away any areas of the splash that you want
to appear as if that part of the splash is behind your subject
(the upper part of the dancer’s torso in our example).
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
Step Ten: Choose the Smudge tool from the Toolbox and
enter 50% for Strength in the Options Bar. Click on the Layer 3
thumbnail in the Layers panel. Now click-and-drag to smudge
the edges of the splash where it meets your subject’s torso and
hips so that it appears to blend together.
036
› › DOWN AND DIRTY TRICKS
Step Fifteen: Choose the Brush tool from the Toolbox. Press
X to set the Foreground color to white. Using a soft-edged
brush, paint away the gray area over the center of the image.
Make sure you include the small splashes on the upper torso
and upper leg. Deselect.
Step Sixteen: Right now, the splashes are too dark and
they don’t match the original ballet dancer’s torso because
the tonal range is too broad. Click on Layer 3 (the main front
splash). Press Command-L (PC: Ctrl-L) to bring up the Levels
dialog. Click on the Shadow Output slider and drag it toward
the right until the tonal range closely matches the dancer’s
torso. Click OK.
Before After
038
HOW TO › ›
&Dirty
BY PETE COLLINS
Tricks
little spring in your design. Change the seasonal elements to
snowflakes for Christmas and hearts for Valentine’s Day, and
this tip is like the gift that keeps on giving all year long.
› › DOWN AND DIRTY TRICKS
PETE COLLINS
Step Two
Step Four: Switch to the Move tool (V) and click-and-drag the
flower selection into your document. Double-click on the flower
layer’s name in the Layers panel and rename it “Original,” then
press Command-J (PC: Ctrl-J) to copy the layer, and rename
the copy “Backup.” Hide the Backup layer by clicking the Eye
Step Six: To vary the size and rotation of the flowers, select
the layer for a flower you want to resize and press Command-T
(PC: Ctrl-T) to enter Free Transform. Hold the Shift key and
› › k e l b yo n e . c o m
Step Seven: To add even more variety, pick a few of the flow-
ers, enter Free Transform, Right-click in the bounding box, and
choose Distort from the menu. Now you can grab each handle
and drag the corners to set the flower at a different angle.
Once you get them looking right, press Enter.
Step Eight
Step Ten
Step Ten: Begin with the merged Close Up layer, and choose
Filter>Blur>Gaussian Blur. In the Gaussian Blur dialog, set the
Radius to 20 pixels, and click OK.
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Step Eleven
042
› › DOWN AND DIRTY TRICKS
Step Thirteen: The image looks okay, but it could use some-
thing more. Make a new merged layer copy by selecting the
layer group at the top and pressing Command-Option-Shift-E
(PC: Ctrl-Alt-Shift-E). Now you have all of the layers combined
into one layer, but all of the individual elements are still safe
under the new layer if you need to go back and make changes.
Step Fourteen: Click on the new merged layer and choose Step Thirteen
Step Fifteen: In the ACR dialog, choose the Radial Filter (J),
which is the last icon in the Toolbox. We want to blur the area
surrounding the little girl, so drag the Clarity and Sharpness
sliders to the left. Click on the area in the middle of the girl and
drag outward. As the oval expands, shape it to surround the girl
with a little extra space around her. Make sure Effect is set to
Outside at the bottom of the Radial Filter panel. Now drag the
Exposure slider to the left to darken the area around the girl.
The combination of these sliders allows you to fine-tune the
Step Fourteen
look and depth of field of the whole image because negative
Clarity and Sharpness values cause blurring.
› › k e l b yo n e . c o m
Step Sixteen: Use any of the other tools and adjustments in lighting adjustment done with the Radial Filter helps the flowers
ACR to finish the rest of the image. For this image, we used the settle into the scene better. Now all you have to do is take the
Adjustment Brush (K) with increased Exposure setting to lighten final image, add some text, place it into a magazine layout, and
the girl and her dress. Then we went to the Effects panel and you have a great-looking piece.
dragged the Post Crop Vignetting Amount slider to the left
to add a vignette. Use the Midpoint, Roundness, Feather, and
Understanding that the secret is in the layering of blurred
Highlights sliders to fine-tune the vignette. This process will vary
elements allows you to do this with almost anything that
with each image and isn’t necessary for this technique to work.
you can put on its own layer. I foresee an influx of images
Click OK when done.
of bosses falling into all kinds of dangerous and deadly
Step Seventeen: As you can see, having three layers blurring scenes, so please remember to only use this power for good.
the various parts of the image sells the idea of depth, and the Have fun! ■
Final
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
044
COLUMN › ›
pumped-up postcard
before
Gabrielle (Gaby) Miller has been a lifelong athlete and a serious run-
ner for the past 20 years. A few years ago while she was working
with running coach, Marathon Matt, he offered her the opportunity
to become a coach herself. Miller got her personal training certifica-
tion and became his cross-training coach.
She went into business for herself about two and a half years ago.
At first, she promoted the business primarily through Facebook; but
even though she had an extensive roster of Facebook friends, “My
business page didn’t necessarily get a lot of love,” she says. Other
instructors told her she needed her own website, and she agreed,
and set up www.abfabfit.com.
Next, a little more than a year after launching the business, she
added some printed materials, including a postcard. “The postcard
didn’t seem like a big undertaking at the outset, but it turned out
to be one,” Miller says. She ordered the card online from Vistaprint,
using the service’s built-in tools to design it. She doesn’t mail the card;
she distributes it by hand. “I drop them off at logical outlets, such as
Lululemon, Niketown, sports clothing and accessories stores, Whole
Foods, and anyplace where people who are embracing healthy habits
are likely to see them.”
Miller thinks the postcard looks too much like a personal busi-
ness card than a business promotional tool, however. She’s tried
to keep a division between her personal and business Facebook
pages, and she’s not sure the postcard reflects that. She also thinks
it’s a little wordy, with some extraneous elements that distract
from the core message. She’d like to have a more focused card
that makes her workouts look energetic and fun. “I like to stress
placing fun in fitness,” she says. “People have little leisure time, so
it should be enjoyable.”
We asked three designers to give Miller a card that measures up
to the “Ab Fab” name.
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
makeover submissions
WE’RE LOOKING FOR PRODUCT PACKAGING OR LABELS, PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MAR-
KETPLACE FOR FUTURE “DESIGN MAKEOVERS.” SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOU’D LIKE US TO CONSIDER MAKING OVER, OR
IF YOU’RE A DESIGNER AND YOU’D LIKE TO BE CONSIDERED FOR A FUTURE “DESIGN MAKEOVER,” SEND US AN EMAIL AT [email protected].
(NOTE: THIS IS PURELY A DESIGN EXERCISE AND THE DESIGNERS DO NOT WORK DIRECTLY WITH THE CLIENT, CREATE FUNCTIONING WEBSITES, ETC.)
046
› › DESIGN MAKEOVER
DESIGNER
Jose Vidaurre
http://hashcloudstudio.com, www.facebook.com/hashcloudstudio
after
Miller’s postcard lacks a professional brand identity, something that
can’t be achieved with a service like Vistaprint. A lot of small busi-
nesses face this problem when they try to create their brand them-
selves. They’re dissatisfied because of the limitations of such services.
I wanted to implement an energetic and professional presentation
of Ab Fab Fit with enough information to keep it attractive.
Gaby said green is her favorite color, so I kept that as a theme.
I increased the proportion of white space, however, to set the mood
of the customers, and suggest that this is a great service that will
give them clarity of mind and a sense of wellness. I added three pho-
tographs in circles to reinforce the message of fitness and wellness
in both body and soul.
Ordinarily, we take professional photos of clients to make sure
we have the highest quality images to work with. Lacking the ability
to do that, I preferred to use a stock photo that still had a com-
mercial effect for branding the service and company. The pose of
the photo is carried through in the new logo’s icon, which signifies
“holistic,” and the arms on the logo double as green rays for energy.
I used large fonts to attract viewers who may be looking at a
counter full of postcards. I chose Pepsi for the logo font because it
helps the logo stand out on the entire postcard. I used Atipo’s Bariol
for the tagline and Fontfabric’s Hero for the list of services because
they’re both clear and easy to read. Finally, I used Century Gothic
for the URL.
The result is not just a better-looking postcard, but also a brand-
ing treatment that could be used on the client’s Facebook page,
website, and other marketing materials.
branding, website design and development, SEO, photography, and video production/marketing. Jose cofounded HCS in 2013 with Frank
Flores, with whom he’d already been working for two years.
Originally from Peru, Jose studied IT and hardware systems, getting a degree in Engineering in Computer Systems in that country. He was working
for tech companies in Peru when the design bug bit him. People kept asking him about design and the Web, so he decided to learn Photoshop and other
design software and follow his passion in digital design. The combination of programming and artistic skills makes him a rare professional in this industry.
Jose’s hobbies include photography, shooting video, and cooking. When he’s not working or enjoying his hobbies, he spends time with
his wife Carmen and young daughters, Cayetana and Macarena.
DESIGNER
Jim Koscak
http://design9creativegroup.com
after
For the redesign of the postcard, I decided to move all of the infor-
mation about the business to the front of the postcard and keep all
of the client’s personal information on the back. I chose ITC Avant
Garde Gothic Std, because it offers a wide range of choices as far
as weight goes, and it’s very easy to read. One of the first things
I noticed about the original layout was that the serif fonts felt dated
and looked very busy.
For the front, I chose the stylized line art of a female torso, which
immediately ties into the name of the business. I wanted to keep a
very clean look and feel, and I think this helps to convey the message
nicely. Another thing I wanted to change from the old layout was to
add more organization to the listed information. I needed to break
up the content visually, so I used a gradient box on both the front
and back of the postcard. I also added gradient ovals on top of the
background to give the design some movement and flow.
I kept the layout predominantly green, but I also picked up some
of the blue that was used in the original layout as part of the type.
I think the original logo is very nice, so I’ve kept it as a dominant
image on both sides, but limited its use to once on each.
The original design had a photo of the client that was grainy and
not very clear. As it didn’t reproduce very well, I’ve replaced it with
a graphic of someone lifting weights in a pose similar to the original
photo, but with much cleaner lines. I feel it still brings a positive
image, and it exemplifies someone with a healthy attitude and a
good sense of well-being.
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
APPLICATIONS USED: Adobe Photoshop CS5.5, Adobe InDesign CS5.5, and Adobe Illustrator CS5.5
048
› › DESIGN MAKEOVER
DESIGNER
Roy Milton 2
www.roymilton.me
after
My goal was to create a postcard that not only highlighted the com-
petitive advantages of the client, but also was clean and easier to
read. Excessive use of serif fonts in the original was an issue, as far as
readability goes. Furthermore (to me), the client’s brand personality
is about making fitness fun, energetic, and informal, and the serif
fonts throughout the old design felt unapproachable and too formal.
I decided to leave the logo’s icon and the font for the business
name intact, but made a font modification to the subtitle, “Abso-
lutely Fabulous Fitness & Wellness.” I changed that text and the rest
of the postcard copy to Brandon Grotesque from HvD Fonts because
of its clean simplicity, thin weight, and diverse font family.
Throughout the postcard, I used a soft canvas-like texture to add
depth. I chose the color purple as a primary color, with green (the
client’s favorite) as an accent color. The remaining sub copy is in gray.
These colors are both fun and easier on the eye.
When thinking about physical fitness, people may pick someone
to aspire to look like. Because the client is a personal trainer with a
great physique, I chose to feature her prominently on the front of
the card so that potential customers would feel connected to her.
Given Miller’s multiple certifications, those accomplishments add to
her professional credibility, and I highlighted them on the front. On
the back, I used an image of Miller in session with a customer. This
adds to the sense of human interaction, and reflects the type of one-
to-one coaching services she provides.
To provide more details on the specific types of training and
coaching, I restructured the services into a cleaner, more readable
list. At the bottom, I added a strong call to action and contact infor-
mation so it’s the last thing you see after reading the postcard in
its entirety.
beverage, and nonprofit. He has served on the Austin Chapter of AIGA, the professional association for design, and frequently volunteers
as a guest speaker and portfolio reviewer in Austin’s design community. He has also completed the Art Direction program at The Austin
Creative Department, a newly formed, award-winning advertising and portfolio school.
Roy is currently an art director at Sanders\Wingo Advertising, where he assists agency teams in creative development for AT&T.
Sanders\Wingo’s work includes strategy, planning, media, and creative for clients such as AT&T, MINI USA, Ocean Alexander, Cintra US,
St. David’s Medical Center, Las Palmas Del Sol Medical Center, El Paso Electric, and more.
Video
for
By Richard Harrington
motion picture and visual FX work at Industrial Light & Magic. Photoshop has
long been a part of many creative pipelines and predates digital photography
by years. These days, Photoshop serves many roles.
050
50 Layout Design: Taffy Clifford
Getting Started on the Right Foot
051
Compelling Typograpy
The type tools in Photoshop far exceed those found in most video tools. It’s easy in
Photoshop to carefully typeset graphics, whether they’re simple titles to identify a
speaker or more elaborate title sequences. Key tools that stand out include:
Pair kerning: The ability to precisely adjust the spacing between pairs of letters
is the hallmark of good type. Just insert the type cursor between two letters, hold down
the Option (PC: Alt) key, and press the Left or Right Arrow key to adjust the spacing.
Layer styles: From drop shadows to textures, you can quickly stylize type.
052
52
Repairing Photos
Many video editors and designers find themselves needing to
enhance the appearance of the assets they’re using. Perhaps
it’s poor color and exposure or the wear and tear on a historical
image. “Photoshop is used for cleaning up poor images that
requirements for video (after all, how many photographers shoot 16:9?). With tent-Aware Fill to do the heavy lifting
the many Content-Aware tools in Photoshop, it’s easy to fill in holes and recom-
and then use the Clone Stamp to clean
pose photos. (Note: To apply a Content-Aware Fill, make a selection, go to
things up a bit.”
Edit>Fill, and select Content-Aware in the Use drop-down menu. You’ll find
Content-Aware Scale under the Edit menu, as well.)
053
Repairing Footage
JESSE ETTINGER
While Photoshop is well known for its ability to work with stills,
the same tools can be used on video files, as well. More and
more editors and visual effects artists have discovered the option
to manipulate video files as smart objects. This opens up useful
THE OBESITY ACTION COALITION
JIM BALL
54
“Converting things
into smart objects
is a great way to work
nondestructively,” said
designer and videographer
Keith Kiska. He loves to
use the Camera Raw
engine in Photoshop on
both stills and video.
JIM BALL
“When I first used
Camera Raw, I was abso-
lutely amazed. Having
shot film for a short
period of time before the
Digital Revolution, I was
still captivated at how
much control you can have
over your image after you
shot it. It was an abso-
lute game changer for the
whole community.”
1 You can open a video file as easily as any still image; choose File>Open,
and then select any QuickTime-compatible movie file. You can use a
MPEG-1, MPEG-2, MPEG-4, MOV, or AVI file as long as the correct codec
is installed by your editing software. The Open command automatically
sizes the document to match the video clip and adjusts the Timeline to
match its duration and frame rate. Be sure to Right-click on the video file
in the Layers panel and choose Convert to Smart Object if you need to
apply filters nondestructively.
2 document
If you already have a design file, you can add a video clip to an open
as a video layer. Simply choose Layer>Video Layers>New Video
opuser.com
Layer from File. This adds the clip into the existing layers.
3 destructive
If you’d like to add the video file as a smart object (which enables non-
hm
055
Using Lens Correction STEP FOUR: Choose a manufacturer from the Camera Make drop-
down menu under Search Criteria on the right. If your camera isn’t
The Lens Correction filter in Photoshop is an easy way to fix common listed, you can manually adjust the settings in the Custom tab, or
flaws in an image, such as barrel distortion, lens vignettes, and chro- make a profile (http://kel.by/11Y7iBP).
matic aberration. Usually, the filter is run on 8- or 16 bit-per-channel
still images; however, it can also be run on DSLR video clips. STEP FIVE: From the Camera Model drop-down menu, choose the
The filter can also correct perspective problems caused by cam- correct camera model, and from the Lens Model drop-down menu,
era tilt, plus it automatically looks up lens information from an choose the correct lens.
online database.
STEP SIX: Under the Correction section in the Auto Correction tab,
STEP ONE: Select a video layer, and make sure it’s a smart object select Geometric Distortion, Chromatic Aberration, Vignette, and Auto
to ensure flexibility in editing. To convert it to a smart object, choose Scale Image.
Filter>Convert for Smart Filters.
STEP SEVEN: Switch to the Custom tab for advanced controls. Use
STEP TWO: Choose Filter>Lens Correction. In the Lens Correction the Vertical Perspective and the Horizontal Perspective sliders to com-
dialog, look in the bottom-left corner for information about the cam- pensate for keystoning or angled shots. Adjust the Vignette Amount
era and lens used for the shot. (This comes with the metadata the to further brighten or darken the edges.
camera wrote to the original file.) If you’re using a movie file, this info
may be missing. It’s a good idea to also shoot a still image on set to STEP EIGHT: Click OK to apply the correction. Because of the complexity
capture important metadata for your video clips. of the effect, the video clip won’t play back smoothly. Choose File>Ex-
port>Render Video to process the file and create a new clip. Be sure to
STEP THREE: Select Show Grid next to the camera info to make it also save a PSD file for future changes. You can double-click the Lens Cor-
easier to see perspective issues. rection filter in the Layers panel to open the smart filter for future edits.
› › photoshop user › April 2014
CE
AL SERVI
US POST
H PERMISSION
U SED WIT
56
Creating Transparency
Video professionals often need to composite multiple images what I don’t. Call me old school, but channels are my favorite,”
together. Perhaps it’s for visual effects like green screen or to said Robinson.
make a motion graphics sequence. It can even be as simple He’s also a fan of layer masks. “Layer masks perfectly go along
as putting a logo or watermark over video. Photoshop makes with the process of isolating elements. Layer masks are great
transparency easy and stores it effectively in many file formats. because they allow me the ability to paint detailed areas of a
“Even though there are some amazing selection tools selection with both soft and hard edges. I can see what I’m doing
inside Photoshop, I still find myself using the different update in real time and rest assured that when I make a mistake,
channels of an image to help control what I select and I’m creating a nondestructive mask,” said Robinson.
USED WITH PERMISSION THE USDA
STEP ONE: Open the Channels panel (Window>Channels). Click directly on the names of each of the channels to look only
at that one selected channel. Choose the channel where your object is in most contrast from the background.
opuser.com
STEP TWO: Drag the highest contrast channel down to the Create New Channel icon at the bottom of the panel to duplicate
that channel.
hm
so
STEP THREE: Use the Quick selection tool (W) on the copied channel to create your selection. Using this black-and-white,
.c
nteo
STEP FOUR: Use any of your favorite selection commands under the Select menu (such as Refine Edge, Expand, Feather,
or Contract) to speed up the process.
057
Looking for an Easy Alpha Channel?
Need a perfect alpha channel? Be sure to load the Video Actions set inside the Actions panel.
STEP TWO: Click the panel’s flyout menu in the upper-right corner, and load the Video Actions set.
Processing Time-Lapse
The art of time-lapse photography is truly at the point of
fusion where photography and video meet. By capturing
multiple exposures at a constant interval, incredible foot-
age can be created. The benefit of using a stills camera,
though, is that the exposure time can vary much more
than a video camera. It’s also easier to take full advantage
of RAW file formats.
Whether you’re assembling a time-lapse directly
in the timeline in Photoshop, or simply preprocessing
KEITH KISKA
The Future
› › photoshop user › April 2014
Who knows what the future holds, but the focus of Photoshop on making video easier
for newer users to edit in the timeline is a welcome addition. Professionals also welcome the more
advanced tools like 3D objects, smart objects, and powerful color science. Photoshop is the per-
fect tool for every video professional’s toolbox. ■
58
HOW TO › ›
Step One
Step Two: Divide the width of your document by three (in this
example, 10 ÷ 3 = 3.33). Choose View>New Guide, click Verti-
cal, enter 3.33, and click OK. Repeat this step to set another
vertical guide at 6.66 inches. You should now have a document
that’s split into three panels of equal widths.
Step Four: The goal is to position the focal point between the
left edge and the first guide. Don’t worry if the image extends
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
beyond the guide; we’ll fix that with a layer mask next. Click-
and-drag in the bounding box to reposition the image in your
document. To resize it, press Shift and click-and-drag a corner
handle inward to make it smaller or outward to make it larger.
Press Enter when you’re finished.
Step Four
060
› › BEGINNERS' WORKSHOP
Step Five
Step Six: To add a layer mask, click the Add Layer Mask icon
(circle in a square) at the bottom of the Layers panel. Photoshop
hides everything outside of your selection. (If you don’t see the
Layers panel, open it by choosing Window>Layers.)
Step Seven: Repeat Steps Three through Six to add two more
images and mask them into the second and third panels. For Step Six
example, after placing the second image, draw a selection with
the Rectangular Marquee tool between the first and second
guides and then add a layer mask. Place the third image and
draw a selection from the second guide to the bottom right of
the image’s edge. Here’s what your document and Layers panel
should look like now.
Step Eight: Click to activate the first image layer (first panel
in the triptych) in the Layers panel. Now click the Create New
Adjustment Layer icon (half-black, half-white circle) at the bot-
tom of the Layers panel, and choose Hue/Saturation.
› › k e l b yo n e . c o m
Step Eight
061
BEGINNERS' WORKSHOP › ›
Step Nine: In the Properties panel that opens, click the icon at the
bottom left of the panel to clip the Hue/Saturation adjustment layer
to the layer beneath it (so it affects only one layer down). Turn on
the Colorize checkbox and then drag the Hue slider rightward until
you find a color you like (yellows were used here).
Step Eleven: Repeat this step to add a Hue/Saturation adjust- Step Nine
ment layer above the topmost layer (third panel; blues were
used here). To change the color tint for any of the layers in the
future, double-click the Hue/Saturation adjustment layer thumb-
nail and the Properties panel reopens. This is what your Layers
panel should look like now.
062
Final
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HOW TO › ›
This image shows the end of the long row of cars. Though
these cars are fairly small in the image, there’s enough detail
that’s visible in the print. Accuracy and attention to detail is vital
to make them look real. A Google search for “European hub-
caps” provided me with all the reference material necessary.
Step Two: Establish your light source that will determine where
highlights and shadows will fall over the hubcap. Choose the
basic Foreground and Background colors that will represent the
light and dark areas of the metal. Using the Gradient tool (G),
fill the outer shape with a linear gradient. In separate layers for
each (click the Create a New Layer icon at the bottom of the
Layers panel), fill the two center circles with the same gradient,
but fill the larger of the two with an opposing direction to give
the illusion of it being indented into the surface.
Step Three: Give each of the two inner circles a layer style of Step One
Note: Since the two layers’ styles have opposing light directions,
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
Step Four: On a new layer, fill the wells that contain the holes
cut into the face of the hubcap with a medium gray. Using the
Dodge and Burn tools (O), create the highlights and shadows. In
the placement of these tones, careful attention must be paid to
064 Step Three
› › FROM BERT'S STUDIO
the direction of the light source. Note how the lights and darks
have been applied to give the shapes the proper look.
Step Five: Fill the paths for the smaller holes with black in their
own layer. The parked cars are at an angle from the viewer. In
order to achieve that angle, use the Move tool (V) to drag the
layer containing the black holes slightly to the right. You can
see that certain holes are falling beyond the view of the wells
that they’re in. To get this effect, make the layer containing the
wells into a selection by Command-clicking (PC: Ctrl-clicking) on Step Four Step Five
its layer thumbnail in the Layers panel. With the selection active,
apply a layer mask to the layer containing the black holes. This
is quickly done by simply clicking on the Add Layer Mask icon
(circle in a square) at the bottom of the Layers panel.
Step Six: The area of the logo is made up of three more circles.
The outside layer has a zero Fill in the Layers panel with a Bevel &
Emboss layer style. The zero Fill lets the underlying layer show
through. The outer circle of the logo itself is filled with black
with a layer style of Drop Shadow and Stroke to give it the
white outline. The inner circle is also filled with black, has the
same Stroke layer style, and it’s clipping a layer that contains
the blue and white checkerboard. To clip one layer to another,
hold the Option (PC: Alt) key and click on the line between the Step Six
two layers in the Layers panel. The letters are placed individually
and rotated into position.
Step Seven: With all the elements in place, it’s now time to
give the plate its angle to follow the dimension of the car in the
scene. Click the Eye icon next to the Background layer to turn
it off. This makes only the layers that make up the plate visible.
Making the top layer the target layer, hold down the Option
(PC: Alt) key and choose Merge Visible from the Layers panel’s
flyout menu. This will create a new layer containing the com-
pleted plate while keeping all the original layers intact.
Step Eight: Make the new, composite layer the target layer, and
Option-click (PC: Alt-click) its Eye icon to turn off all the other lay-
ers. Press Command-T (PC: Ctrl-T) to bring up the Free Transform Step Eight
tool. Grabbing the right-center control point, move it to the left to
turn the circular hubcap into an elliptical shape that best conforms
to the needed angle. Press Enter to engage the adjustment.
You may never have to make a hubcap but it’s the steps that are
important here. One or all of these steps can be applied to a
variety of other situations. It’s the mastering of the tools within
Photoshop that will enhance the way you work. n
Step Nine 065
ALL IMAGES BY BERT MONROY
13
PHOTOGRAPHY SECRETS › ›
Tips
to Steady
Video Capture
By Rod Harlan
066
These days, it’s possible to capture video with everything from your DSLR to
your smartphone. If you want to incorporate video into your business plan to add
to your bottom line, it’s important to know how to capture great
video no matter what device you’re using. To help combat this jerky video epi-
demic, I present you with 13 ways to improve the stability of your
video capture.
1
Make Your Body a Tripod
There’s a reason photographers spend so much money on tripods; they help give you
a stable shot and minimize blur. For handheld shots, you can use your body as a tri-
pod. Simply spread your legs wide apart to provide stability instead of standing with
2
your feet close together, which makes your whole body prone to wobbling.
067
3 Use Your Shoulder Strap
If you’re primarily focusing by looking at the LCD, shorten your shoulder strap to use it as
a short but strong contact point (like a tripod).
Then put the strap around your neck and hold the camera with both thumbs
placed underneath while tucking in your elbows. This way, when you’re using
shorter lenses (or older manual lenses with large focus rings), you can support
the camera with your thumbs while focusing with your ring and middle fingers.
Again, use your whole body (this time with a shoulder strap around your neck)
as a stable base.
4Breathe
5
Don’t try and hold your breath throughout
your video shot. You’ll end up gasping for
breath eventually and that will cause more
camera shake than if you breathed normally in
the first place. Simply breathe smoothly—slow
and steady.
Use a
Wide-Angle
r1y4 2 0 1 4
Lens
a0
i lu2
The longer your focal length, the harder it is to achieve a steady shot. If you’re
fe rr
pb
using prime lenses, opt for the wider angle (say a 16mm to 24mm lens) and stand
› › p h ot o s h o p u s e r › a
closer to your subject if need be. If you’re using a zoom lens, stick to the wider end
of your zoom. Remember, when you’re at the long end of your zoom lens, even
your breathing creates camera shake. It’s better to shoot wide and stand closer to
your subject.
068
67
Use an IS (Image Stabilized) or
VR (Vibration Reduction) Lens
Both of these technologies help reduce the shaky factor for
crisper, cleaner recordings.
8
Brace
Yourself
Find something to brace your body against (tree,
wall, counter, etc.). The more body weight you
place on the object while leaning, the better. This
10
really helps stabilize your recording.
as Shock Absorbers
When recording video while walking, you want to
bend your knees and take long strides to absorb
any shake. Your legs act like shock absorbers and
absorb any bumps as you move across uneven
ground. (This is the opposite of Tip #1.)
Commercial Stabilizers
From your cell phone to your Hollywood motion picture capture devices, there are now more than
100 commercial camera stabilizers available in the market for all types of cameras. Here is quick sampling:
Woxom SlingShot Smartphone Video Stabilizer Vidpro MR-400 Motorized Focus & Zoom Shoulder Rig
Available at Photojojo, Amazon, and B&H for around $20 Available at B&H for $443.99
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
[A special thanks to Nikon for allowing us to use their brand-new D3300 and COOLPIX P600 to capture the above images.—Ed.]
070
ALL IMAGES OF ROD HARLAN BY JULIE OTTO
of an
BY B R I A N M AT I A S H
Image
in the Vermilion Cliffs National Monument in Arizona. While ac-
cessing the area requires a four-wheel-drive vehicle and driving
through a wild and winding path made of sand, the effort is totally
worth it.
› › lightroom › ›
When you reach the destination, you’re greeted by an expanse because there’s a clear point of diminishing returns as
of rocky terrain that veers in all sorts of mesmerizing, circular it relates to optical sharpness through the frame. Now, it
patterns. For me, it marked the first time I was able to photo- would probably require an entire article to discuss the vary-
graph what is affectionately referred to as Brain Rock. ing nuances of finding a given lens’s sweet spot and there
are plenty of websites and discussion forums that cover this
In no uncertain terms, I could have spent days photographing very topic. Overall, in my own practices, I find that the glass
in this area, and if I can share a tip for anyone interested in I use most gives me the sharpest results between f/11 and
photographing around this sort of terrain, consider investing f/16. Given the tight focus of my lens and the aperture I was
in rock feet for your tripod. Using rock feet gave me much photographing at, I couldn’t get a sharp photo through and
greater peace of mind around how rigidly locked my tripod through in a single frame, and that’s when focus stacking
feet were, especially when splayed in extreme angles. popped into my head.
in photoshop
Now that all three images look the same and are cropped
identically, let’s begin the process of focus stacking. There
are a number of great applications available that specialize
in focus stacking; however, Photoshop has a really nice focus
stacking utility built right in, so we’re going to go that route.
(One thing to note is that we’re using Photoshop CC and all of
the screenshots here are derived from that version.)
074
› › lightroom › ›
step five: The next thing do in this focus stacking process cutting at the high-contrast edges of each layer. Photoshop
is ensure that all of the layers are aligned. The easiest way to detected the sharpest regions of all three layers.
accomplish this is to select all of the layers in the Layers panel,
and choose Edit>Auto-Align Layers. In almost all cases, I stick step eight: While most of the heavy lifting was done by
with the Auto option for alignment. Click OK to proceed. Photoshop, there are some refinements that are needed. If
you look closely at the transition areas of the masks, you’ll
see that there are still some soft area remnants that need to
be dealt with. By toggling the layers on and off (click the Eye
icon next to each layer in the Layers panel), you can quickly
see the affected areas (in this case, the problem is caused
by the Middle layer). This is where renaming the layers plays
such an important role.
075
step ten: With the offending areas masked out, select perature and boosting the color saturation. This helps separate
the layer mask thumbnail for the Background layer, invert the it from the rest of the rocky foreground.
Foreground color to white by pressing X, and paint through Next, a new brush was created by clicking the word “New” in
the masked areas. Doing this restores the in-focus area of the the Adjustment Brush panel. This brush was applied only to the
original Background image. tree, adding a strong bump to color saturation and brightness,
among other sliders. This helps the tree pop off of the screen.
Sky Tree
step eleven: Repeat the exact same process of this mask step thirteen: Finally, a Radial Filter (Shift-M) was applied
ballet between the Middle and Foreground layers until you’re on top of the same tree, dropping down the exposure and
left with an image that’s sharp at every major bend. color temperature to draw the eye to the tree and introduce
some color contrast by making the tree the warmest part of
back in lightroom the image. Also important is to adjust the Feather of the Radial
When done, save the photo and return to Lightroom for final Filter to help create a more subtle and realistic transition.
editing and stylization.
In the end, I’m left with an image that’s sharp from the fore-
step twelve: To start, we applied an Adjustment Brush (K) ground all the way through the background, while also retain-
to the sky to darken it while also cooling down the color tem- ing the compression that I had aimed for from the beginning. n
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
076
ALL IMAGES BY BRIAN MATIASH
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B Y R O B S Y LVA N
Loupe
The Lightroom interface can be customized in a number
of ways to maximize the space devoted to your photos,
to make your workflow more efficient, and to hide the
parts you don’t use very often.
› › lightroom › ›
There are four main panel groups that appear in all Lightroom you each one, I recommend grabbing the Lightroom Queen’s
modules. They can be manipulated as needed to allow you to complete list of all shortcuts (http://bit.ly/lrqueenshortcuts) and
control the size of the center workspace where your photos studying them at your leisure. Again, you can access the same
appear, as well as to only reveal the set of tools required for the controls by going to the Window>Panels menu, where you’ll
task at hand. These four panel groups, located at the bottom of also find the keyboard shortcuts listed there in case you forget.
the Window>Panels menu, are called the Left Module Panels, There are two keyboard shortcuts I use all the time that are
Right Module Panels, Module Picker (top), and Filmstrip (bottom). easy to remember. The first is pressing Tab to show and hide
both the left and right panel groups simultaneously. The second
Module Picker
is pressing Shift-Tab to show and hide all four main panel groups
at once.
While you may most often want to collapse groups to get
them out of the way, you can also click the inside edge and drag
inward to make the left and right panel groups wider. I often
make the right panel group in the Develop module wider to get
Left Right a finer level of control on the sliders. Similarly, you can make the
Module Module Filmstrip taller or shorter by clicking the edge just below the Tool-
Panels Panels
bar and dragging up or down, respectively. Note: If you make
Filmstrip
the Filmstrip too small, the icons that appear on the thumbnails
will go away.
header label. If you Right- have the ability to switch between a few different screen modes.
click any panel header— You can find all of the modes listed under Window>Screen
except the ones noted Mode, along with their respective keyboard shortcuts. The most
above—you can simply important thing you need to know is that you can cycle through
uncheck any panel from them all one at a time by pressing Shift-F. I also want to point
the contextual menu that out that you can still access the menu bar while in Full Screen
appears and it will disap- mode. Move your cursor to the very top of the screen and the
pear from the group. Just menu bar will pop down automatically. Lightroom 5 also intro-
recheck that panel in the duced a new option called Full Screen Preview (press F) that
menu to bring it back. takes the selected photo to full screen. This is handy when you
080
› › lightroom › ›
want to clear all clutter and see nothing but your photo filling dims. Press the L key again to transition to Lights Off, where the
the screen. interface fades to black completely. I love using Lights Off in con-
One last trick up your interface sleeve is Lights Out mode. junction with the Crop Overlay tool (R) to get a real-time preview
Lights Out comes in three flavors: Lights On, Lights Dim, and of the final crop. In Lightroom (PC: Edit)>Preferences, choose the
Lights Off. Lights On is the default and is what you use all the Interface tab and you can set the Dim Level and even change the
time. Press the L key once to transition to Lights Dim, where the Lights Out color from black if you wish. Press L one last time to
selected photo(s) remains at full brightness, but the interface turn the lights back on. n
› › k e l b yo n e . c o m
081
ALL IMAGES BY ROB SYLVAN
Maximum fixing reflections
with photoshop
Combining photos is probably the most common reason that the left of the ceiling, and one in a tanning bay at the back right,
requires the need to edit pixels, as well as extensive retouching. pointing up. In fact, you can see the reflection of the bounce in the
With the Adobe Creative Cloud Photography Program, it makes mirror. Moving the flash around doesn’t hide it, and it can’t really
absolute sense that the pixel editor should be Photoshop. go anywhere else without being in the shot.
It may seem odd to think of Photoshop as a Lightroom plug- I know from experience that I’ll need to shoot an additional
in, but in truth, the internal hooks between Lightroom and shot without the reflection and then combine the two images
Photoshop make for a beautiful editing partnership. When you in post. To get something that will balance with the main shot,
choose any of the Photoshop options from the Photo>Edit In I switch the camera to Tungsten white balance for the room and
menu, the file is sent to Photoshop via Camera Raw (in the case then open the shutter speed until the light in the mirror looks
of RAW files). No file is created until you make a save in Photo- similar to the flashed shot (I keep the aperture the same so
shop. After saving, the file is brought back into Lightroom auto- depth of field matches in both photos). In the case of this shoot,
matically. It’s hard to get a simpler relationship than that. I moved the camera position after the test shots.
Working in a regional city often means taking a range of jobs
that are away from your main focus. Niche markets are prob-
ably the best way to work in larger cities, but photographers in
smaller cities often need to shoot far more photography genres.
While I’m not actively seeking work in real estate, I shoot a lot of
it for the online company Airbnb, as well as for local businesses.
So let’s look at my typical workflow with Lightroom and Photo-
shop for that. Chez Elaine were kind enough to let me shoot
one of their beauty rooms for this article and provide you with
example files. Please note the files are for practice only and may
not be used in any other capacity, including online publication.
[KelbyOne members may download the files used in this tuto-
rial at http://kelbyone.com/magazine/issue/april-2014. All files are
for personal use only.]
As I was set for the mirror shot with no flash, I took this one
two-shot minimum first, then reset the camera for the flash shot. You can check out
the camera settings in the example DNG files to follow along if
Workflow really starts at the camera, making good choices
you like. The other key thing I do with real estate photography
before you even get to a computer. While shooting a prem-
is to use a tripod. This allows me to keep the camera level, and
ises, there are a number of things I do. First, I set the camera
by working at mid-room height, I can keep the camera straight
to RAW to have the most options for processing. Next, I’ll set
to avoid converging lines in the photo. Lens Corrections in Light-
a white balance. As I generally use external flashes, I’ll set it to
room can fix this, but I prefer to give myself all the chances I can
flash or daylight. Why? So the color on the back of the camera
get for a great photo.
looks close to what the final result should be.
With this work, I’m always shooting, reviewing, and moving
Based on the needs of the room, I could have two or three
lights around until I’m happy with the shots on the back of the
lights to add to the light in the room. In our example photo, I’m
camera or on a tablet. When editing, this usually means the best
using two: One clamped to the door to my right and aimed at
shots are close to the end of the set for each room. From here
you can follow along with the example files.
step one: Import the files into Lightroom. Choose the Copy
option, and in the Destination panel, Organize By Date, and set
the Date Format to 2014/03/01. This creates the date folder in-
side a month folder, which is inside the year folder. (Note: The
› › k e l b yo n e . c o m
Date Format drop-down menu will show the current date, but
the folders it actually creates will be based on the dates of the
photos.) Edit the date folder name after import to add a phrase to
give an immediate sense of what’s in the folder by Right-clicking
on the folder in the Folders panel in the Library module and
choosing Rename (useful if you ever move from Lightroom!). 083
step two: Make your selections. Here, the two selects for then usually everything is ready to go. Next, select the photo with
the task are already made. In the case where you have multiple the flash-free mirror.
images to choose from, select the last six from a set and go into
Survey view (N). This lets you compare them all, side by side. step five: Here’s where the Previous button comes into
For a closer view, drop out images by hovering over them and its own. Clicking Previous copies all the settings from the main
clicking the X when it appears on the bottom-right corner of the image, keeping the mirror
image. For a screen-size view, switch to Loupe view (E) and use lined up with our corrected
the Arrow keys to move through the images. You can zoom in main image. The color tone in the mirror doesn’t match the main
futher using the Z or Spacebar keys. Mark the selects with a red photo, so cool it down with the Temp slider to get a reasonably
label (using the 6 key) to indicate the image is selected and in close match with the main photo.
need of an edit.
step six: You’re now ready to go to Photoshop. To get the
best out of the transfer, check the External Editing settings in
Lightroom (PC: Edit)>Preferences. For the highest quality results,
with the most compatibility, I recommend TIFF at 16-bit ProPhoto
RGB. If you want to work quick and dirty, 8-bit AdobeRGB will
suffice and speed up processing. Avoid editing in sRGB to keep
quality up. You can always convert the files later in Export.
step nine: To hide everything in the top layer except the mir- go again. Just remember, painting with white (D) on the mask
ror, get the Polygonal Lasso tool (nested under the Lasso tool [L] reveals the top layer, and painting with black (D then X) will hide
in the Toolbox) and click the top right of the mirror inside the the top layer.
frame. Next, click the bottom-right corner, and then click the
other two corners of the mirror, taking care to line up the selec- step eleven: In the
tion properly. If you make a mistake, it’s easy to restart as it’s case where the color of
only four lines. Click on your starting point to close the selection. the mirror doesn’t look
quite right, we can clip
adjustment layers to the
mirror layer. For color
changes, select the Col-
or Balance adjustment
layer (the scale icon in
the Adjustments panel),
then hold the Option
(PC: Alt) key and hover
over the line between
this layer and the mirror
layer in the Layers panel. The cursor will change to a square
with a downward-pointing arrow. Click so the Color Balance
clips to the mirror layer. This means that adjusment only affects
the underlying layer. Any further adjustment layers will auto-
matically clip to the layer, so if you need to brighten or darken
step ten: With the the mirror, a Levels or Curves layer will apply to it automatically
mirror selected, click after the initial clip is made (just click back on the layer first
the Add Layer Mask before you add another adjustment layer). You can also mask
icon (cirlce in square) at out the adjustment if required by painting on the mask with
the bottom of the Lay- the Brush tool set to black. Remove plugs and other distractions
ers panel. This creates using the Clone Stamp tool.
a mask from the selec-
tion, keeping the mirror step twelve: Finally, save the file (Command-S [PC: Ctrl-S).
and hiding the rest of Because of the connection between Lightroom and Photoshop,
the photo. If you need the file gets saved as a TIFF with “-Edit” added to the filename,
to tidy the edges, sim- and is automatically brought back into Lightroom, smoothing
ply either use the Brush your workflow. Change the label to green using the 8 key. Your
tool (B) or undo and photo is now ready for the client. n
› › k e l b yo n e . c o m
TipsTricks &
With digital photography, it’s all too easy to generate tens of
thousands of images a year. Lightroom helps you organize
those photos, but it’s up to you to add the important infor-
the “while i’m in here”
keywording strategy
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COLUMN › ›
Steps for Silhouette Success To create an in-camera silhouette versus creating it in Photo-
To create strong silhouettes follow these tips. Choose a shop, Adobe Camera Raw (ACR), or Lightroom, follow these
subject whose shape and/or gesture is strong enough to recommendations the next time you’re out at sunset. Set the
emote and intrigue without shadow details. Place the sub- camera to a low ISO, such as 100 or 200. Working in Manual
ject in front of the light source, such as a beautiful sunset. exposure mode, point the camera at the light source—in most
Get down low so that the background plays an important cases the sky or, in this example, the snowy hill—and adjust
role and take the photo. the shutter and aperture settings to create a correct exposure
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
088
› › CREATIVE POINT OF VIEW
for the light source. This will be your exposure setting for the
image. Note: Please do not point the camera at the sun while
looking through the viewfinder as it could seriously damage
your eye!
Take a test shot and if the subject is not a complete silhouette,
use exposure compensation to underexpose (make darker) by
1–2 stops. Frame the shot and make sure to focus on the subject
(not the background), and take the picture. In most cases, I shoot
silhouettes at f/11, which will ensure that the figure and often
the background are both in focus. Experiment with framing and
composition by moving as you shoot, and concentrate on the
graphical impact of your images in the viewfinder.
The image of the saxophone player was shot with an Apple
iPhone 5 and processed with Snapseed by Nik Software. Even
when shooting with a phone, I was already visualizing what the
final image would look like, which influenced how I composed
and exposed the initial image.
Studio Silhouettes
Creating silhouettes in the studio is ideal for graphical subjects
such as glassware. To create studio silhouettes, use the primary
light source—usually a large softbox—as the background and,
if needed, use a soft white reflector such as white foamcore to
bounce some light back onto the subject. In the case of studio
silhouettes, simpler is better and, in this example of the wine
glasses, which I treated as a sculpture, I opted to add the blue
tone in Lightroom.
Backlighting people can be just as effective and can be
accomplished with a large softbox or, in this example, with a
large white silk in the window that softened the warm light of
the sunset over the Pacific Ocean.
Software Silhouettes
To enhance your silhouette shots in Adobe Camera Raw
or Lightroom, experiment with the following tips.
Detail panel: View the image at 1:1 (or 100%) and, if needed,
use the Noise Reduction controls in the Detail panel to
smooth the image. Adjust the Luminance slider up to 25
and the Color slider up to 40. After reducing the noise,
089
CREATIVE POINT OF VIEW › ›
090
ALL IMAGES BY KATRIN EISMANN
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IN G VID
IT E
ED
O
By Rod Harlan
A lot of photographers shooting video with their cameras don’t have a dedicated video-
editing app such as Adobe Premiere Pro or Apple Final Cut Pro to edit their videos to perfection.
Fortunately, Adobe Photoshop has had video-editing features built in since CS3. In this article,
we’ll get you editing video like a pro!
PLACE A CLIP
First, you have to get your video into Photoshop. The easiest way
is to drag-and-drop your clip right onto the PS icon. You can also
choose File>Open and navigate to the video clip on your hard drive
or use Bridge or Mini Bridge (Window>Extensions>Mini Bridge) to
import clips into Photoshop. No matter which method you choose,
Photoshop creates a new document the size of your video and adds
› › photoshop user › April 2014
the clip to a video track in the Timeline panel. You’ll also notice that
Photoshop creates a Video Group in the Layers panel and places your
clip inside this group.
1
The next thing you’re probably going to want to do is trim your clip
to only show that perfect moment. Luckily, trimming a clip is as easy
as clicking-and-dragging its start or end point. As you hover your
cursor over either end of a clip, your cursor turns into a bracket with
a double-sided arrow. As you drag, you’ll see a video preview of the
frame you’re trimming.
If you click the little triangle at the top right of your clip, you’ll
open a panel with additional video and audio features. Click the
Video icon to enter a precise duration for the clip along with
playback speed, or click the Audio icon to set the volume of the
clip, as well as fade-in and fade-out times. You can also mute the
audio entirely.
093
2
SPLIT A VIDEO CLIP
Sometimes you’ll need to split a clip, whether it’s too long or because
you only need a section of it. To split a video clip, simply select it on
the timeline and then position the playhead where you want the clip
to split. Then, click the icon that looks like a pair of scissors near the
top left of the Timeline panel to split at the playhead. The split adds a
new video layer in the Video Group at the top of the layer stack and
automatically names it “[layer name] copy.”
3
area sliders that are located directly below the time ruler near the top of the
Timeline panel (little gray bars with two short lines in the middle). Then, drag
the sliders to select only the part of the clip you want to work with.
Another way is to position the playhead at your start point and then
choose Work Area>Set Start at Playhead from the Timeline panel’s flyout
menu. Then reposition the playhead and choose Work Area>Set End at Play-
head from the same menu.
› › photoshop user › April 2014
Once you have the work area defined, you have a couple of choices
to make. Do you want to cut out an area of the clip and leave a gap in
the middle to fill with something else, or do you want to have the two
separated areas join to make one seamless clip? If you want to be left with
a gap, go to the Timeline panel’s flyout menu and choose Work Area>Lift
Work Area. This divides the original clip into two clips and leaves a gap in
the middle the length of your work area. However, if you choose Work
Area>Extract Work Area it will also divide the clip into two parts, but it will
remove the gap and play both pieces seamlessly instead.
094
ADD A TRANSITION
Now it’s time to add a transition to your project, connect- change the duration by entering a number into the
ing two or more clips. To begin, simply click the Select a field or by using the slider (available by clicking the
Transition icon (it looks like a half-black, half-gray square) down-pointing triangle). You can also change the
and choose a transition style and duration from the tran- transition style using the drop-down menu.
sitions menu. Then drag it to the beginning or end of the But, for simplicity’s sake, I prefer to just drag
clip you want to add it to. You’ll see a little transition icon the edges of the transition to lengthen or shorten
appear directly on the clip. If all you want to do is fade in the duration. It’s not as precise, but it’s a whole
or fade out the clip, then you’re done. lot faster. And you can even Option-drag (PC: Alt-
However, if you want your transition to connect drag) to adjust the length symmetrically from each
two clips, you have a little more work ahead of you. end if you so choose. Lastly, to delete a transition,
First, drag the transition style you want between two select it in the timeline and then press the Delete key
clips that are on the same track in the timeline and (PC: Backspace).
notice how the transition icons appear as if you’ve
dropped the transition on both clips at once. Now
you can simply Right-click on the transition’s icon and
adjust the Duration from the shortcut menu. You can
4
HIDE CLIPS
When you have too many layers in Photoshop, it can be helpful to
hide certain layers for a better workflow; the same can be said for
too many video clips. You first need to select one or more clips and
set them as favorites by choosing Show>Set Favorite Clips from the
Timeline panel’s flyout menu. This will automatically turn on Show>
Favorite Clips Only, which will hide other clips from sight. Choose
Show>All Clips to reveal the hidden clips.
095
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Friday, April 11, Washington, DC • Tuesday, May 20, Hartford, CT
Although we cover everything from getting your color right to the pros’ secrets for sharpening images, this one-day seminar covers everything
from today’s hottest Photoshop special effects for photographers to how to work faster, smarter, and more efficiently in Photoshop. Whether
you’re a portrait, landscape, wedding, or commercial photographer, you’re going to learn techniques that will change the way you work forever.
Wednesday, April 16, Chicago, IL • Wednesday, May 7, Philadelphia, PA • Friday, May 9, South San Francisco, CA • Wednesday, May 28, Sacramento, CA
As film was tied to wet chemical processing, digital photography and Photoshop are inextricably linked today.
There is one element in common in both the old way and the new—light. Let’s talk light and Camera Raw
this time in the “Photographer’s Notebook.”
The media that records light in our cameras has undergone a In other words, both walls will be very close to 12.5% gray.
change that was impossible to fathom a generation ago. Today’s There are powerful algorithms in the camera’s computer that
DSLRs capture more information in finer detail than was possible do a pretty good job of guessing what a shooter is going for.
in all but the largest format film cameras. The new media, digital, When you aim the camera at a subject framed against the sky,
has upended traditional photography as much as the Internet has the camera says to itself, “That’s a silhouette. My owner most
changed the ways we communicate and gather information. The likely wants detail in it. I’ll handle that by adding at least two
rate of change is so fast that it’s impossible to stay current. One stops of light.” That’s great for the casual user, but what if the
thing that hasn’t changed since the beginning of time is light. photographer actually wanted a silhouette? Then a camera in
Light is still at version 1.0. “Photo,” the first word of “photog- an automatic exposure mode won’t play nice.
raphy,” means light. The way light works in photography is the This is why cameras have exposure compensation dials. Of
same as it has always been. course, you have to know how much to compensate. The good
Understanding how to measure light for photography is really news is that with practice, we can get pretty darn good at out-
important. So is including a reference for color correction and guessing our camera’s programming, then refining the exposure
nailing exposure. There are reasons why what we photograph in Adobe Camera Raw or the Develop module in Lightroom. The
doesn’t always appear on the screen the way we see it with downside is that custom exposure (and color) tweaks take lots
our eyes. and lots of time in front of the computer.
the same lighting. Each is a different exposure. The first one is Postproduction
the 12.5% that results with a spot reading on the slight parting Download the samples folder from the KelbyOne member web-
between the sheers. The red circles show the metered areas. site. Navigate to the sample folder in Bridge. The warm tungsten
The next is the true silhouette. It has a very light background, light from inside the church is the source of illumination. I mea-
yet the sheers still have detail. Last is the one exposed for the sured it with my incident meter by pointing the dome toward the
subject. Technically, it’s overexposed by almost three stops. The light from the bride’s position. I set the exposure on the camera.
important question is which one is the intentional one? A window behind the bride gives a cool highlight on her hair and
shoulder. I didn’t bother metering this light. To my eye, the light
Incident Meters is too warm. Her white dress isn’t white at all.
Incident meters are the one’s with the white dome. Aim the [KelbyOne members may download the files used in this
dome at the source of light, take the reading, then set it on the tutorial at http://kelbyone.com/magazine/issue/march-2014.
camera when it’s in Manual mode. The exposure is for the light All files are for personal use only.]
falling on the subject, eliminating the confusion of reflected
metering. When the exposure for the amount of light falling on Step One: Select all of the DNG files (Command-A [PC: Ctrl-A]),
the subject is set on the camera, the white wall will be white then press Command-R (PC: Ctrl-R) to open them in Camera
and the black wall will be black without any guesswork regard- Raw. Click the Select All button at the top of the filmstrip. The
ing exposure. Incident meter readings can be a huge move first file is the ColorChecker Passport photo. Press the S key to
toward shooting with intent in photography. choose the Color Sampler tool. Click the white patch at the top
of the leftmost column on the Passport to set the #1 sampler;
click on the second patch to place the #2 sampler.
raphy. First, use an incident meter to set the exposure. Second, case, it’s very orange (R:234, G:222, B:204). Your numbers may
include an X-Rite ColorChecker Passport in the first shot you vary slightly from these. Press I to select the White Balance tool.
take after every incident reading. Click inside the #2 white patch. The colors are neutralized (R:237,
The first step eliminates exposure variables. The second G:238, B:237). When the numbers are the same or just a couple
provides a method of refining the exposure and correcting or of points apart, there’s no color cast. The dress is now much
enhancing color. closer to white. 099
PHOTOGRAPHER'S NOTEBOOK › ›
Step Three: The #1 patch is for exposure. In the Basic tab, drag images. Hover the cursor over the first patch. Press the Period
the Exposure slider to the right until the brightest number is 245. key on your keyboard until the word “Exposure” is highlighted
This ensures that the highlights will have detail in print or on in the Basic panel. Now the Exposure slider is controlled by the
a monitor. The changes are made to all of the selected files. The + or – keys. Press the + key until the exposure numbers under
increase in Exposure is less than a third of a stop. the Histogram read between 96% and 97%.
Change is constant. It’s part of growing and evolving. It’s life. I’ve
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
had the privilege and fun of writing this column for Photoshop
User for eleven and a half years. This entry closes the covers of
the “Photographer’s Notebook.” It’s shared a lot of Photoshop
techniques over the years that I hope you’ve used profitably.
Now, it’s time for another change. Photoshop User is evolving, as
am I. From time to time, I’ll be back in these pages writing about
topics photographic, digital, and light. This isn’t goodbye; it’s just
farewell for now. Keep up with me at kevinamesphotography
.com, facebook.com/KevinAmesPhotography, and photofocus
.com. Keep shooting no matter what changes come your way.
100 Remember, change is always good. n
ALL IMAGES BY KEVIN AMES
Rescue the Details.
Step Three: Our next task is to repair the cracks in the 500-year-
old plaster of the Sistine Chapel ceiling. It will be more straight-
forward to eventually synthesize crack-free plaster under the
figures than trying to paint our own new cracks. Select the Spot
Healing Brush tool (J) and choose the Content-Aware button in
the Options Bar. Select a soft (0% Hardness) round brush from
the Brush Picker drop-down and adjust its size to 10 pixels by
pressing the Bracket keys. Paint over each crack to repair the
Step Three
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
digital plaster.
Step Four: Choose the Quick Selection tool (W) and paint over
Adam. Decrease the brush size with the Left Bracket key ([) and
paint over any narrow areas, such as his fingers, to include them
in the selection. Hold the Option (PC: Alt) key and paint over any
areas that were selected that are not part of Adam.
Step Five: Click the Refine Edge button on the Options Bar.
Press W to view the selection against white and then press B to
102 view it on black. Select Smart Radius and increase the Radius to Step Four
continued on p. 104
› › BEYOND PHOTOSHOP
› › k e l b yo n e . c o m
103
BEYOND PHOTOSHOP › ›
Step Six: Rename the new layer “Adam” and zoom in on any
area where the mask might not be perfect, such as Adam’s out-
stretched hand. Select the layer mask thumbnail in the Layers
panel, select the Brush tool (B), and press D then X to set black
as the Foreground color. Paint over areas you wish to mask.
Press X to exchange the Foreground and Background colors.
Paint over any areas where you might have masked too much,
thereby revealing them again. Proceeding in this fashion, isolate
Step Five
Adam from the background. Tip: It can be helpful to create
a temporary Solid Color fill layer (Layer>New Fill Layer>Solid
Color) and place it under the Adam layer to help you see what
needs to be masked or revealed.
Step Seven: Make the Backdrop layer visible and active, and
hide the Adam layer by clicking on its Eye icon in the Layers
panel (hide the Color Fill layer, too, if you created one). Continu-
ing in the same way as you did for Adam in Steps Four through
Six, extract God & Company onto a new layer with a layer mask.
Rename this new layer “God.” Right-click the Adam mask and Step Eight
Step Eight: Hold the Command (PC: Ctrl) key and click the God
layer thumbnail to load it as a selection. Hold Shift-Command
(PC: Shift-Ctrl) and click on the Adam layer to add it to the selec-
tion. Make the Backdrop layer active and press the Delete key
(PC: Backspace).
Step Nine: Choose Edit>Fill, select Content-Aware in the Use Step Ten
drop-down menu, and click OK. Press Command-D (PC: Ctrl-D)
to deselect. Use the Clone Stamp tool (S) and Spot Healing Brush
tool to retouch the filled backdrop as necessary.
In the end you have extracted Adam and God from the back-
drop and retouched Michelangelo’s famous fresco in prepara-
104 tion for animating it in parts 2 and 3. n Step Eleven
You too, can talk nerdy like Joe.
Learn more about your member
benefits at Kelbyone.com
Product Reviews
yet allow you to play your video in the app itself, although use filters in the process.
it does enable you to set its timing to SMPTE video formats, Sound Forge Pro Mac 2 is, in my opinion, the best sound
including 24 frames per second film sync, and NTSC and PAL editor currently available for the Mac. It’s extremely powerful
TV formats. and has features that set it apart from all others. ■
For broadcasting, new loudness meters allow companies
and producers to comply with the Commercial Advertisement Company: Sony Creative Software Price: $299.95;
Loudness Mitigation Act (CALM). FLAC and CAF file format Audio Master Suite: $499.95
support is a boon. Auto trimming and cropping and sound vol-
Web: www.sonycreativesoftware.com Rating: ◆ ◆ ◆ ◆
ume processing are extremely useful for voice-overs and come
Hot: Nondestructive editing; CALM metering; 192 kHz, 64-bit capability
with customizable fade-in/-out settings. The iZotope Nectar
Not: Can’t view video in app; no Final Cut Pro X XML support
106 Elements plug-in allows you to optimize—or play with—vocal
› › GET THE SCOOP ON THE LATEST GEAR
PDF2ID v4
Convert PDF and XPS Files into InDesign Files
Review by David Creamer
PDF2ID has come a long way since version 2 was last reviewed
in Layers magazine (September/October 2009, p. 93). The new
version 4 is exclusively for InDesign CC, although the previous Both plug-ins converted the file, but each had advantages.
version is available for InDesign CS4–CS6. (The v4 license allows Recosoft did better with tables, linking text frames, and retain-
you to install the older version on the same system.) ing layers. Markzware did a better job of maintaining the origi-
New features include a 64-bit version, which makes sense con- nal look of the layout, but no text linking. I wasn’t completely
sidering InDesign is now 64 bit, and the ability to convert Microsoft happy with either program’s method of naming the paragraph
XPS files (XPS is Microsoft’s attempt to replace Adobe PDF). Many and character styles.
of the improvements aren’t directly noticeable by the user, such as As of now, there’s not a perfect PDF-to-InDesign conversion
better text frame linking and more accurate text wrap. tool, but Recosoft does a good job of getting most of the job
I ran a test on a fairly complex PDF, made from an existing done. One major edge it has is the options panel and font-substi-
InDesign layout, then converted the PDF using PDF2ID and the tution panel. Recosoft PDF2ID comes in many flavors, including
similar plug-in from Markzware. The Recosoft plug-in has the a $99 version available through the Adobe Exchange panel in
advantage of user settings, including the ability to create a default InDesign, and a server-based Enterprise version. ■
font-substitution list (a benefit when converting PDFs using Arial or
› › k e l b yo n e . c o m
Helvetica to the OpenType Helvetica Std.). One nice feature dealing Company: Recosoft Corporation Price: Lite: $99; Standard: $199;
with graphics is the ability to recombine graphics into a single Professional: $299
image. This is especially useful for raster images that have been Web: www.recosoft.com Rating: ◆ ◆ ◆ ◆
sliced into small sections then converted to PDF, and for vector
Hot: Easy-to-use conversion plug-in
files, which usually are broken into many pieces. Paragraph rules
Not: Some layout fidelity issues
are now supported, too. 107
REVIEWS › ›
small proxies linked to their original high-resolution counterparts be repurposed into a vertical album layout with the click of
(similar to smart previews in Lightroom 5). Proxies not only keep a button. Fundy Direct, coming this September, will allow
the Album Builder 6 design environment light and nimble, but users to send albums to print with companies such as Black
also allow an entire album to be designed without the original River Imaging, Miller’s, Renaissance, Nations Photo Lab, ProDPI,
photos present—prefect when working remotely. Finao, Bay Photo, and many others. ■
Album Builder 6 has three main workspaces: Planner View,
the Quick Design Picker, and Designer View. Initial layouts are Company: Fundy Software Price: $329
created in Planner View via the new drag-and-drop interface. Web: www.fundysoftware.com Rating: ◆ ◆ ◆ ◆ ◆
Planner View also provides a bird’s-eye view of your entire
Hot: Drop Zone technology takes album design to the next level
design and allows images to be dragged-and-dropped from
Not:
108 one spread to another. Spreads in Planner View each have a
› › GET THE SCOOP ON THE LATEST GEAR
Focus 2 Pro
Bokeh on Demand
Review by Michael Corsentino
We’re going to Boca! Sorry, I couldn’t resist the Florida joke. But
seriously, we photographers love bokeh, the lens effect created
by shooting with lenses at their wider apertures. Bokeh creates
beautiful soft backgrounds, thus calling attention to a very shal-
low area of sharp focus in the foreground. However, what are
photographers to do when they’re unable to capture this effect With five adjustment modules providing presets for con-
in camera, when the light isn’t right, when the wish for bokeh trolling focus and blur for five of the most common types of
becomes an afterthought, or a missed opportunity? Enter subject matter—Portrait, Nature, Architecture, Macro, Tilt-Shift,
Macphun Software’s Focus 2 Pro. and a Custom module—there’s something for everyone. Within
Macphun Software, lead by Nik Software alumni, has created each preset module there’s a host of customizable controls, as
a suite of new pro and nonpro applications and apps offering well, via sliders governing individual attributes.
something for everyone at very compelling prices. Through its Additional controls beyond focus and blur—including Vignette,
simple and straightforward interface, Focus 2 Pro helps users Contrast, Highlights, Saturation, Brightness, Sharpen, Clarity,
expertly place and control background blur and foreground focus and Vividness—help round out Focus 2 Pro, making it a worthy
using a variety of customizable presets and intuitive tools. The pro and multifaceted addition to your imaging tool kit. ■
version functions as a stand-alone application supporting RAW,
TIFF, PSD, PNG, and JPEG file formats. Focus 2 Pro can also be Company: Macphun Software Price: $39
used in conjunction with the other Macphun professional applica- Web: www.macphun.com Rating: ◆ ◆ ◆ ◆ ◆
tions—Snapheal Pro, Intensify Pro, and FX Photo Studio Pro—or
Hot: Interface; intuitive, customizable controls; professional results
it can be used as a plug-in in Photoshop, Photoshop Elements,
Not:
Lightroom, and Aperture.
For those who need a thin, lightweight, fast laptop, the new
HP ZBook 14 Mobile Workstation may be for you. At 3.57 lbs,
this lightweight fighter packs a heavyweight punch. Our test
model featured an optional Intel Core i7-4600U processor, 16 GB Next, I imported a photo shoot into Lightroom and again, I was
of DDR3L memory, a 240-GB SATA SSD, and an AMD FirePro impressed with the import speed. Finally, I used this to create
M4100 GPU. The system uses AMD Dynamic Switchable Graphics many ads for various publications using Photoshop, Illustrator,
technology, so it can use the Intel Core i7’s HD Graphics 4400 and InDesign. Even with all three programs open, it didn’t slow
integrated GPU when you don’t need discrete GPU power. down or hold me back.
The HP ZBook’s 14", 1920x1080-pixel display provided a crisp, With the ZBook 14’s light weight and powerful configura-
clear picture. Text and images were sharp, giving brilliant resolu- tion, I found myself using this exclusively on a recent two-week
tion and accurate color display. Animation and video looked business trip. It was my go-to for creative work, and I used it on
impressive, as well, with the action scenes filled with explosions the plane instead of my iPad or Macbook Pro due to the size
and motion trailed perfectly. and capabilities. You owe it to yourself to take a good look if
Because of its small size, I thought it may not live up to the you’re in the market for a new laptop. ■
› › k e l b yo n e . c o m
Written by KelbyOne’s Photo Gear guru, this book is an excel- The subtitle of this book is “Exhibition Quality Prints with Ink-
lent introduction to capturing great photos of creatures in the jet Printers.” Originally published in German (and excellently
wild. Not only does she discuss more challenging and exotic translated to English), this third edition is updated to cover the
photo expeditions to places like Yellowstone National Park in latest printers and print options available in Photoshop. The
winter, you’ll also find information about getting started with authors start with a look at types of printing, inks, papers, and
wildlife photography in your own backyard and at zoos. Each print longevity, followed by very solid chapters on color man-
chapter begins with one or more “Pouring Over the Picture” agement and print workflow. Additional chapters cover raster
sections that have information specific to an individual photo, image processors, black-and-white prints, and image evalua-
such as how the image was captured and what camera set- tion and presentation. One of the four appendices discusses
tings were used. Each chapter ends with “Chapter Assignments” the specifications and pros and cons of specific printers from
that help the reader put into practice that chapter’s most impor- Canon, Epson, and HP, while another looks at available papers
tant points. In addition to info on equipment and camera set- for fine art printing. The third appendix is a five-page explana-
tings, you’ll also find tips on staying safe from the very wildlife tion of terms and acronyms commonly used when discussing
you’re capturing. She also provides valuable advice on locations, color and printing, while the last is a seven-page list of addi-
seasons, and ethical considerations for shooting different types tional resources. If I reviewed this book in one word, it would
of critters in various locations. be “comprehensive.”
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
Publisher: Peachpit Press Pages: 229 Publisher: Rocky Nook, Inc. Pages: 355
Website: www.peachpit.com Website: www.rockynook.com
Price: $24.99 Rating: ◆ ◆ ◆ ◆ ◆ Price: $44.95 Rating: ◆ ◆ ◆ ◆ ◆
110
Welcome To
Your Classroom
online education
for creative people
Join us now at kelbyone.com
D E PA R T M E N T › ›
In this issue of Photoshop User, I’ve decided to write more of a square and arrow at the bottom
themed tips column on some things in Photoshop that everyone of the panel.
uses all the time. I’m going to help you get fast and efficient What if you want to apply
using adjustments and filters, with a focus on smart objects, the adjustment to several layers?
smart filters, and adjustment layers. I’m sure that you’ll find this This is useful when compositing.
very useful in your everyday tasks. Say you have a few extracted
elements that need a color
Moving Multiple Curve Points at Once adjustment, but you want to
When you’re working in Curves (Layer>New Adjustment leave the background unaf-
Layer>Curves), moving a single point at a time is the norm. fected. The key is to use a layer
Sometimes, you may wish to adjust an entire range at once, group. Select all the layers that
rather then just a single point. This is the equivalent of painting you want to adjust in the Layers
panel by Command-clicking
with a larger brush. What to do? Add multiple points close to
(PC: Ctrl-clicking) on them.
each other on the curve by clicking on the diagonal line in the
Press Command-G (PC: Ctrl-G)
Properties panel. Once you’ve added three points, hold down
to put them in a layer group.
the Shift key and click on each point until they’re all selected
Change the blend mode of the layer group from Pass Through
(they will turn solid instead of hollow). Now, when you drag
to Normal near the top left of the Layers panel. Now apply the
one, they will all move together as a group.
adjustment layer to the top layer inside the group, and bingo!
As you probably already know, when you apply an adjustment Share Filters with other Layers
layer, it affects all the layers underneath it. You can limit the Whenever you apply a filter to a smart object, it gets brains. It
adjustment layer to affect only the layer directly beneath it by becomes a smart filter, which is nondestructive and reeditable.
clipping the adjustment to the layer. To accomplish this, hold If you’ve used Photoshop for a while (or read the previous tip),
the Option (PC: Alt) key and click on the line between the you already know this. What you probably didn’t know is that
layer and the adjustment in the Layers panel. The layer will be you can move the filter to different layers, or even copy it. In
indented in the Layers panel and you’ll see an arrow appear order for this to work, you have to first convert the other layers
to the left of the layer thumbnail when you’ve done this to smart objects. Now, all you need to do is click-and-drag the
correctly. Alternatively, you can click the clipping icon at the words “Smart Filters” in the Layers panel (if you don’t see it,
bottom of the Properties panel; it’s the far left icon with the click the disclosure triangle to the far right of the layer in the
112
› › PHOTOSHOP TIPS
Layers panel) and drop it on top of any smart object layer. If you not, click on the option and
would rather copy the filter, instead of moving it, hold down a checkmark will appear.
the Option (PC: Alt) key and click-and-drag. This will create a Targeted adjustments are
copy of the filter. now on. You’ll also see
other preferences that you
Adjustment Layer with Options may want to play with.
Have you ever looked at the icons in the Adjustments panel
(Window>Adjustments)? Do you know what they all are? Don’t Duplicate, Innovate
Congrats if you do; a lot of users don’t. Most people I know When working in Photoshop,
click the Create New Adjustment Layer icon (half-white, half- it can be like a game of chess.
black circle) at the bottom of the Layers panel and select the The strategy is to build your file
adjustment that they want. What about this as an option? Click in the fastest, most flexible, and
on the top-right corner of the Adjustments panel for the flyout efficient way possible. One rule is never duplicate a layer unless
menu. This will display a list of all the adjustments. What really you need to. This adds to the file size, which not only takes up
makes this method unique is that it will open an options dialog more space on your drive, but it also takes longer to open, save,
before applying the adjustment layer. You can choose things and apply filters as valuable RAM is used. Smart filters come
like blend Mode and Opacity, as well as naming and coloring with the ability to set a blend mode and opacity. This will give
the layer. It might save you some time when you want to apply you the same results as stacking a filtered duplicate layer on top
a blend mode to an adjustment. Many times, I choose the of another layer.
Color blend mode when adjusting color, or the Luminosity First, convert your layer into a
blend mode when doing strict tonal adjustments. smart object, and apply the filter
like normal. After you’ve applied
the filter, you’ll see an icon to
the right of the filter name in
the Layers panel. It looks like
two lines with tiny triangles.
Double-click the icon to bring
up a dialog. This will enable
Reset Dialogs you to change the Opacity and
This is an oldie, but a goodie. I can’t talk about adjustments the blend Mode of the filter.
without mentioning this tip. Whenever you’re in a dialog and We used to accomplish the same thing by applying a filter and
want to reset the adjustments, don’t cancel the dialog and try choosing Edit>Fade. Smart filters make life so much easier. n
again. Simply hold down the Option (PC: Alt) key and the Can-
cel button will turn into a Reset button. Click the Reset button
and the adjustments will go back to how they were when you
first opened the dialog.
each time. Here’s how you can choose to have it on (or off) all
the time. Open the Adjustments panel (Window>Adjustments)
if it isn’t already open and apply a Curve to any layer. Now the
Properties panel will show the curve. Choose the panel options
flyout menu (top right) and you’ll see Auto-Select Targeted
Adjustment Tool. If there’s a checkmark next to it, it’s on. If
113
ALL IMAGES BY COLIN SMITH
Photoshop
April 2014
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COLUMN › ›
I’m really impressed with the vastly improved Scripted Pattern fill feature in Photoshop CC (14.2),
but how can I ensure that my custom fill always looks the same from image to image?—Noah
To: Noah presets, ranging from Elm, Maple, Oak, Palm, and Pine
From: KelbyOne Help Desk to Ginko, Pepper, Populus Nigra, and Young Robinia.
The Scripted Pattern option in the Edit>Fill dialog was You can then customize the direction of light and cam-
introduced in Photoshop CS6, but recently got turbo- era tilt, amount and color of leaves, and the color of
charged. To access the Scripted Patterns, choose Pattern branches. Other options include flat shading of leaves
from the Use menu, and check the Scripted Patterns box and branches, adding a bit of noise to the leaves, and if
at the bottom of the Fill dialog. The first iteration offered you have an active path in the image, how many trees to
scripted pattern fills named Brick Fill, Cross Weave, add and whether or not they should be varied (Random-
Random Fill, Spiral, and Symmetry Fill to fill a layer or a ize) or identical.
selection. New options include Picture Frame, the very As for making the generated fill look the same
powerful Place Along Path, and the too-good-to-be- from image to image when using Scripted Patterns,
true Tree option. (Use the Creative Cloud Manager or you have a few options. If the original fill was added
Help>Updates in Photoshop to ensure you have the lat- to an empty layer (and I strongly advise you to always
est features in Photoshop CC.) add a new empty layer prior to using the Fill com-
Choose Picture Frame from the Scripted Patterns mand with Scripted Patterns), you can copy that layer
menu, click OK in the Fill dialog, and you’ll find more from image to image. However, if the images don’t
than 40 different picture frames from which to choose, have the same pixel dimensions or you’re working
each of which can be customized in a variety of ways. with a different size path or selection, you’ll need to
If you first create a path with the Pen tool (P) or any of carefully scale the pattern in the second document to
the Shape tools (U), the Place Along Path option enables get the same look.
you to add any pattern along that path, including any You can also memorize or write down the settings
custom artwork you define with the Edit>Define Pattern you used the first time. Using the same settings will gen-
command. Just select your Custom Pattern in the Fill dia- erate a comparable result, regardless of image, path, or
log before you click OK to go to the Place Along Path selection size.
dialog. You can customize how the selected pattern is Even better, after customizing your various options for
placed along the path by scale, spacing, angle from the any of the Scripted Pattern fills, you can save those set-
path, and distance from the path. You can also add the tings by clicking on the Preset menu and selecting Save
pattern at a distance on both sides of the path; make the Preset. Later, you can replicate the original artwork with
pattern shrink or grow as it’s added along the path; have the Load Preset command. The presets are saved as XML
the pattern oriented along the path or retain the original files, which means you can duplicate a preset, open the
orientation; and you can randomize the color and bright- XML file in any text editor, make changes to the vari-
ness of each instance of the pattern along the path. ous slider settings, and save as a new preset—there’s no
The Tree fill option is one of the most amazing new need to open Photoshop to make a slight change to a
› › p h ot o s h o p u s e r › a p r i l 2 0 1 4
features in Photoshop CC. Start with one of the 22 tree saved preset. ■
Exposure 5 brings you the rich set of creative tools of the film world. Our careful research lets you reproduce the
subtle nuances that make analog photography beautiful. With Exposure, your photo will look like it was made by a
human, not a computer. The redesigned user interface helps you quickly find just the right look. Exposure can now
work as a standalone application, or inside Lightroom, Photoshop, and now Aperture.