December Photoshop Magazine 2015

T H E A D O B E® P H O T O S H O P

How to add realistic-looking falling snow to your winter scenes

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“ H O W -T 0 ” M A G A Z I N E ›

BEGINNERS’ WORKSHOP

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december

Printing 3D models from Photoshop CC is easier than you might think

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DYNAMIC RANGE

®

IN-DEPTH ST E P - BY- ST E P TUTO R I A LS

P H OTOS H O P DOWN AND DIRTY TRICKS

NE WS, REVIE WS A N D OTH E R COOL STUFF



Scott Kelby’s 10th Annual

gonzo holiday gear guide

Visit our website at kelbyone.com

The Official Publication of

DISPLAY UNTIL JANUARY 12, 2016

TABLE OF CONTENTS

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DECEMBER 2015

FEATURE

Layout: Jessica Maldonado

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Scott Kelby’s 10th Annual Gonzo Holiday Gear Guide Do you need some gift ideas for the photographer on your Holiday list? If yes, then you’ve come to the right place. Scott Kelby shares all the gear, gadgets, software, and services that he just couldn’t live without in 2015. From stocking stuffers to quadcopters, you’ll find something to bring tears to the eyes of your friends and loved ones. Or, you could just keep it all for yourself, but that’s not staying true to the spirit of the Holidays, right? Right? Scott Kelby

AFTER THE SHOOT



LIGHTROOM WORKSHOP





UNDER THE LOUPE

Extend Your Lightroom Workflow with Plug-Ins

98 116



MAXIMUM WORKFLOW

104 117

Organizing a Travel Shoot



Using One-Click Presets (and Making Your Own!)

Palette

6 58



Contributing Writers

10 72







About Photoshop User Magazine

12

KelbyOne Community

14

Exposed: Industry News



80

Columns DYNAMIC RANGE

PHOTOSHOP TIPS DESIGN MAKEOVER

Avocado Advocacy

PHOTOGRAPHY SECRETS

Kris Kowalewski

From the Editor

FROM THE HELP DESK

24 46

BEGINNERS’ WORKSHOP





118

Reviews Painter 2016 ParticleShop Ultimaker 2 Extended EL-Skyport Plus HS Phottix Laso System 17hats DXT Wireless Mouse 2 – Light Click Cerise Custom Desktop Photoshop Book Reviews

Printing in the Third Dimension A longtime expert in Photoshop 3D, Corey Barker finally delves into the world of 3D printing. Using Photoshop and an Ultimaker 2 Extended, Corey shows how easy (and addictive) it is to take your 3D creations that have only lived in a digital space until now and print them into three-dimensional reality. Corey Barker

How-To DOWN & DIRTY TRICKS Make Eye-Catching Composites with iPhone Shots

How to Add Artificial Snow to a Photo

But Wait—There’s More 



48

Splash Proof

18 126

115

112 120

Cynthia Hollingsworth



LIGHTROOM TIPS & TRICKS

Genevieve Groves Martin



92

LIGHTROOM Q&A 110



Departments

87 114









Lightroom Magazine

KELBYONE.COM

A Brush with the Holidays

The Third Dimension

32 54

PHOTOSHOP PROVING GROUND

Retouching Toolkit for Photoshop

40 76

KEY CONCEPTS

These icons at the beginning of columns indicate there’s a short video on a tool or function used in that tutorial at the Key Concepts KelbyOne member webpage at http://kelbyone.com/keyconcepts. Dodge & Burn tools

Lasso tool

Layer masks

Pen tool

Smart objects

Quick Selection tool

LIGHT IT

Lighting Frida

DOWNLOADABLE CONTENT

Whenever you see this symbol at the end of an article, it means there are either downloadable practice files or additional content for KelbyOne members at http://kelbyone.com/magazine. All lighting diagrams courtesy of Sylights

Click this symbol in the magazine to return to the Table of Contents.

A FEW WORDS FROM

› ›

SCOTT KELBY

From the Editor it’s time for some cool holiday gifts

It’s that time of year, and you know what that means—that’s right, it’s my “10th Annual Gonzo Holiday Gear Guide!” (Wild cheers ensue!) It’s hard to believe this gonzoness has gone on for 10 years, but there’s no sign of the gonzo going away. So, what you hold in your hands—yes, in this very issue—is my handpicked collection of ideas for the creative somebody on your gift list (or, you can use it to drop hints to someone for some goodies you’d like to get this year). As always, I’ve included everything from inexpensive stocking stuffers to the perfect gift for the rich surgeon or NFL defensive back on your holiday list. The guide starts on page 60, in case you want to get right to the goodies now. As much as we’d all like the entire magazine to be all about gear and stuff, alas we can’t go without including a bunch of education to round out the year, so here’s a quick look at what’s in this issue: In the “Beginners’ Workshop,” Lesa Snider teaches us how to add falling snow to an image. In our “Dynamic Range” column, our own Corey Barker talks about printing 3D models from Photoshop to a 3D printer (this 3D printing stuff is for real!). In “Photography Secrets,” adventure photographer Tom Bol tells us the secrets to capturing amazing over/under images in warmer waters. And, in our Lightroom Magazine section, RC Concepcion shows us how to organize our travel shots and create a book that we can use in either PDF form or send to a printer—all directly within Lightroom. Outside the magazine, we have some exciting things going on. By now, many of you have tried our totally new, revamped-fromtop-to-bottom member website. It is such a vast improvement from anything we’ve ever been able to offer our members before—the videos play faster and smoother, and the search feature is also faster and so much more refined to help you get to the training you want quicker than ever before. We have a totally reimagined member dashboard that gives us a way to interact directly with you (without having to send you emails), and you’ll always know which classes and which special member discounts are new. But, all that is just version 1.0 of the new site—the first step. We’re already hard at work on version 1.1, which we’ll be releasing after the first of the year. This will integrate the old PhotoshopUser.com member site with the fantastic new KelbyOne site, so finally we’ll all be on just one site (yay!). But, we’re not going to just move the old features over to the new site—nosireebob. We have created a totally enhanced online member community, which includes new-and-improved member portfolios, online forums, easier access to one-on-one help, and more of the stuff you told us you want from a member organization like ours. More on that when we launch, but I did want you to know that there’s lots of great stuff on the horizon. We’ve spent the last two years in a transition with one goal in mind: our job is to make your experience as a member more valuable than it was the year before. And, not just through delivering world-class training from the industry’s best instructors, but by delivering a better experience all across the board. We’ve been heads-down, working hard on all this, but while we’ve kept our eyes on the goal, we’ve kept our ears open listening to what members have been asking for, and I’m so proud to finally be able to bring you the experience you expect and you deserve. We’re very grateful that you’re here with us, and honored that you’ve chosen us as your online educational community and training › › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

partner in the coming year. It’s a job we take very seriously, and one we’re 100% committed to being the very best at for our members.

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See you next issue!

Scott Kelby KelbyOne President & CEO Editor & Publisher, Photoshop User

The official publication of KelbyOne DECEMBER 2015 • Volume 18 • Number 10 • Printed in USA

EDITORIAL:

Scott Kelby, Editor-in-Chief Chris Main, Managing Editor

Contributing Writers

Ajna Adams • Corey Barker • Peter Bauer • Bruce Bicknell • Tom Bol Pete Collins • RC Concepcion • Michael Corsentino • Seán Duggan Daniel East • Sean McCormack • Rick Sammon • Colin Smith • Lesa Snider • Rob Sylvan • Scott Valentine • Erik Vlietinck • Jake Widman

GRAPHICS:

Dave Damstra, Production Manager Jessica Maldonado, Associate Art Director Margie Rosenstein, Senior Graphic Designer Angela Naymick, Graphic Designer

MARKETING:

Ajna Adams • Kleber Stephenson

WEB:

Mike Keilty • Brandon Nourse • Mario Ocon • Yojance Rabelo Aaron Westgate

PUBLISHING:

Scott Kelby, Publisher David Moser, Executive Publisher Kalebra Kelby, Executive V.P. Jean A. Kendra, Business Manager

ADVERTISING:

Kevin Agren, V.P., Sales 813-433-2370 Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 152 Veronica (Ronni) O’Neil, Director of Circulation/Distribution 800-738-8513 ext. 235

HOW TO CONTACT KELBYONE:

U.S. Mail: 118 Douglas Road East • Oldsmar, FL 34677-2922 Voice: 813-433-5005 • Fax: 813-433-5015 Customer Service: [email protected] Letters to the Editor: [email protected] Letters to the Lightroom Editor: [email protected] World Wide Web Including the Photoshop Help Desk, Photo Gear Desk, and Advice Desk: http://members.photoshopuser.com

COLOPHON:

Photoshop User was produced using Adobe Photoshop CC 2015 and Adobe InDesign CC 2015. 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.

| fuel for creativity

All contents ©COPYRIGHT 2015 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

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Contributing Writers PETER BAUER 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.

BRUCE BICKNELL 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.

TOM BOL is an editorial and commercial photographer specializing in adventure sports, portraits, and outdoor lifestyle photography. His images and stories are used worldwide. You can see more of his work at www.tombolphoto.com.

PETE COLLINS 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.

RAFAEL “RC” CONCEPCION is director of content and education for KelbyOne. An Adobe Certified Instructor in Photoshop, Illustrator, and Lightroom, RC has 10+ years in the I.T. and ecommerce industries. RC has held training seminars in the U.S., Europe, and Latin America.

MICHAEL CORSENTINO 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.

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SEÁN DUGGAN

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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).

DANIEL EAST 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.

SEAN McCORMACK is the author of Essential Development: 20 Great Techniques for Lightroom 5. Based in Galway, Ireland, he shoots subjects from musicians, models, and actors to landscapes and architecture. Learn more at http://lightroom-blog.com.

RICK SAMMON is a longtime friend of KelbyOne, and he has more than a dozen classes on www.kelbyone.com. Check ’em out! For more of his work, see www.ricksammon.com.

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 of the online resource PhotoshopCAFE.com and president of Software-Cinema.com.

LESA SNIDER is the author of Photoshop CC: The Missing Manual, Photos for Mac and iOS: The Missing Manual, several eBooks, and more than 40 video courses. She also writes a weekly column for Macworld. For more info, visit PhotoLesa.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 Photography Process. You can learn more at www.lightroomers.com.

SCOTT VALENTINE is an Adobe Community Professional and Photoshop author. His latest book is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him at scoxel.com.

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 for Macworld, Computer Arts, Windows NT Magazine, and many others.

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 called “desktop publishing” and Photoshop was just a piece of scanning software.

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ABOUT PHOTOSHOP USER

Photoshop User Magazine

Adobe Stock

Photoshop User magazine is the official publication of KelbyOne. As a KelbyOne member, you automatically receive Photoshop User ten times a year. Each issue features in-depth Photoshop, Lightroom, and photo­ graphy tutorials written by the most talented designers, photographers, and leading authors in the industry.

About KelbyOne KELBYONE

is the world’s leading resource for Adobe® Photoshop®, Lightroom®, and photography training, news, and education. Founded in 1998 as the National 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, KelbyOne is open to everyone. There’s no faster, easier, and more affordable way to get really good at Photoshop and photography. You can join for only $19.99 per month or $199 U.S. for a full year of training. To learn more, visit www.kelbyone.com.

Member Benefits PHOTOSHOP USER MAGAZINE

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

Ten issues of the best Photoshop tutorial-based magazine in the industry.

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MEMBERS-ONLY WEBSITE

MEMBER DISCOUNTS

Save anywhere from 2–4 times your membership cost by using our many industry-related discounts.

TECH SUPPORT

Fast, friendly Photoshop, Lightroom, and photo gear help; equipment advice; and more from certified experts.

MEMBER COMMUNITY

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.

NEWS & REVIEWS

Unbiased coverage on the latest equipment, plug-ins, and programs in the marketplace.

Our extensive website features time- and money-saving content.

ONLINE CLASSES & EDUCATION

Thousands of Photoshop and photography tutorials, full online classes, and quick-tip videos.

WEEKLY E-NEWSLETTER

The KelbyOne Insider is your weekly connection to everything KelbyOne. It’s produced exclusively for members to keep you informed of everything new in the industry and at KelbyOne headquarters.

FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 Monday–Friday, 9:00 a.m. to 5:30 p.m. EST.

KelbyOne Community › ›

Inspiration, information, and member musings to fuel your creative think tank BY AJNA ADAMS

It’s a Successful periscope party! Wow! What a party. A Periscope party, that is. On November 2, a team of Periscopers joined us in the KelbyOne studios for a simultaneous Periscope broadcast—one of the first of its kind. The event included broadcasts from nine different accounts that have a collective audience of more than 500,000 people! Thousands tuned in, commented, and tapped for hearts (it’s a Periscope thing). The result was lots of fun and a handful of winners; we gave away an Arkon mount to @LoriMBS, a handful of Scott Kelby books to several viewers, and a full one-year KelbyOne membership to @GilmarSmith. Our lineup of broadcasters included: Arkon (www.arkon.com), who sponsored the event; Kim Garst, founder and CEO of Boom Social (http://kimgarst.com); Terry White, principle worldwide design and photography evangelist for Adobe (http://terrywhite.com); and long-time KelbyOne member Victoria Pavlov, who is also featured in this issue’s “Who’s Who in the KelbyOne Community” on page 17. From the KelbyOne team, our broadcasters included KelbyOne president, Scott Kelby; director of content, RC Concepcion; on-air talent, Larry Becker; and KelbyOne social media manager, Ajna Adams (that’s me). By the way, if you’re not familiar with Periscope, it’s a live-video streaming app for iOS and Android developed by Twitter and launched March 2015. Be sure to follow @KelbyOne and @ScottKelby!

ARTIST SPOTLIGHT › › CYNTHIA D. HOLLINGSWORTH MEMBER SINCE 2009 | HTTP://WWW.VIEWBUG.COM/MEMBER/CDHOLLINGSWORTH

Canon Explorers of light announced Social media was abuzz when Canon announced its new lineup of Canon Explorers of Light. Many of our KelbyOne members took to social media to congratulate our KelbyOne instructors who made the list, and now it’s our turn. A huge congrats to Peter Hurley, Joel Grimes, David Bergman, Roberto Valenzuela, and Lindsay Adler! We’d also like to congratulate Jimmy Chin and Charles Glatzer who also made the list. For more information on the Canon Explorers of

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

Light Program, visit www.learn.usa.canon.com/explorers_of_light/eol_home.shtml.

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Congrats to Newlyweds tim and angela wallace Many of you took to Twitter and Facebook to congratulate KelbyOne instructor Tim Wallace on his recent marriage to his beautiful new bride, Angela, in Scotland. Thank you all for your kind tweets and Facebook posts.

#KelbyOneLive + tweeting = #winning We love you all—in real life and on Twitter. If you’ve been to a KelbyOne Live event, you’ll probably notice some of your fellow attendees busy on their phones Tweeting for a chance to win cool stuff during the event. At Scott Kelby’s seminar tours, we give away these awesome Secret Sauce tour shirts to attendees who post awesome tweets. To learn more about KelbyOne Live, visit http://kelbyone.com/live.

ARTIST SPOTLIGHT › › KENNETH E. FARVER MEMBER SINCE 2003

Who's Who in the kelbyone community Victoria Pavlov is a photographer, digital painter, and designer. Born into a musical family, she started practicing music at age 3, but that didn’t stop her from starting to draw at age 7. At age 15 she had her first big exhibition, where she was surprised by all the “wows” from the people attending. At age 8 her uncle introduced her to photography. His work inspired her to see how different photography and painting could be. Because of her artistic background, her photography is about telling a story. The technical aspect in her photography is very important to her, so she spent about two years finding the lighting technique that she loves and is happy with. Introduced to version 1.0 of Adobe Photoshop, it has become her method of communicating and expressing herself. Victoria says, “I truly believe that with Adobe Photoshop, we can make this world more beautiful with less violence.” What kind of design and photography do you specialize in? ARTIST SPOTLIGHT › › KERRIN BURKE LAHR

MEMBER SINCE 2009 | HTTP://500PX.COM/KRIS_KO

MEMBER SINCE 2012 | WWW.KERRINBURKELAHR.COM

Victoria Pavlov

Portrait photography, digital painting, and photo manipulation. ARTIST SPOTLIGHT › › KRIS KOWALEWSKI

Tell us about your first experiences with KelbyOne. How and when were you introduced? I joined KelbyOne about eight years ago (when it was still

The stage is yours. Share your proud achievements (both

NAPP). I was using some online graphic design forum and

personally and professionally).

they published a blog about NAPP. I went to the NAPP web-

Professionally, I’m proud when my students say that I’m

site and fell in love right away. Great source for training and

their inspiration, and I’m proud to see all my students’

inspiration—and amazing discounts!

progress after our sessions. Personally, I’m proud of being where I am now after all the difficulties that I’ve had.

How has KelbyOne helped you grow in your creative endeavors?

How do you stay inspired?

I believe that if you’re a real professional, you would never

Music, movies, and most importantly, people.

say, “I know it all—I don’t need any training.” KelbyOne is always helping me with all my photography and design

If you could photograph any person in the whole world,

needs, plus it gives me a lot of inspiration. I would say that

who would it be and why?

KelbyOne is one source for everything in photography and

Thomas Knoll. Photoshop is a huge (79%) portion of my life,

design—from news to training. One stop for all.

and I have no idea where I would be now without Photoshop.

We like helpful tips. What is a favorite tip or tutorial that

What would we be surprised to know about you?

you learned from KelbyOne recently?

Probably that I’m a good cook.

I loved the tip from Scott Kelby on how to use Photoshop to create a reflection of your object. [See http://scottkelby

If you could go back and give your younger self advice,

.com/its-photoshop-down-dirty-trick-friday-reflection-light-

what would it be?

ing-advertising-effect.—Ed.]

If I could, I’d go back and never listen to people when wrong and not good enough. I would trust my instincts and

Why is this one of your favorites?

be myself all the time.

Location Lighting with the Elinchrom ELB 400 by Scott

ARTIST SPOTLIGHT › › GENEVIEVE GROVES MARTIN MEMBER SINCE 2008 | WWW.FACEBOOK.COM/GENMARTIN1

Kelby. I’m more of a studio photographer, so for me to go

Well, Victoria, we’re glad that you believed in yourself, and

out and shoot, well, it’s not what I’m looking to do most of

we’re proud of what you’ve achieved. If you’d like to be

the time. Scott Kelby’s course showed me how I can use my

inspired by Victoria’s work, be sure to visit www.pavlov-

creativity outside my studio.

photography.com. ■

› › k e l b yo n e . c o m

they’re saying that I’m nothing, that everything I’m doing is Tell us about a favorite course that you’ve watched recently.

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Exp sed: Industry News › ›

The latest news about photography gear, software, and services BY CHRIS MAIN

The New Canon imagePROGRAF PRO-1000 professional inkjet printer Canon recently announced a new 17" large format inkjet printer that is jam-packed with some impressive technological advances. For starters, the imagePROGRAF PRO-1000 has a new print head that improves on the Canon PIXMA PRO-1 printer. The print head is 50% larger and expands the number of nozzles to 18,432 for each of the 12 channels. That means faster print speeds while still maintaining high-resolution prints. A real-time ink ejection system helps keep a consistent print head temperature for consistent ink droplets and to limit clogs. The imagePROGRAF PRO-1000 uses the new LUCIA PRO 11-color plus Chroma Optimizer ink system. These inks have an increased color gamut of up to 19% over the PIXMA PRO-1 printer because each pigment has an optimized resin-coating that allows denser droplets to be applied to the media. It also has an improved level of black density for rich, deep blacks and for finer detail in darker areas. Photo black and matte black inks have their own dedicated nozzles so users don’t have to manually switch inks. The new ink system includes matte black, photo black, gray, photo gray, red, blue, magenta, photo magenta, cyan, photo cyan, yellow, and Chroma Optimizer. According to Canon, “The new processing engine, L-COA PRO, controls the balance of inks and the precise placement of ink droplets, carefully calculating best results for each print mode and media using various factors including color reproduction, tonal gradations, black density, graininess, glossiness, anti-bronzing, and elimination of metamerism, all of which contribute to creating an amazing printed image.” Combined with 1 GB of memory, the L-COA PRO allows high-speed processing of large volumes of image data. An Air Feeding System keeps the media flat and even to ensure accurate ink ejection. The new imagePROGRAF PRO-1000 also comes with Print Studio Pro, a plug-in that works with Adobe Photoshop, Photoshop Elements, Lightroom, and Canon Digital Photo Professional software. This plug-in exports files directly to the printer and has 16-bit processing capabilities so fine details are improved, gradations are smooth, and images can be accurately reproduced. Other software that will be included are the Media Configuration Tool and Accounting Manager. The imagePROGRAF PRO-1000 is available now for an MSRP of $1,299.95. For more information, visit www.usa.canon.com.

These are the 1,197 eye movements a photographer made while obsessing over the details.

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Mylio is Now Available for android devices

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Mylio—the award-winning software that allows people to organize, edit, protect, access, and share their photos and videos across platforms—is now compatible with Android devices. Mylio organizes photos and videos across devices so users can enjoy access to their media library even on space-constrained devices. Those devices include Mac and PC computers, iOS devices, external hard drives, memory cards, and now Android devices. Consumers can easily view their images by knowing exactly where every photo and video is located. They can enjoy a simplified search and editing process while viewing their media in a unique calendar view or through a slideshow. Photos are now centralized in one place and automatically cataloged based on date, name, and other information associated with each photo and video, quickly and automatically. Mylio users can also customize folders and create albums based on their preferences. Mylio is available in three plans. The Basic Plan ($50/year) offers users the ability to sync up to three devices and import up to 50,000 photos. The Standard Plan ($100/year) allows up to five devices to be synced and 100,000 photos to be imported, as well as Lightroom integration and RAW file editing capabilities on desktop, laptop, and tablet devices. The Advanced Plan ($250/year) is perfect for large libraries up to 500,000 images and up to 12 devices. The Advanced Plan includes all Standard Plan features, as well as the ability to back up images from multiple locations. For more information, visit www.mylio.com. © Joel Grimes

BECAUSE BECAUSE IT’S IT’S ALL ALL ABOUT ABOUT THE THE DETAILS. DETAILS. To ofof Tointroduce introducethe theincredible incredibleprinting printingcapabilities capabilities the the thenew new17” 17”Canon CanonimagePROGRAF imagePROGRAFPRO-1000, PRO-1000, the first printers, firstininaanew newseries seriesofofour ourprofessional-grade professional-grade printers, we wetook tooka alook lookinside insidea aphotographer’s photographer’sobsession. obsession. We Joel Grimes Weinvited invitedworld-renowned world-renownedphotographer photographer Joel Grimes to and have toprint printone oneofofhis hismost moststunning stunningphotographs photographs and have ititbe himself. bescrutinized scrutinizedbybyhis histoughest toughestcritic critic—— himself. Using every single Usingeye-tracking eye-trackingtechnology, technology,we wemapped mapped every single

ultimately is.is. ultimatelyproving provinghow howobsessed obsessedhehereally really

©©Joel JoelGrimes Grimes

B:11.125” B:11.125” T:10.75” T:10.75” S:10.25” S:10.25”

eye toto detail, eyemovement movementofofhis hisrelentless relentlessattention attention detail,

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e x p o s e d: i n d u st ry n e w s

Athentech Imaging announces lucid Athentech Imaging, the makers of the Perfectly Clear Plug-ins, has announced Lucid for iOS and Desktop (Windows and Mac). Perfectly Clear is an amazingly powerful application for pros and licensing for businesses that can instantly fix a multitude of imperfections in photographs. This application has some serious science behind it. We’re talking 14 years of R&D along with 20 unique algorithms and multiple patented processes. So it was only natural that Athentech wanted to bring this technology to the everyday photographer in the form of Lucid. Lucid is designed to counteract a camera’s limitations, so with one click it will bring out the colors and light that you remembered when you took the shot. It also includes powerful presets, such as Beautify, to make everyone look their very best in every photo— no editing expertise or extra work required. “We all want great-looking photographs; a chance to capture a memory and then share it with others,” says Brad Malcolm, president of Athentech Imaging. “But frequently your smartphone or camera doesn’t quite get the job done. Lucid does the work for you so you can focus on the fun part of photography. We want you to enjoy capturing the best moments instead of spending your time tossing on filters and adjusting countless sliders and buttons. It simply improves photos in an instant and lets you rescue the shots you used to delete.” Lucid is available now at the App Store for only $2.99. Lucid Desktop for Mac and Windows is available at www.hellolucid.com for $49.

INTRODUCING THE NEW 17” imagePROGRAF PRO-1000 Anti-clogging technology for consistent high quality prints Stunning shadow reproduction and higher density blacks Remarkably precise and accurate color recreation usa.canon.com/proprinters B:11.125”

T:10.75”

S:10.25”

Printed ted images simulated. © 2015 Canon U.S.A., Inc. Canon and gePROGRAF are registered trademarks of Canon Inc Inc. in the United imagePROGRAF States and may be trademarks or registered trademarks in other countries.

Epson recently announced the SureColor P400, a 13" desktop photo printer that uses Epson’s UtraChrome HG2 pigment inks. This set of inks uses eight colors, including Red and Orange for deeper reds and richer skin tones. It also has dedicated channels for both Matte and Photo Black inks, which the printer will select automatically. The MicroPiezo AMC 1" wide print head with a 1.5 pl minimum droplet size and ink-repelling coating provides more accurate dot placement and reduced maintenance. The SureColor P400 also features enhanced AccuPhoto HD imaging technology and a unique Gloss Optimizer to produce consistent output with smooth gradations and better highlight and shadow detail for exhibition-quality prints with a professional-lab look and feel. Advanced media handling, including a front-in and front-out paper path, enables borderless photos up to 13 x19" on a wide variety of glossy, matte, and fine-art papers, while improved roll paper support allows for panoramas more than 10' long. In addition, custom images can be created and printed directly onto canvas, art boards, and CD/DVDs. The printer also offers connectivity via USB, Wireless n1, Wi-Fi Direct, or Ethernet. Designed for photography enthusiasts, advanced amateur photographers, and creative hobbyists, the Epson SureColor P400 is available now for an MSRP of $599. At the recent PhotoPlus Expo in New York, Epson also introduced Epson Legacy Papers, their most advanced line of photographic papers. They worked closely with the world’s greatest artists, revered European papermakers, galleries, and chemical engineers to develop these papers for artists who intend to exhibit and sell their prints. Here’s a rundown from Epson of the first four Legacy Papers to be announced: Legacy Platine—100% cotton fiber paper with a bright OBA-free, smooth satin finish. With a unique feel of an artistic paper of centuries past, along with an outstanding color gamut, this paper is exceptional for both color and black-and-white printmaking. Legacy Fibre—100% cotton fiber paper with an exceptionally bright OBA-free, smooth matte finish. With an outstanding black density, this paper is ideal for all types of high-end printmaking. Legacy Baryta:—A baryta paper with a white, smooth satin finish, using two barium sulfate coatings. Inspired by the F64 group, this paper takes the best of revered silver halide technology to new levels of quality. Legacy Etching—100% cotton fiber paper with a bright OBA-free, uniquely textured matte finish beloved by artists for centuries. This paper has the feel of traditional etching papers. For more information on the Epson SureColor P400 and the new Legacy Papers, visit www.proimaging.epson.com. ■

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Epson Introduces new printer and papers

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HOW TO › ›

› › DOWN AND DIRTY TRICKS

Step One: Start by opening the shot you want to use, or if you’re a KelbyOne member, you can download the image we’re using here. This was captured shortly after taking off from Las Vegas in the middle of the day, so it looks pretty bad and would most. Or is it? [KelbyOne members may download the files used in this

Corey Barker

be considered useless by Step Two

tutorial at http://kelbyone.com/magazine/issue/december_2015. All files are for personal use only.]

Step Two: First, let’s “dehaze” the photo. Go to the Filter menu and choose Camera Raw Filter. When the Camera Raw dialog opens, click on the Effects (ƒx) tab below the histogram, and you’ll see the Dehaze slider. Drag it to around 75%. Don’t click OK yet.

Step Three: Now go to the Basic panel, which is the very first tab. Dial down the Exposure setting to about –0.30. Then boost

Step Three

the Contrast to around 25. Now click OK.

Step Four: Once back in Photoshop, make a duplicate of the Background layer by pressing Command-J (PC: Ctrl-J). Near the top of the Layers panel, change the blend mode of the duplicate layer to Multiply, and drop the Opacity to 50%.

Step Five: Click the Create New Adjustment Layer icon (halfwhite, half-black circle) at the bottom of the Layers panel and choose Hue/Saturation. In the Properties panel, drop the Saturation to around –25%. This will adjust for the slight oversaturation of color created by the last few steps; however, it also dials back the contrast just a little.

BY COREY BARKER

Step Six: To fix the contrast, go back into the Cremenu at the bottom of the Layers panel and choose Levels.

Make

sure

this

I was flying home from Las Vegas a couple of months ago and I was intrigued by the view of the desert outside my window, so I grabbed a

top of the layer stack in the

shot, but I knew there was something there. Join me and see how to

Step Six

ate New Adjustment Layer

adjustment layer is at the

few shots with my iPhone. I wasn’t all that thrilled with what I initially

Step Five

Layers panel. Change the layer blend mode to Overlay and drop the layer Opacity

turn a seemingly bad shot into something much more interesting

to 25%. Then, adjust the

with a few Photoshop tricks.

shadow and midtone sliders as you see here to bring back some of the contrast.

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Down &Dirty Tricks

make eye-catching composites with iphone shots

Step Four

025

DOWN AND DIRTY TRICKS › ›

› › DOWN AND DIRTY TRICKS

Step Seven: Now cre-

appears to fade into the stars. I could never get this shot from

ate a new document

the plane, huh?

(File>New) in which to

Also, click on the layer thumbnail of the star layer to make it

build the design. Here

active and run a simple Levels adjustment (Command-L [PC: Ctrl-L])

we’ve made it 1250

as shown here to boost the contrast so the star image blends with

pixels wide by 2000

the ground scene a little better.

pixels tall at 300 ppi. Click OK. Once the

Step Thirteen: Now let’s take a look at the bright spot in the cen-

document is created, press Command-I (PC: Ctrl-I) to invert the

ter. It occurred to me that it would be interesting to make it look like

background layer to black.

a rocket leaving Earth with smoke trails and such. So start by going to the Toolbox and choosing the Brush tool (B). Click on the brush

Step Eight: Go back to the original image, and click on the top layer to make it active. Hold down the Option (PC: Alt) key, go

Step Thirteen

Step Fourteen

Step Fifteen

Step Sixteen

preview thumbnail in the Options Bar to open the Brush Preset Step Eight

Picker and locate the brush that’s aptly named Per Stroke Brightness

Step Nine

into the Layer panel’s flyout menu at the top right, and choose

Variance, which is part of the default Photoshop brush set.

Merge Visible. This will flatten all the layers into a single new layer at the top of the layer stack, leaving all the original layers

Step Fourteen: Open the Brush panel (Window>Brush), and

intact below it.

click on Brush Tip Shape in the left sidebar. Set the brush Size to 35 px and the Spacing at the bottom to 37%.

Step Nine: Using the Move tool (V), drag-and-drop this merged layer into the new document. Once there, press Command-T

Step Fifteen: Activate Shape Dynamics on the left of the Brush

Ctrl-0) to expand the document so you can see the entire trans-

panel. Set both the Size Jitter and the Angle Jitter to 100%. Also,

form box. I wanted to make sure that no roads or trails were

check on both Flip X Jitter and Flip Y Jitter at the bottom.

©Adobe Stock/sutichak

(PC: Ctrl-T) to activate Free Transform. Press Command-0 (PC:

visible in the shot so I cropped in and positioned it to where the massive dry lake bed was somewhat centered in the composition. Also, leave about a quarter of the black background visible above the image. Press Enter once it’s in place.

Step Ten

Step Eleven

Step Sixteen: Next, activate Transfer. Set the Control dropdown menu below Opacity Jitter to Pen Pressure, even if you’re not using a pressure-sensitive tablet. Make sure that the Control drop-down menu for Flow Jitter is set to Off, and then uncheck

Step Ten: Add a layer mask to this layer by clicking the Add Layer

Color Dynamics on the left side of the panel.

Mask icon (circle in a square) at the bottom of the Layers panel. Press D then X to set the Foreground color to black and the Background color to white. Then, select the Gradient tool (G), click

Step Seventeen: Choose the Pen tool (P) in the Toolbox. Click

the gradient preview thumbnail in the Options Bar to open the

the Create a New Layer icon at the bottom of the Layers panel,

Gradient Editor, choose the Foreground to Background preset,

and click directly on the bright start to start a path. Then, go

and click OK. Also, make sure the Linear Gradient icon is selected

down and to the right just below the horizon and click-and-drag

in the Options Bar. Now add a gradient to the layer mask starting

downward to create a slightly curved path like you see here.

Step Seventeen

just below the top edge of the sky and dragging down a little

026

Step Eighteen: Open the Paths panel (Window>Paths), click on the flyout menu at the top right, and choose Stroke Path. When

Step Eleven: Now open the starfield image that’s also part of

the Stroke Path dialog appears, select Brush in the Tool drop-

the exercise downloads. Drag this image into the main design.

Step Eighteen

down menu, check on Simulate Pressure, and click OK. Now you

Use Free Transform again to scale and position the image in the

have a cool smoke trail. In the Paths panel, click in an empty space

composition. As a happy accident, there was one bright star or

below the path so that it’s no longer active in the document.

even a planet in the image. That gave me an idea, so I decided to position the stars to where the bright spot was in the center just

Step Nineteen: To give the smoke a little dimension, we’re

above the horizon of the Earth shot.

going to add a layer style effect. Click on the Add a Layer Style

Step Twelve: Next, add a layer mask to this layer and add a

icon (ƒx) at bottom of the Layers panel and choose Bevel &

black-to-white gradient to the mask just like we did in Step

Emboss. The default settings should work fine for this. You can

Ten, only this time start the gradient at the bottom edge of the star image and drag up so the original blue-sky horizon below

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ways so the lighter horizon fades into the black background.

see the difference when you uncheck Preview on the right side Step Twelve

of the dialog. Click OK when done.

Step Nineteen

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DOWN AND DIRTY TRICKS › ›

Step Twenty: Now let’s add a flare to the rocket ship. I’ve provided a flare brush as part of the downloads for you to load and use for this effect. Just double-click the brush file and it will automatically load into the Brush Preset Picker. Go into the Brush Preset Picker, choose the flare brush at the very bottom of the list, and set its Size to around 500 px. Set the Foreground color to white by pressing D then X. Create a new blank layer and then just dab one flare on top of the bright star.

Step Twenty

Step Twenty-One: Go back into the layer style menu at the bottom of the Layers panel and choose Outer Glow. Click on the color swatch, choose a blue color, and click OK to close the Color Picker. Set the Blend Mode to Hard Light and then set the Opacity to 70%. Also, set the Size to around 27 px, and click OK.

Step Twenty-Two: Add another blank layer and make sure it’s at the top of the layer stack. Grab the Pen tool again and draw a

Step Twenty-One

single curved path like we did earlier, but this time make it curve in the opposite direction as the previous path, and draw it way above the star/rocket effect.

Step Twenty-Three: With the Brush tool selected, go into the Brush Preset Picker, choose a basic round, hard-edged brush, and set its Size to 1 px. In the Brush panel, activate Shape Dynamics, and set the Size Jitter Control drop-down menu to Pen Pressure. Apply this new brush to the path just like we did in Step Eighteen. This will add a subtle shooting-star effect. Step Twenty-Two

Step Twenty-Four: Now, just add one more layer at the top. Choose the Gradient tool and select the Foreground to Trans› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

parent preset in the Gradient

028

Editor. Also, leave the gradient type set to Linear. Start at the top edge of the image and drag down just a bit to fade the top to black. Finally, drop the layer Opacity to 50% and you’re done.

When I first created this effect, I was so pleased with it that I made it the wallpaper on my phone, and it looks amazing. What can you do with your throwaway shots? ■

Step Twenty-Three

HOW TO › ›

› › DOWN AND DIRTY TRICKS

Step One: Open a new document (File>New) that’s 3,000x900 pixels at 300 ppi Resolution, with a white background, and click the Create a New Layer icon. We’re going to create a base shape that will be the foundation of all our holiday brushes.

Step Two: Grab the Custom Shape tool (nested under the Rectangle tool [U] in the Toolbox), and then up in the Options Bar, click on the Shape preview thumbnail to open the Custom Shape Picker. In the top-right corner of that panel, click on the little gear icon and choose All from the drop-down menu, and click OK in the resulting dialog. Now you should see all of the shapes. Choose the Diamond Card shape from somewhere near the middle of the shapes. Also, make sure the Custom Shape tool is set for Pixels (instead of Shape or Path) in the drop-down menu near the left side of the Options Bar, and press D to set your Foreground color to black.

Step Two

BY PETE COLLINS

For this Holiday season, we thought we’d give you a gift that will

Step Three

keep on giving all year long. This brush will be simple to make, but it can give you myriad looks. You’ll have three different styles of brush when we’re done, but that will just be the starting point for what you can do with this brush.

Step Four: In the Layers panel, click on the layer thumbnail for the javelin shape so the layer mask is no longer active. Now all you need to do is go to Edit>Define Brush Preset. Feel free to name it if you want, and then click OK. That’s all it takes to make this brush. Now the fun part is getting the brush to behave how you want, and we’ll be making three brushes from this base shape.

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Down &Dirty Tricks

a brush with the holidays

Step Three: Now that you have the Diamond Card shape ready to go, click on the left-hand side of your document and drag across the page to the other side to make more of a thin javelin shape rather than a diamond. Click on the Add Layer Mask icon at the bottom of the Layers panel (third icon from the left) to apply a mask. Grab the Gradient tool (G), press D then X to set the Foreground color to black, and in the Options Bar, select the Reflected Gradient icon, and check on the Reverse box. Now, simply start in the middle of the shape, drag a gradient out to the right edge of the document, and release. This should cause the ends of the javelin to be a soft fade instead of a hard point.

Step Four

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DOWN AND DIRTY TRICKS › ›

› › DOWN AND DIRTY TRICKS

Step Ten: This last brush is the most complex, but it really adds only a couple of extra settings. In the Brush Presets panel (Window>Brush Presets), click once again on your Flare brush to use as the base (it should be the second to last brush in the list). Back in the Brush panel, we’ll once again start with the Shape Dynamics (this is generally the most-used tab). Change the settings to the following: Size Jitter to 100% (Control drop-down menu to Pen Pressure or Off); Minimum Diameter to 75%; Angle Jitter to 100% (Control set to Off); Roundness Jitter to 100% (Control set to Off); and Minimum Roundness to 25%.

Step Six: Set the Shape Dynamics as follows: Size Jitter to 100% (set the Control drop-down menu to Pen Pressure if you have a tablet; set it to Off if you don’t); Minimum Diameter to 25%; Angle Jitter to 100% (Control set to Off); Roundness Jitter to 100% (Control set to Off); and Minimum Roundness to 25%.

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Step Seven: To save all of the settings you’ve applied, click on the flyout menu at the top-right corner of the Brush panel and select New Brush Preset. Name it “Flare,” and click OK. Now press D then X to set your brush to white and, keeping your cursor in the same location, click twice or more wherever you want a bit of flare. The Angle Jitter will cause the shape to rotate so that the stroke will have a random look each time you click.

034

Step Eight: So now that you’ve warmed up with the Flare brush, it’s just a matter of adding a couple settings to get an entirely different look. Starting with the Flare brush you just made, open the Brush panel again. Keep everything the same, but now go to Scattering, the third item on the left. Make sure that Both Axes is checked on and move the slider to 498%. (Yes, you can do 500% if the random number bothers you.)

Step Six

Step Seven

Step Eleven: Now you’ll want to give your garland brush some color, so click on the Foreground color swatch near the bottom of the Toolbox, pick the darkest shade of green that you want to use for your garland, and click OK to close the Color Picker. Now click on the Background color swatch and choose the lightest green that you want to use for your garland. We’ll use the Color Dynamics options on the left side of the Brush panel to set up the brush so it uses those colors as reference when it lays down each needle of the garland. Change your settings to the following: check on Apply Per Tip; set Foreground/Background Jitter to 19% (Control set to Off); Hue Jitter to 31%; Saturation Jitter to 56%; Brightness Jitter to 29%; and Purity to 0%. Step Twelve: Test your stroke and see how the colors change for each “needle” of the garland; you can adjust the sliders or change the Foreground and Background colors to get a different look. (Tip: Use the Bracket keys on your keyboard to quickly change the size of the brush.) Now the only thing left is to decide how full or skimpy the garland is going to be. Go to the Brush Tip Shape options at the top left of the Brush panel and move the Spacing slider around and try different strokes—the less spacing the fuller the garland. Once again, save this as a brush preset. You can name this one “garland.”

Step Eight

Step Nine: That’s it, now you just need to save that brush like you did the Flare brush. Maybe name it “Ice Cracks.” Take that brush and set it to white and paint with it in any area where you might want to add a touch of frost; the brush will scatter outward and give you a complex random pattern that looks cool. Step Nine

Step Thirteen: So now that we have our three brushes, let’s try them out. If you’re a KelbyOne member, download and open the practice file. Click the Create a New Layer icon at the bottom of the Layers panel. Choose the Flare brush, hold the Option (PC: Alt) key, and click to sample the color of an area that could use a little sparkle. That color will now be the color for the Flare brush. Resize the brush as needed and click multiple times on that same area. The Christmas lights through the window are an easy choice. Repeat for other areas in the image (don’t forget to Option-click [PC: Alt-click] each time to sample the color first). [KelbyOne members may download the file used in this tutorial at http://kelbyone.com/magazine/issue/december_2015. All files are for personal use only.]

Step Ten

Step Eleven

Step Twelve

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Step Five: With the Brush tool (B) selected, click on the Brush panel icon (the third icon from the left) in the Options Bar. This is where the magic happens. The main options that you’ll want to change for this brush are under Shape Dynamics, the second item in the list on the left side of the Brush panel. Here, you’ll see several Jitter options. Jitter is another name for randomize, so that means the more Size Jitter you apply, the more diverse sizes will be created as you draw out a stroke. You can see the changes taking place in the preview window at the bottom of the Brush panel.

Step Thirteen

035

DOWN AND DIRTY TRICKS › ›

Step Fourteen: Now switch to your Ice Cracks brush, and set it to a very small brush size. On another new layer, paint with white around the windowpanes to add some frost. You can always lower the Opacity, as well as add a layer mask and use a round, soft-edged brush set to black to paint out any “overspray” of the ice on the window frame. Step Fifteen: Now, let’s add the Garland. Add another new layer, and once again set your Foreground and Background colors to a dark green and a slightly lighter green, respectively. Start at the top, and drag down so that you finish with a clean stroke. If the stroke looks too thin, either press Command-Z (PC: Ctrl-Z) to undo it, decrease the Spacing in the Brush panel, and paint the stroke again; or press Command-J (PC: Ctrl-J) to make a copy of that stroke layer, and use the Move tool (V) to move it over slightly to make it fluffier. A Layer>Layer Style>Drop Shadow can be the finishing touch that helps settle the garland into the scene. Use a layer mask to hide the garland from areas where you don’t want it, such as over the ornament closest to the window. You may also need to drag your flare layer to the top of the layer stack. That’s it! You’ve made three useful brushes in no time and hopefully, you’re excited about playing with the different settings to create your own looks. We only tackled a few of the brush options, but they’re some of the main settings that you’ll use most often. In the final image here, we added some extra flares and blurred them for snow. Try adding some more settings from the Brush panel and see how they change things. Above all else, have fun and be creative. ■

Step Fourteen

Step Fifteen After

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Before

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HOW TO › ›

› › DOWN AND DIRTY TRICKS

Step One: You’re going to want to create a new document for this project, so go to File>New. If you’re using your own vector files, the file size for this example is 5400x4200 pixels at 300 ppi. The reason for creating a large document is that it’s always easier to shrink a large image, but things get blurry when you try to increase the image size after the fact. This will create a document that can be printed at 18x14" at 300ppi with no degradation of image quality. If you’re a KelbyOne member and you’re using the low-res practice file, or you just don’t need to work that large, then you’ll need to scale down accordingly, so set your new image size to 800x600 pixels instead. We want the Background layer filled with black, so to avoid having to fill the background later, click on the color swatch to the right of the Background

Step One

Contents drop-down menu in the New dialog, select black in the Color Picker, and click OK twice. (Note: If you’re using the practice file, you can skip to Step Three at this point.) [KelbyOne members may download the file used in this tutorial at http://kelbyone.com/magazine/issue/december_2015. All files are for personal use only.]

Step Two: The file with the symbols was originally in the EPS format, so it took an extra step to open it in Photoshop. If you’re using your own EPS file, locate it in Adobe Bridge, Right-click on it, and choose Open With>Adobe Photoshop [your latest version]. ©Adobe Stock/senoldo

The great thing about an EPS file is that you can size it up as large as you want, so when the Rasterize EPS Format panel appears, this example, we set it to 6000x6000 pixels. Once the file opens,

the third dimension

you’ll see a transparent background (checkerboard) and that can

BY PETE COLLINS

of the Layers panel, drag this layer beneath the symbols layer,

By taking a few scientific symbols and equations and adding a little Photoshop magic, you can create a wonderful environment full of depth and drama. The end product seems complex, but the steps to achieve the look are really quite simple.

be distracting, so click the Create a New Layer icon at the bottom

Step Two

press D to set your default colors, and press Command-Delete (PC: Ctrl-Backspace) to fill the new layer with white.

Step Three: Once the symbols are on a white background, you can see that there’s a faint blue grid pattern behind them (most EPS files won’t have this, but this is a good teaching opportunity). You can either try to mask out any of these lines that get in the way, or you can use this faster method. Go to Select>Color Range in the Menu bar, and the Color Range dialog will open. In the doc› › k e l b yo n e . c o m

Down &Dirty Tricks

make the dimensions way bigger than you think you need. In

ument window, click on one of the black lines that make up one of the symbols (you may need to press Command-+ [PC: Ctrl-+] to zoom into your document). When you do this, the thumbnail preview in the Color Range dialog changes to show what’s selected in white. Slide the Fuzziness slider to around 166 so that all of the symbols are selected.

Step Three

041

DOWN AND DIRTY TRICKS › ›

› › DOWN AND DIRTY TRICKS

This may be a little trickier for the low-res practice file. If all of

Step Six: With the new smart object layer chosen, press Com-

the symbols aren’t selected, hold the Shift key and you’ll see a

mand-T (PC: Ctrl-T) to bring up the Free Transform handles. Right-

+ symbol appear next to the Eyedropper (which is your cursor).

click on the image and choose Perspective from the options. Now

Click on various shades of gray to add them to the selection. If

grab the bottom-left handle and pull downward. Both the top-

this selects the blue grid lines or any of the white background,

and bottom-left corners will be pulled out so the equation no

hold the Option (PC: Alt) key (the + will change to a – [minus

longer looks like it’s facing flat in front of you, but now appears as

sign] next to the Eyedropper) and click on one of the blue lines

if it’s receding at an angle. Distort is the other option in the drop-

and the white background to remove them from the selection.

down menu that you could use, but because you have to adjust each corner individually, most folks get along better with Perspective. It’s up to you. Press Enter to commit the transformation. Step Six

Step Seven: Here’s the secret sauce recipe for making this equation look like it’s interacting with depth of field, sort of like a giant HUD (heads-up display) from Iron Man. Choose Filter>Blur Gallery>Tilt-Shift to bring up the Blur Gallery interface already loaded with the Tilt-Shift filter. We’re only using one half of the filter for this image, so move your cursor to one of the white dots on one of the solid white lines, and click-and-drag to rotate all the

Once all the symbols appear in white on a solid black back-

lines until they’re vertical. Then, move the center point just to the

ground in the Color Range dialog, click OK. You should now see

right end of the equation. You’ll notice that the right edge of the

marching ants just around the symbols and not the grid. Press

equation is in focus between the solid white line and the center

Command-J (PC: Ctrl-J) to copy the symbols onto their own layer.

Step Four

point. Your goal is to get a smooth transition from full blur on the

Hide the original symbol layer by poking the Eye icon to the left

left to in-focus on the right, so drag the solid white line (transition

of it in the Layers panel.

line that sets the progression of blur) and the dotted line (full blur boundary line) into position as shown here. The blur will be too

Step Four: The symbols are black and we want them to be white,

strong in the low-res practice file, so set the Blur to 3 px in the Blur

so press Command-I (PC Ctrl-I) to invert them, then click on the layer

Tools panel. Press Enter to commit the blur.

filled with white at the bottom of the layer stack, and invert that, as well. The end result is just a little blah, so click back on the duplicated symbol layer, press Command-L (PC: Ctrl-L) to bring up the Levels dialog, and drag the highlight and midtone sliders toward the left to

Step Seven

042

Step Eight: Using the Move tool, drag the symbol closer to the

Step Five: Your symbols are ready to be put to use, so grab

left edge of the document. Dropping the Opacity in the Layers

your Lasso tool (L) and draw a selection around one of the equa-

panel to about 95% and adding a slight gradient mask to the left

tions. Press Command-J (PC: Ctrl-J) to put a copy of this symbol

side of the equation will help it settle into its “space” a little more.

on its own layer. Now grab that equation with the Move tool (V)

To add a gradient mask, click on the Add Layer Mask icon (circle

and drag it to the new black background document we created

in a square) at the bottom of the Layers panel, press D then X to

in Step One. (Tip: If you hold down the Shift key while dragging-

set the Foreground color to black, select the Gradient tool (G),

and-dropping the equation, it will land right in the center of

click on the gradient thumbnail in the Options Bar to open the

the document.) Now before you do anything else to this equa-

Gradient Editor, choose the Foreground to Transparent preset,

tion, Right-click on its layer name in the Layers panel and choose

click OK, select the Linear Gradient icon in the Options Bar, and

Convert to Smart Object from the drop-down menu. This will give us more flexibility if we need to make changes later.

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boost the contrast and up the white factor. Click OK.

then drag from the left edge of the document to the middle of Step Five

the symbol.

Step Eight

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DOWN AND DIRTY TRICKS › ›

Step Nine: Now you can repeat the process with a new equation or symbol. We used Distort on this second one to make it look like it was angling in from the top-right corner, and then we applied the Tilt-Shift filter right in the middle so that both the top and bottom edges were blurry.

Step Ten: Now it’s just a matter of putting in all of the elements you want and blurring each of them to look the part. How much and where to blur is going to be driven by where the symbols fall within the scene. The goal is to create a cocoon of clarity in the center of the image while having all of the edges fading into blurriness. This may take a little bit of tweaking, but because each layer is a smart object, you can double-click on the words “Blur Gallery” in the Layers panel and redo the blur for any layer at any time.

Radiation Suit: ©Adobe Stock/dedMazay

Step Nine

Step Eleven: If you’ve been successful in working the symbols, then it should be easy to drop a person or other element into that cocoon of clarity and make him the center of the story. In this example, we masked out a couple of the lines over where his hand sticks out to add to the interaction. Finally, to round out the

044

layers, and set it to Hard Light in the Layers panel (the image we used was from Adobe Stock and it was called “blue shiny bokeh background”). This will give the eye of the viewer a reason to accept the wonky depth of field and not be so critical if there are any inconsistencies (an old compositor’s trick). Bokeh Background: ©Adobe Stock/nikkytok

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picture, grab a nice debris image, place it on top of all of the other

So there you have it—distort a few symbols to change their perspective, add a little blur, and you’re done. It took longer to write this article than it will take for you to get the hang of this technique. It’s a great go-to design option that can take you from stuck to styling in no time. Instead of symbols, try leaves, flowers, rain, etc.; the possibilities are endless. ■

Step Eleven

› › BEGINNERS' WORKSHOP

HOW TO › ›

Beginners' Workshop how to add artificial snow to a photo

Step Five: With the snow layer active, choose Filter>Sketch> Graphic Pen. Set the Stroke Direction drop-down menu to VerLESA SNIDER

tical to make the snowflakes fall straight down. Next, set the Stroke Length to 5 for low-resolution images or 10–15 for highresolution images, and then set the Light/Dark Balance to about

The Sketch category of filters is handy for adding texture to an image. It houses a variety of pens, crayons, paper, etc. that give images a hand-drawn look. In fact, the Graphic Pen filter generates random streaks in the direction and length you choose, which makes it perfect for adding realistic snow. Read on!

90. You can think of Stroke Length as flake size and Light/Dark Balance as the volume of snowfall: Set it to 60 for a blizzard or to a higher number (like 90) for lighter snow. Click OK when you’re finished.

Step Six: Soften the snow-

Step Five

flakes by choosing Filter>Blur>

Step One: If you’re running CS6 or later, choose Photoshop

Gaussian Blur. In the result-

(PC: Edit)>Preferences>Plug-Ins and turn on Show All Filter

ing dialog, enter a Radius of

Gallery Groups and Names. This enables you to see all the filters

about 1.5–5 pixels, depending

in the Filter menu; otherwise, the menu is truncated and you have

on image resolution, and then

to use the Filter Gallery to get to many of them. This maneuver

click OK.

also causes the filters’ real names to appear in the Layers panel when you run them; otherwise, they’re generically named Filter Gallery. If the filters don’t immediately appear in the Filter menu,

Step Seven: To enlarge some of the flakes, as if they’re closer

choose Photoshop (PC: Edit)>Quit and then relaunch Photoshop

to your lens, choose Filter>Distort>Diffuse Glow. In the result-

for the change to take effect.

ing dialog, set Graininess to 0, Glow Amount to 20, and Clear Amount to around 17. Click OK.

Step Two: When Photoshop reopens, open a soon-to-be-snowy

Step Seven

Tip: To create rain instead of snow, pick a diagonal option

Step One

photo and set the Background color chip at the bottom of your

from the Graphic Pen filter’s Stroke Direction drop-down menu

Toolbox to white. To do it with a keyboard shortcut, simply press

and try skipping Steps Six and Seven.

the D key on your keyboard to set your Foreground and Background color chips to the default of black and white, respec-

Step Eight: If the snow

tively. If your color chips are already black and white but white

looks too intense, trot

is on top, press the X key on your keyboard to flip-flop them so

over to the Layers panel

white is on bottom.

and lower the Opacity setting. (To alter how the

Step Three: Add a new image layer filled with black and

snowflakes look, reopen

Step Two

the Graphic Pen filter by

change its layer blend mode to Screen. To do that, press Shift-

double-clicking its name in

Command-N (PC: Shift-Ctrl-N), and in the resulting dialog, enter

the Layers panel, and then

“snow” in the Name field and set the Mode drop-down menu

adjust the filter’s settings.)

to Screen. Turn on Fill with Screen-neutral Color (Black) and click

046

completely ignores black, so the snow-like streaks you’ll create in the next step will lighten the photo while the black disappears.

Step Nine: Choose File> Step Three

Save As and pick Photoshop as the Format to pre-

If the new layer isn’t at the top of your layer stack, make it so by

serve your layers. This lets you reopen the file and tweak the

dragging its thumbnail upward.

effect later if you need to. To generate a version in a differFile>Export>Export As or File>Export>Save for Web. Here

for Smart Filters. This puts the protective wrappings of a smart

are the before and after versions.

object around the layer so any filters that you run affect the wrapper instead of what’s inside. The filter’s name also appears as an entry in your Layers panel—if you don’t like the result, drag the filter’s name to the trash icon at the bottom right of your Layers panel.

Step Four

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ent format—say, JPEG or PNG for posting online—choose

Step Four: With the snow layer active, choose Filter>Convert ©Adobe Stock/hkuchera

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OK. The Screen blend mode lightens the underlying photo and

The snow made a big difference in this wolf image; however, adding snow to completely inappropriate photos can also produce a slick special effect. Until next time, may the creative force be with you all! ■

Step Nine

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HOW TO › ›

› › DYNAMIC RANGE

Dynamic Range printing in the third dimension

COREY BARKER

Many years ago when I was starting my career, I was hired at a sign shop in Orlando as a designer and also to run the printers. As a working sign shop, it was just getting into large-format printing, and they were mainly using a cutplotter machine to cut the vinyl for the signage. This was my first exposure to this kind of technology and I found it rather interesting. A vinyl sign plotter is like a printer but, instead of a printhead with ink, there’s a small cutting blade. Once the vinyl sheet is loaded into the machine, the knife cuts along a predefined vector path that’s already been set in the computer, resulting in a precise decal. Then you peel away the background to reveal the sign.

Ultimaker 2 Extended

once you’ve done that, it’s time to load the filament mate-

A couple months ago, Chris Main, the managing editor of

rial—which I’ll get into in just a moment.

this very magazine, reached out to the folks at Ultimaker, the

The model we received is the Ultimaker 2 Extended, which

manufacturer of an impressive line of prosumer 3D printers,

is currently the largest 3D printer in their lineup, with a print

requesting a device for review. I was all too excited to try it

volume of roughly 8x8x12". [See page 115 for Corey’s review

out, and anxiously awaited its arrival. I was admittedly kind of

of the Ultimaker 2 Extended.—Ed.] The machine is attractive

nervous too, because I figured there would be a massive learn-

and eye-catching. In fact, not minutes after setting it up (even

ing curve, and I’d have to do a lot of assembly and research

before I started printing), people were stopping by my office

before actually printing. I couldn’t have been more wrong.

to check it out. It has a heated build-plate that helps to keep

When it finally arrived, I actually had the device out of the

the model secure to the base while printing. How does it

box and printing in about 20 minutes. There was minimal

work? The printhead is at the top and can only move on the

The precursor to this technology was the old pen-plotter

trayed in so many movies and TV shows; but the technology

assembly, and the printer looks very slick. The interface on

X and Z axis, while the build-plate rises up to the printhead to

machine, which would draw out CAD designs on large pieces

is very real and very cool. While 3D printing has been around

the machine is intuitive with a simple LED panel and a dial

start printing, and then slowly moves down the Y axis as the

of paper. The writing head could move along left-to-right

for a few years now, it only recently started to become avail-

wheel to access key features. It takes you through some

printer lays down each layer of plastic. The plotter element

and up-and-down to draw whatever the computer program

able at the consumer level. Like most major technological

startup procedures to get the machine ready to print, and

works the same way as a regular printer, only now instead of

drew. As the technology moved along, there was a point

advancements, it started at an industrial level, but it eventu-

one pass, it makes hundreds, if not thousands, of passes one

where someone looked at the plotter and said, “What if we

ally trickled down to the consumer as tabletop 3D printers

on top of the other to build a 3D form.

put a cutting blade on it instead of a pen?” And then vinyl

that allow you to print virtually whatever you want right in

plotters were born.

your own home.

So, with my printer all set up and ready to go, the next thing to do is load the material.

Fueled by industry demand and innovation, the technol-

Being a big user and advocate of 3D in Photoshop, I’ve

ogy evolved into many uses from pen-plotting machines,

had my hand in just about every aspect of 3D except for 3D

A Word on Printing Materials

vinyl-sign cutting, and even laser cutting. Eventually, some-

printing. There are services, such as Shapeways, that let you

The 3D printing materials, or filaments, are essentially the

one came along with the idea to make the printhead lay

send a 3D model to them right out of Photoshop, and they’ll

“ink” for your 3D printer. There are several types of filament,

down heated plastic through a small extruder, making pass

print and ship the 3D model back to you. And this is a great

but the two most common are called acrylonitrile butadiene

after pass to build a 3D form.

alternative for those who don’t have the budget to purchase

styrene (ABS) and polylactic acid (PLA).

Up until a few years ago, 3D printing was something you thought of as pure science fiction, just like it had been por-

a 3D printer; however, I really wanted to get my hands on a

ABS is a strong, durable plastic that’s used in a variety

3D printer and experiment with what might be possible.

of ways, such as automotive components, electronic parts, small appliances, and even Lego bricks. Although extremely durable (it’s recyclable), ABS has a few drawbacks: It’s non-biodegradable and can generate mild fumes. So, the printer needs to be in a well-ventilated space, but it’s still a good choice for strength and longevity. ABS even has a high resistance to heat, so you can expect the printer to run very hot to make the plastic pliable enough for printing.

048

more earth-friendly than ABS. It’s commonly used in food packaging and doesn’t have an issue with fumes—like ABS has. In fact, some PLA filaments can smell like candy, though Ultimaker 2 Extended

I don’t recommend eating it. Also, PLA doesn’t warp as easily as ABS, especially under high heat. If your 3D printer has a heated build-plate, the temperature it is set to when printing can affect the shape of the plastic. The Ultimaker 2 Extended we received came with a roll of gray PLA filament, which is a good neutral color and easy to paint, if needed. The material is simple to load into

Converting a Photoshop file into reality

Ultimaker 2 LED

the machine: The filament hangs on a spool at the back of

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PLA filament is a biodegradable thermoplastic and is much

049

› › DYNAMIC RANGE

DYNAMIC RANGE › ›

the machine and feeds into a tube that leads to the print-

highly recommended if you’re a beginner to 3D printing, is

page (www.photoshop.com/products/photoshop/3d/printing),

installed in Photoshop so be sure to check if your printer is

head. Just like loading paper in a regular printer, you set the

to download the free proprietary 3D software called Cura

click on the link for the latest 3D printer profiles, locate your

already there, before downloading.

machine to load material and then follow the prompts. After

from the Ultimaker website (https://ultimaker.com/en). It

printer brand, and download the profile.

that, there’s a simple calibration of the build-plate distance to

has a simple user interface and intuitive tools to help you set

the printhead and then you’re ready to print.

up your model quickly and easily. When you’ve imported the model and sized it correctly, you can export directly to the SD card with the file in the proper print format. Once you plug the SD card into your computer, the Cura software will locate it, so when you export the finished model it will automatically send it to the card.

Cura interface

The other method allows you to process and export the formatted model right out of Photoshop but you’ll need to install the printer profile first. Just go to the Photo­shop 3D printing

Photoshop Properties panel

Whichever method you use, you need to transfer the final

Filament on back of printer

3D print file to the SD card, and then plug the card into the

Setting Up a Model and Printing

printer. I’d recommend using the Basic mode of the Cura

The workflow is rather simple. The Ultimaker printer has an

software until you have a good grasp of the workflow. After

SD card slot in the front. It comes with an SD card that con-

that, you can then switch to Expert mode to access more

tains some sample 3D models that you can print right away,

advanced features.

050

and I was able to work out a few bugs and tweak a few things before printing my own creations. I’d certainly recom-

List of available drivers from the Photoshop webpage

mend doing this. You can also connect the printer directly to your computer via USB; however, the manufacturer recommends the SD-card method, because a direct connection can

Then just load it into Photoshop by going to File>Scripts>

be inconsistent, and could ruin the model if the connection is

Browse, navigating to the Install Profiles.jsx file that was

lost. Furthermore, if you’re printing multiple parts of a model,

downloaded, and click Open. Once the driver is loaded and

it helps by keeping the files all in one place. Not to mention

you have a 3D file open, go to the 3D menu and choose 3D

that the machine looks cool so you can put it somewhere on

Print Settings, which will open the Properties panel. You can

display while it’s printing.

now choose Ultimaker 2 or whichever brand printer you’re using in the Printer drop-down menu in the 3D Print Settings

When using Photoshop, there are two ways to prepare a file for 3D printing on the Ultimaker. One way, which is

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to ensure the machine is working properly. That’s what I did,

Photoshop webpage

of the Properties panel. Some printer profiles are already

Expert screen

051

› › DYNAMIC RANGE

DYNAMIC RANGE › ›

Some Final Thoughts

I’ve found that laying down a little glue as well as adjusting

printing. The longest print I’ve done on the Ultimaker was 6.5

Of course, I couldn’t wait to start printing my own stuff and,

After printing a few items, I have to say that I’m extremely

the heat really helps keep it all in place.

hours, and that was for a 3.5" tall model of R2-D2. So, plan

because I’m a big movie fan, I started with movie props.

impressed with the results. I started by printing a couple of

The workflow is really quite simple. Whether you’ve built

your printing time accordingly; for example, set up and start

Awhile back I created Thor’s hammer in Photoshop, so I

models that came with the printer, because I knew there’d

the model in a 3D application or in Photoshop, it’s very easy

your prints later in the day, and leave them to print overnight.

decided to print that first, and it came out okay until it got to

be no problems with the files, and then, when I knew it all

to export the model in an OBJ or STL format and then run

By the way, we actually recorded a print job using a GoPro,

the handle, which was smaller than I’d imagined. The printer

worked, I moved on to creating my own models. I noticed

the file through Cura to set it up for printing. When you load

and have sped it up for you so you can see the entire process.

also hollowed out the handle, making it very flimsy so that it

too that having a heated build-plate is a big plus, as it helps

the model, the software also displays information about the

You can see that video at www.kelbyone.com/blog.

eventually broke off. But this is how we learn, right? I con-

to keep the model in place while printing. The printer also

printer, such as estimated print time and how much filament

tinued playing around with other models, figuring out a few

came with a standard glue stick so you can apply a thin layer

will be needed for the print.

things as I went, but I also realized how much fun it was!

of glue on the build-plate to help the model stick even more.

As accessible as this technology is, my feeling is that, at a con-

So, despite my early trepidations about the complexities

sumer level, 3D printing is still more a novelty than a practical

of printing, I have to say that I was pleasantly surprised at

need. I can see a future perhaps where we have the ability to

how easy the setup and output was. If there’s anything truly

print spare parts for home appliances and such. But there are

complicated about the process, it’s on the front end with the

those innovative few who are making big strides using the

model creation. If you’re unfamiliar with 3D applications or

technology in very helpful ways. For example, an organiza-

even Photoshop 3D, that will be your biggest hurdle; but the

tion called The Collective Project uses 3D printing technology

printing process itself is pretty much down to a science. If

to build prosthetic limbs at a fraction of the cost of other

you’re going to venture into 3D printing, the only thing you

prosthetic devices. That’s an impressive use of the technol-

must have, however, is a great deal of patience. As cool as 3D

ogy, and I can’t wait to see what future innovators bring to

printing is, it’s extremely tedious waiting for a model to finish

the table, as this technology continues to evolve. ■

052

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When I was ready to print, I did a couple of test prints.

Thor’s Hammer

053 ALL IMAGES BY COREY BARKER

HOW TO › ›

› › PHOTOSHOP PROVING GROUND

Photoshop Proving Ground retouching toolkit for photoshop

SCOTT VALENTINE

This issue, I’m taking a little departure from talking about how Photoshop does its “thang.” Instead, let’s talk about my favorite kind of extension: the kind that helps you do your own work faster and more efficiently.

brush action chooses a soft-edged round brush and sets the

I rarely applied those tricks myself because it interrupted

Flow to very low values so you can build up the effect gently,

my workflow, and I always convinced myself I would just

which is key for getting a refined, smooth look. But the script

be extra careful. So I tried an experiment where I com-

goes one step further by setting the Blend If sliders so that

pleted a retouch as normal, then went back to do the same

the effect is applied differently based on the values in the

thing with various helpers. Wow! It was so much faster to

image. This little tweak is a serious insider’s refinement that

find defects and work on tricky corrections. Since there’s

most people don’t know about. It helps keep treated areas

literally a button to add these helpers, and you can toggle

from standing out from the surrounding areas.

them on or off at will, there’s no excuse not to use them whenever possible.

Eye Help Layers

Check out the highlights in this crop. Can you see them easily?

One element that really surprised me was the inclusion of While I do sometimes use artistic and stylized plug-ins,

And there are three varia-

I generally prefer to do things as manually as possible to get

tions to choose from that

the most control over the final result. And since this month’s

employ different methods

issue also has a fantastic and drool-worthy gift guide (see

for isolating the frequen-

p. 60), I thought you might like to see one of my personal

cies.

recommendations: the Retouching Toolkit by Conny Wall-

alone is insanely helpful,

strom (http://retouchingtools.com).

and reduces a minute or

one

feature

so of setup to a couple

What the Toolkit Does

of seconds. It also auto-

This

aimed

matically groups the lay-

squarely at retouchers, but

ers and locks them so you

has enough power and

don’t accidentally move

options that it really should

and misalign anything. As

be in any photographer’s

a finishing touch, it gives

toolkit.

toolkit

is

centerpiece

you the blur radius you

is a panel that has all the

used in case you’re doing

major features you need

multiple passes for differ-

for serious retouching right

ent areas or features.

The

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inside Photoshop. The trick

054

Dodge & Burn Another feature I use

build layers and set up

constantly is the Dodge

tools. They don’t apply any

& Burn function, along

changes or give you effects

with

to tweak.

action. The Toolkit uses

brush

a similar approach to one

apply some frequency sep-

I described in an earlier

aration (FS) to a portrait

article (see “Comparing

(see “Understanding Fre-

Dodge and Burn Meth-

quency,” Photoshop User,

ods,” Photoshop User,

February

March

90).

2015,

find problem areas very, very quickly. There are other helpers for color, hue, luminosity, and saturation. You can work with these turned on above your editing layer, or toggle them on and off for quick checks as you work. I tend to leave the Solar (solarization) layer on when I’m doing my first pass at frequency separation.

easily. Pretty cool, right?

setup

Let’s say you want to

p.

tone and contrast so you can keep transitions smooth and

Now check out the solarized version of the same area.

off scripts and actions that

2015,

tion, for example, lets you see otherwise subtle changes in

The highlights, tonal variations, and color shifts all stand out

here is that the panel fires

a

changes you’ve made or need to make to an image. Solariza-

p.

92),

Rather than going through

which sets up Curves

all the steps to duplicate,

adjustments with filled-

blur, and apply other filters

in masks. The idea is that

The reason these helpers are so important is because

to get your layers set up,

you create two Curves

we tend to get somewhat blind after looking at an image,

the Retouching Toolkit goes

layers, one for dodge and

or doing a particular technique, for a long time. Chang-

through those steps for

one for burn, then paint

ing things up is vital to avoid missing details or simply

you. Boom! It also pauses

on the mask with white

overlooking mistakes we might have made in the process.

to let you adjust the blur.

to apply the effect. The

Why was that surprising to me? To be perfectly honest,

› › k e l b yo n e . c o m

This

Eye Help layers. Theses are tools for helping you to see the

055

PHOTOSHOP PROVING GROUND › ›

So Much More

Photoshop User, December 2014, p. 100). And Smart

And the features aren’t limited to what I’ve described, not

Liquify makes it easy to use Liquify in a nondestructive way.

by a long shot. If you’re a fan of luminosity selections, you

There are utilities for cleaning up unused channels, remov-

need to use Generate All Zones, which builds up alpha

ing or flattening masks, and even for laying out composition

channels for you to use as masks (see “Channel Selections,”

guides on a Path layer.

A Better Path Here’s the takeaway: the Retouching Toolkit enables faster, more consistent workflow. This is not trivial or just a feelgood message; it’s a professional-grade set of tools. I’ve found myself going to them for almost every image that needs traditional retouching and cleanup, including landscapes and abstracts. The Retouching Toolkit won’t be a fix for poor technique, and it won’t give you a signature style, special effect, or anything like that. It’s much, much more. It gives you a better path to getting the tools out of your way and into your service. And that is, after all, why I write this column. [The Retouching Toolkit normally retails for €59.95 (around $66), but KelbyOne members can get a 15% discount at http://kelbyone.com/discounts through December

056

Model: LeAnne Parsons

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31, 2015.—Ed.] ■

Before

Before ALL IMAGES BY SCOTT VALENTINE

› › PHOTOSHOP TIPS

D E PA R T M E N T › ›

Photoshop Tips

boost your productivity and creativity

COLIN SMITH

Welcome to the last issue of Photoshop User magazine for 2015.

and all styling and filters will be applied to it automatically. Now

Consistent Color

Combine Images

I’ve really enjoyed bringing you tips all year and for more than the

that’s a time saver.

Have you ever combined two photos and one of them looks really

Say you have two images open in separate documents in tabs and

weird because the colors are all muddy and desaturated? This is

you want to combine them into a single layered document. What

last decade. I wish you Happy Holidays and a great New Year. Here are some tips for you to enjoy with a nice hot drink (unless

Mind the Gap

because the color spaces of the photos are different. Color man-

do you do? There are several ways to do this, but here’s the most

you’re Down Under, then a cold one). I’ll see you all in 2016!

There’s no bigger giveaway that it’s amateur hour than bad

agement can get really deep, but here’s what you need to know:

efficient way. Choose the Move tool (V), click in the middle of the

kerning on type. Kerning is the space between different letters.

The source and the destination profiles need to match. You

first image, and drag it to the tab of the second document. Wait a

CC Libraries

While you’d think that computers and advanced programs such

can change an image to a different profile without significantly

second and the document window will appear. Drag-and-release

CC Libraries are amazingly useful. If you aren’t on Photoshop CC,

as Photo­shop would set the ideal space each time, this isn’t the

changing its appearance by going to Edit>Convert to Profile and

into this document and you’ll now have the two images on sepa-

just proceed to the next tip; if you’re on CC, I hope you’re using

case. Sometimes what’s mathematical just doesn’t look cor-

choosing the Destination Space Profile. There are three main RGB

rate layers in the same document. Bonus tip: Hold down the Shift

the Libraries. They’re a convenient way for you to keep assets

rect (hence Optical kerning). Other times it’s just off. One place

profiles that we use: ProPhoto RGB, which supports the most col-

key and the image will be perfectly centered when you drop it.

that you reuse, such as logos and layouts, nice and handy. You

where it’s usually off in Photoshop is when you have an upper-

ors; Adobe RGB (1998); and sRGB, which is the smallest but best

can save all kinds of things to your Libraries (but I did say lay-

case character followed by a lowercase character. There’s usually

for Web. Note: You’ll lose some colors going to a smaller profile,

Custom Workspace

outs, right?).

too much space added. It’s easy to fix, though. Grab the Type

so try to stay in the largest profile until you’re ready to share the

Most people I know (really everyone, but I’m being generous)

file, then it’s more important for the colors to look right.

end up using only a subset of the panels available in Photo-

Do you have trouble saving a layered document in the Librar-

tool (T) and place the insertion point in between the two charac-

ies panel? By trouble, I mean it doesn’t work. Here’s a simple

ters you’d like to kern. Hold down the Option (PC: Alt) key and

shop. You know how it is. You find your favorite panels that

tip to make this possible. Group the layers together into a smart

tap the Left Arrow key to close the kerning (tighten), or the Right

you use all the time, and there are others that you never use.

object or a layer group (I prefer the latter), and then add the

Arrow key to open the kerning (make characters further apart).

I’m sure the panels that you never use are useful for someone else; you just don’t need them. So why deal with panels that

058

be available to you anywhere as long as you’re logged into your

Preset Control Center

get in your way and have to hunt for the ones you use all the

Creative Cloud account.

There are a ton of presets in Photoshop: Patterns, Brushes, Cus-

time? Then, heaven forbid, you need to clean up all the open

To create a layer group, click on the Create a New Group icon

tom Shapes, Styles, Gradients, and more. You can also load in

panels. What you and every Photoshop user needs is to set up

(folder) at the bottom of the Layers panel and drag your layers

custom presets, as well as save your own. You could dig around

a custom workspace. Close the panels you don’t use and open

into the group (you’ll have to unlock your Background layer). To

in each panel to work with the various presets but there’s an

the ones you use most often. Drag the panels around to group

place all the layers into a smart object, select all the layers in the

easier way. I’m surprised that a lot of people don’t realize that

and dock them together until you have your perfect working

Layers panel, Right-click on one of the layers, and select Convert

there’s a central source for all the presets: the Preset Manager

environment. Click on the drop-down menu at the far right

to Smart Object.

(Edit>Presets>Preset Manager). Use the Preset Manager as the

of the Options Bar, and choose New Workspace. Once you’ve

one place to load, organize, and save all of your presets. You can

named your workspace, you can recall it anytime from that

Smart Object Contents

also sync your presets with Creative Cloud if you’re on CC. Go

same drop-down menu. ■

Smart objects are useful for many things, the most obvious of

to Photoshop (PC: Edit)>Preferences>Sync Settings to see what

which is their nondestructive behavior such as resizing objects

you can sync.

and applying filters as smart filters. They also have another advantage and that’s the ability to replace their contents; for example, you could create templates with placeholder images. All you have to do is switch out the images for the working ones, and you’re ready to go. To do this, first Right-click on the place-

Layers Beneath

holder layer in the Layers panel and choose Convert to Smart

Whenever a new layer is created in Photoshop, it appears directly

Object. Add your filters, layer styles, adjustment layers, etc. Now,

above the currently active layer. You can alter this behavior by

when you want to update the image with a real working image,

holding down the Command (PC: Ctrl) key while clicking on

Right-click on the smart object’s name in the Layers panel and

the Create a New Layer icon at the bottom of the Layers panel.

choose Replace Contents. Choose a new image and it will be

When you do this, the new layer will now be created directly

inserted at the size and positioning of the current smart object,

below the currently active layer.

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group or smart object to the Libraries panel. This Library will now

059 ALL IMAGES BY COLIN SMITH

The Rules

These are my annually self-imposed guidelines for which products make it into the guide. It’s just two rules actually. First, to be listed here, they have to be products that I use myself, and that I absolutely love, and now can’t live without (well, I could live without them, but I just wouldn’t want to). Second, if a product makes the guide, it has to be one I’d recommend to a close friend without hesitation, especially if my friend was Justin Bieber.

Also, to make things easy, we put up a webpage with direct links to all the products in the guide, so you don’t have to wonder if you’re getting the exact right one. Just go to http://scottkelby.com/15gearguide. Okay, folks, hang on to any loose body parts; here we go! As is my sacred Gonzo tradition for more than a 10th of a century, I’m breaking things into three distinct categories:

S tocking Stuffers: But you can use these as actual holiday gifts if you’re not that crazy about the person. Great Value Gear: Stuff that’s a really good deal for the money, and even though it’s not a lot of money, they’ll still totally dig it.

Cha-ching!: Stuff you buy for the surgeon/Wall Street banker/rap mogul on your Holiday gift list. This is the stuff that makes them burst into spontaneous tears of joy. Well, at least I would.

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elcome to my “10th Annual Gonzo Holiday Gear Guide.” I know it’s hard to believe that it’s been ten years. When I wrote the first one, Roosevelt was still President, The Dick Van Dyke Show was a prime-time hit, and the Spice Girls

had just released Sgt. Pepper’s Lonely Hearts Club Band (please don’t dwell too long on any of that—just let it go). Anyway, that’s not important; what’s important is that there are some really cool, fun, and tasty gear in this year’s guide (including my throwback pick—the Flowbee). It’s almost time to unleash the “gonzoness” of this guide upon you,

Flash s s e l e r i kon) 605C W i F N R r o O f U xpensive YONGN Canon (RF605UN is an ine is th , s h s a O fl ix group or f r ls up to s a YONGN e o s g tr a n h e g o v t i c s a li r h d n ’t ift T they don n your g ot-shoe a er o an $40. If of their h otograph at less th s on top it p s a t If the ph e a h c th ’s r t. and it controlle ornamen ffective, wireless ique tree ple, it’s e n u im a s s ’s e It . s om of flashe en it bec O flash, th U N G N O aY .com .99 yongnuo 05N: $39 www.hk 5.99; RF6 3 $ : C 5 0 6 Price: RF

but first, some housekeeping stuff. › › k e l b yo n e . c o m

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Stocking Stuffers

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Some Cool Books

If they’ve ever wanted to create really professionallooking headshots, they’ll love Peter Hurley’s The Headshot. It came out this year and it’s already going into its third printing. A huge hit! (Full disclosure: I was the development editor, and despite that—it’s still a good book.)

If they shoot people…(let me rephrase that). If they take portraits, this is an awesome gift because it helps them get the white balance right on the money. It’s super portable (it collapses like a diffuser or reflector so it’s really small and fits in any camera bag), super lightweight, and pretty cheap. www.lastolite.com Price: $32.88

Tether Tools RapidMount SLX Speedlight Holder

Okay, so technically it’s for mounting a flash just about anywhere, but it’s really for mounting just about anything anywhere. So clever, and very affordable.

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www.tethertools.com Price: $24.95

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Our dear friend Glyn Dewis wrote quite an awesome book this year. It’s called The Photoshop Workbook and it’s packed with great techniques for intermediate users and up. If you have a few extra bucks to spend, check out Jay Maisel’s It’s Not About the F-Stop and Light, Gesture & Color. Both brilliant books (from us and Peachpit Press).

Great ValueGear Perfectly Clear Plug-in 2.0

This plug-in is pretty much your “retoucher-in-a-box” type of plug-in (for Lightroom or Photoshop) in that it applies up to 20 automatic image corrections. Yes, there are other plugins that do automatic corrections and retouching, but this is probably the best I’ve ever seen. Good stuff. www.athentech.com Price: Photoshop or Lightroom Plug-In v2: $149 Photoshop and Lightroom Bundle v2: $199

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Lastolite Ezybalance 12" 18% Grey/White Target

Every photographer and/or graphic designer/ illustrator needs Ed Greenberg and Jack Reznicki’s The Copyright Zone book. It’s full of invaluable information for protecting your work, and lots of great business advice, as well. Good stuff.

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CamRanger: Wireless Camera Control & Tethering

The Everyday Messenger by Trey Ratcliff and Peak Design

This is one of the most useful, smart, and just brilliantly designed things to come along for photographers in a while. It lets you wirelessly control your Canon or Nikon camera for everything from tethering (with touch focus) to time-lapse photography, to making movies, and more with your iPhone or iPad, Android-based mobile device, and even your Mac or Windows desktop computer, and the level of control you get is pretty astonishing. You can view images, save images (RAW and JPEG), adjust the controls all wirelessly, change metering modes, do bracketing—it’s just sick! It’s won about every industry award you can win and its fan base of evangelists around the world grows larger every day.

This awesome little camera bag/messenger bag was designed by travel photographer Trey Ratcliff, and funded through a Kickstarter program that raised more than $500,000 its first day (raising nearly $5 million total), and when I got mine, I saw exactly why. It’s beautifully made, thoughtfully constructed, very clever, holds a little or a lot (and cleverly adjusts for both), and overall it’s just an awesome camera bag that the photographer on your gift list will love you for. www.peakdesign.com Price: $249.95

http://camranger.com Price: $299.99

Platypod Pro Deluxe Kit

This is a very slick, small, lightweight camera support that you use in place of a tripod (you just put a ballhead on this incredibly sturdy plate and you’re good to go). Its small size lets you use it in places where tripods aren’t allowed, which is a big thing. I love it for doing interior photography with a wideangle lens down low, or travel photography for getting a really low perspective in a cathedral or palace, but I’m also using it for remote cameras at sporting events. It also has a very well thought-out carrying case.

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Tether Table Aero System

This is a shelf that attaches to a tripod to hold your laptop for tethered shooting, which by itself is incredibly convenient for shooting in-studio or on location, but the optional accessories they make for it are awesome, including a little under-mounted holder for external hard drives, to a secondary holder for your iPad, to a pullout drink holder that I personally just love. It’s totally worth it. www.tethertools.com Price: Starting at $175.95 › › k e l b yo n e . c o m

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www.platypodpro.com Price: $49.95

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Use MPIX to Print, Mount, Frame, and Deliver One of Your Own Images

Westcott Apollo 50" Mega JS Softbox for Hot-shoe Flash

This is a really personal gift—giving one of your images, framed, to someone else. The impact this will make is pretty incredible. Expect them to follow you around like a puppy for the rest of the year for giving them something only you could do. You upload your image to MPIX.com; pick your mounting, framing, etc.; and they’ll ship it directly to the person on your gift list. Don’t go chinchy on the size—get a 16x20" or larger (figure around $100 with mounting, framing, printing, and delivery or more if you choose a larger size).

It’s a big, beautiful, super portable, lightweight softbox that’s a miracle for the money. Perfect for lighting portraits, full-length shots, or even group shots, all with just a single flash. It collapses like an umbrella but forms into a big ol’ 50x50" softbox, and at $169.90 you can’t beat it.

www.mpix.com Price: Varies

www.fjwestcott.com Price: $169.90

Vello Shutterboss Version II Timer Remote Switch

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If you have an iPhoneographer on your Holiday list, this gift will blow them away. It’s a pro-quality 20-megapixel camera lens and sensor that attaches to your iPhone via a lightning connector, and the results are pretty stunning. With its f/1.8 aperture, now you can take shots with those soft out-of-focus backgrounds right from your iPhone, but it integrates directly into your iPhone so you can still do all the iPhone stuff to the images it captures. The images are sharper, clearer, better in low light than your iPhone, and well, it’s basically a whole new experience in quality and size. www.dxo.com Price: $599

www.vellogear.com Price: $49.95

The B&H Photo Gift Card

Not exactly sure what to get them? Get them this! That way they can get whatever they want (within the limit of how much you put on the card, of course) from the greatest photo store on earth. You can order gift cards directly from the B&H site. They’ll send a card and a catalog so it looks pretty substantial. www.bhphotovideo.com Price: Up to you › › k e l b yo n e . c o m

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DxO ONE

This is so inexpensive that it probably should go under “Stocking Stuffers,” but it doesn’t look cheap, so I’m sticking it here. This accessory does double-duty—it acts as a cable release for your camera, but then it also does time-lapse photography (well, that’s actually its main act). It’s pretty well made (mine has lasted for years now), and it’s only $49.95 at B&H.

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Cha-Ching!

Canon EF 11-24mm f/4L USM Ultra-Wide-Angle Zoom Lens

This is the greatest super-wide-angle lens I’ve ever used, and I believe it’s the widest wide-angle lens ever made without becoming a fisheye lens. It’s sharp as a tack, it’s a rectilinear lens so it minimizes distortion, and the images you’re able to capture with it are just stunning. It’s just so darn wide! I love it! Of course, this much love doesn’t come in a cheap package. It’s around $3,000 but for the greatest wide-angle ever made, it’s worth it. www.usa.canon.com Price: $2,999

If you want the photographer on your list to fall in love with you with a burning passion that knows no bounds, get them this awesome little battery pack that can use two small lightweight (but very powerful) flash heads. This is what I use when I want studio-quality light on location, and this latest version is better than ever. It has its own built-in (better) version of high-speed sync for freezing motion and strobe special effects that’s just awesome. Very lightweight battery back, well designed, and incredible for the money. www.elinchromus.com Price: $1,019 (without optional Lithium-ion battery or strobes)

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An Ultra-Wide-Angle Fisheye Lens

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I’m just saying a fisheye, because you have to pick one that fits the camera make and style (crop sensor or full frame) that the photographer on your Holiday gift list uses, but whichever brand you wind up getting, they’ll super-dig this special-effect lens. I use the Canon EF 8–15mm f/4L Fisheye USM zoom (for full-frame cameras), and it’s a gem ($1,249). For crop-sensor bodies, a lot of folks like the Sigma 15mm f/2.8 EX DG Diagonal Fisheye (around $600). Nikon makes an AF Fisheye-NIKKOR 16mm f/2.8 for full-frame cameras that’s right around $1,000. Their AF DX Fisheye-NIKKOR 10.5mm f/2.8 for cropped sensor DX bodies is around $771. www.bhphotovideo.com Price: Starting around $600

DJI Phantom 3 Standard Flying Camera

Everybody wants a drone copter for taking aerial shots these days. Everybody! It’s “a thing.” I know I included a copter in my list last year, but however popular they were last year, it’s pretty much quadrupled for this year, so I had to include one. It’s a really fun thing, and the DJI Standard is, well, it’s the standard! (Note: If you give this to someone, prepare to receive the same reaction a dog gives his owner when he returns home: They’ll jump up on you and lick your face. Just sayin’.) www.dji.com Price: $699

Canon imagePROGRAF PRO-1000 Professional Inkjet Printer

We have one of these in our offices, and it’s among the best printers Canon’s ever made. It’s a 17" wide-format pro-quality printer with all new guts (printhead, new inks, new technology, new special magic, etc.) to make prints that are just unbelievable in quality, sharpness, and vibrance. They’ll not even believe you bought them a printer. It will totally freak them out (in a good way). www.usa.canon.com Price: $1,299

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Elinchrom ELB 400 Battery Pack

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Cool Stuff from Us

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COLUMN

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DesignMakeover JAKE WIDMAN

DESIGN MAKEOVER

CLIENT

CLIENT

The California Avocado Commission

The California Avocado Commission

www.CaliforniaAvocado.com

www.CaliforniaAvocado.com

avocado advocacy before

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the project

CAC website when the project started

At Red Door Interactive the project got under way with a review of the website’s Google Analytics data stretching back to 2010, and measuring it against key performance indicators. The review showed that site visitors engaged most with recipe-oriented content and how-to information focused on growing, buying, ripening, and using California avocados. It also revealed that dated content and pages located deeper in the site structure didn’t attract much interest from users. Similarly, while the site contained a popular blog called The Scoop, it wasn’t integrated within the main site structure. Users had to follow a link to view the blog content, so one goal for the redesign was to achieve a more unified experience. The designers also felt that the visual aesthetic of the existing website had grown dated and didn’t match up with modern design trends. “We wanted to leverage long scroll pages and interactive components to raise the visibility of high-value content, and avoid unnecessary levels of navigation,” says Charles Wiedenhoft, Red Door Interactive’s director of strategic planning. “A lot of focus was on making it easier for users to discover new recipes by showcasing them in a visual mosaic, and improving search functionality—showing more recipes up front instead of requiring users to dig into the recipe categories.” Specific redesign strategies included optimizing the site for smartphone and tablet devices; better visual communication to enhance the overall site experience; simplifying global navigation that would make it easier to scan, with labels representative of site content; cross-linking related information to increase engagement throughout the different sections; integrating social content and the blog; and increasing the size of the social icons and on-page sharing features.

about the client makeover submissions

We’re looking for product packaging or labels, print advertisements, websites, and magazine covers that are currently in the marketplace for future “design makeovers.” So if you or someone you know has a design that 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.) We’ll also be covering real-world makeovers in this column, so let us know if you recently had a branding makeover or if you did a branding makeover for a client that you’d like us to consider.

CALIFORNIA AVOCADO COMMISSION Created in 1978, the California Avocado Commission strives to increase demand for California Avocados through advertising, promotion, and public relations, and engages in related industry activities that benefit the state’s approximately 4,000 avocado growers. The California Avocado Commission serves as the official information source for California avocados and the California avocado industry. For consumers, the Commission offers educational materials, practical tips, and facts about avocados, plus appealing avocado recipes. For growers—family farmers, some whose farms have been handed down for generations—they offer support through educational meetings, the latest news and research, legislative updates, and more. Other constituencies serviced include retailers, food-service operators, and chefs. The Commission supplies retail buyers and in-store produce personnel with the information they need to make informed shopping decisions, such as point-of-sale materials; best retail merchandising and promotional practices; sales data management; behind-the-scenes training on avocado handling; and more. And they work with chefs to come up with avocado recipes for consumers and food-service operators, as well as supplying the latter with product information, promotional ideas, materials, an industry calendar of events, and so on.

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The site as it was in 2010

The California Avocado Commission (CAC) was set up in 1978 with the mission of increasing demand and preference for California-grown avocados through promotions on and offline, as well as supporting the state’s avocado growers. A key part of that effort came through the CAC’s website, www.CaliforniaAvocado.com. In 2010 the Commission refreshed the website, which, according to online marketing manager Zachary Benedict, “was very successful in achieving the objectives at the time.” That website was widely praised for its ability to connect consumers with the names and places behind their avocados. In line with the trend for consumers who want to know more about the source of their food, the site featured photos and videos that focused on individual growers and their stories. While the content on the site remained relevant, the way people used the Internet continued to change. By 2014, the Commission noticed that smartphones and tablets were accounting for an increasing amount of site traffic, so they decided it was time to fully implement responsive design, an approach they’d been testing on certain pages since 2013. “The redesign wasn’t so much about what wasn’t working,” explains Benedict. “Rather, the Commission recognized an opportunity to better position the site with today’s top-performing websites.” While updating the site to meet the demands of current Internet users, the Commission wanted to make sure it continued to represent top-notch design. “The California avocado is the premium avocado in the domestic market,” says Benedict, “so it was important that our website felt high quality while communicating all of our competitive advantages.” With that in mind, the Commission approached marketing and design firm Red Door Interactive about giving the site a refreshed, responsive look and moving it to a new platform, as well as implementing a managed hosting solution that would scale as the Commission grew its online and offline initiatives.

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DESIGNER

DESIGNER

www.reddoor.biz

www.reddoor.biz

Red Door Interactive

the process

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Just a small section of the sit map

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“Red Door’s website redesign process follows a data-driven approach,” Wiedenhoft explains. For example, the existing website had a vast amount of content, which was organized in a broad and deep information hierarchy. “From the beginning, we focused a lot of effort on ensuring that only the highest-value content was migrated to the new website. This process led to the development of a new website content audit tool and methodology.” The audit tool revealed the value of the Avocado Commission website’s content as it correlated to various dimensions such as search engine equity, social sharing, and user engagement. The Red Door team also solicited feedback from creative agency partners, public relations, and the Commission’s consumer marketing and trade marketing teams to make sure they understood how the needs of various stakeholders had changed since the previous website launched. Based on those efforts, Red Door developed wireframe schematics, homepage sketches, and site maps to define how users would interact with various website features, such as global site search and recipe content, and to validate their usability. The wireframes also provided a context for client feedback and approval before moving into the visual design aspects. As for the details of the visual design, there weren’t a lot of questions. “Because of our close relationship with the client and clear brand guidelines, we had a unified sense of direction on creative aesthetic and main messaging,” says Wiedenhoft. The firm did experiment with some minor variations along the way, though, such as white sans-serif type on a dark-green background with a diamond texture vs. black serif type on a light-colored background for the body copy. As with every website redesign project, Red Door found itself having to make tradeoffs with scope and features as the project went along. “There are far too many unknowns in the beginning to anticipate the required level of effort precisely,” says Wiedenhoft. The team maintained close collaboration with their primary client contact, which helped remove communication hurdles and allowed for rapid reprioritization of website features and functionality throughout the project.

DESIGN MAKEOVER

Red Door Interactive

the result

From the Commission’s side, the redesign effort was a great success. “When landing on www.CaliforniaAvocado.com, you’re now greeted with appealing visuals, a clear distinction that you’re on a website that focuses on California-grown avocados, and delicious-looking recipe images that entice the appetite and reinforce CAC’s premium positioning,” says Benedict. He also points to the successful integration of the site with the Commission’s offline campaign efforts, saying, “There are subtle nuances throughout the site that tie in to the offline look and feel.” Red Door Interactive is also involved with the Commission’s existing creative efforts, which both makes it possible to incorporate the upcoming campaign’s overall appearance and lets the Commission adapt the site to future campaigns. The site redesign also came at an ideal time: Just a week or two after it was launched, Google announced a change to its search algorithm that would penalize websites that didn’t have a mobilefriendly presence. The responsive design effort should pay off in that respect. Red Door has continued to run analytics on the site. In its first full month since the launch, the site attracted an all-time high number of visitors, while page views increased almost 150% over the same month last year. More than half of the site traffic is coming from mobile devices (a year-over-year increase of 1,000%), and visits from organic search have remained steady. “As the manager of the project on the client side, I’m pleased and satisfied with where we ended up,” says Benedict. “Red Door Interactive did a fantastic job.”

about the designers RED DOOR INTERACTIVE

Experimenting with design variations

Started in 2002, Red Door Interactive (www.reddoor.biz) currently comprises a team of more than 60 people distributed among three offices: at Petco Park in San Diego, California; by the beach in Carlsbad, California; and in downtown Denver, Colorado. With more than a decade of experience, a competitor’s attitude, and a yearn to learn, the firm claims the ability to help its clients “find opportunity in the haze of constant battle, zig when others zag, and work a plan.” Red Door builds its culture on such management and leadership tools as StrengthsFinder 2.0, Topgrading, Ownership Thinking, and Lean Six Sigma. The result is award-winning work and a workplace to attract and retain the best talent. The company culture is defined by the values of inspiration (working with passion, pride, and purpose to encourage each other to take chances); sharing ideas, skills, and philosophies; evolution, or changing in order to grow; and exceeding, or looking for ways to take the next step. The company is also committed to a “100% jerk-free culture” of open-minded acceptance and respect. ■

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DESIGN MAKEOVER

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LIGHTING WHAT FUN WE HAD A FEW MONTHS AGO, TRYING TO PHOTOGRAPH-

more to the subject than when a portrait is taken above or below eye level; however, if you take a look at some of the models in the swimsuit issue of Sports Illustrated, you’ll notice that some of the photographs are taken below eye level. That technique gives the model a great sense of strength and power in a photograph.

TAKING A PORTRAIT SHOT

MY “STUDIO”

The opening photograph for this article, made with my new Canon EOS 5Ds and Canon 100mm f/2.8 lens, is my version of the Frida Kahlo poster. The detail captured by the Canon 5Ds (including the smallest eyelash) is astounding. I like using the 100mm lens—actually a macro lens—because it’s super sharp, provides comfortable working distance between my subject and me, and, at wide apertures, puts the background slightly out of focus so the subject is more prominent in the scene. Speaking of backgrounds, separation between the subject and the background is often important, but not always. Putting the background out of focus is just one way to separate the subject from the background; another is to use an additional light (which I didn’t do in this case). If you want more ideas for separation, try positioning a light (out of sight) behind the subject’s head, aiming it toward the subject. Or, for a pleasing hair light, place a light behind and off to the subject’s side and aim it toward the subject’s head. When taking a portrait, I usually like to shoot “eye to eye,” i.e., at the subject’s eye level. When a photographer uses this technique, the person looking at the photograph can relate

As I don’t have a professional photo studio, I turned my office into a temporary studio, and here’s a shot I took of Glo before the official shoot. I asked her to pose so I could test the lighting before we got serious—if you can call having this much fun being serious. I always do test shots to ensure that I have the lighting right, because the last thing you want to do when working with a model is to waste her time while you make lighting adjustments. Unlike my good friend and fellow KelbyOne instructor, Frank Doorhof, I don’t use a hand-held light meter to get a good exposure. Rather, I use the light meter that’s built into my camera. I use the histogram to make sure that I don’t have a spike on the right, which would indicate an overexposed image, and the highlight alert to make sure I don’t have “blinkies,” which also indicates overexposed areas of the image. My lighting consisted of two daylight-balanced Westcott Spiderlites in softboxes, which provided beautiful, constant, even, and soft light. Why did I use Spiderlites over Canon Speedlites in Westcott Apollo softboxes—even though I use these quite often? Because I’ve found that the Speedlite’s

By Rick Sammon

ICALLY INTERPRET A FRIDA KAHLO POSTER THAT I’D SEEN ON THE

WEB. I FOUND THE POSTER AFTER WATCHING THE MOVIE FRIDA (STARRING SALMA HAYEK AS FRIDA AND ALFRED MOLINA AS HER HUSBAND/ARTIST DIEGO RIVERA), AND THEN BY DOING A SEARCH ON THE WEB FOR THE MEXICAN’S ARTIST’S LIFE AND WORK—WORK THAT I FIND CREATIVELY EVOKING AND PERSONALLY INSPIRING.

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FRIDA

hen I say “we,” I mean my model, Gloriana “Glo” Gonzalez (my friend Gonzalo’s daughter), and my stylist/photo assistant, Susan Sammon, who happens to be my wife. The project was surely a team effort, so I only take one-third of the credit (honestly) for the final photograph, which is one of my favorite studio portraits.

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it displayed on Glo’s iPhone, so we could match the position of the props as closely as possible. Note: Good make-up makes all the difference in the world, which is why make-up artists on pro photo shoots can make several hundred dollars a day. And never underestimate the importance of a good model; that’s why top models make thousands of dollars a day.

THE MODEL Here are two fun shots of Glo, my model for this shoot. The one on the left is while I was testing the lighting; and on the right, I was joking around with Glo so she’d be relaxed for the shot. I find this pre-shoot time is important in developing a rapport with my subject.

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Earlier on the day of the shoot, our team went to a Jo-Ann Fabric and Craft store to pick up the props that we needed: material background, flower headpiece, and costume jewelry. (Cost was $80 with Glo’s student discount.) I took this shot in our kitchen, as Susan helped Glo get ready. We had a printed copy of the Frida poster, and also had

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Glo has a natural inner and outer glow about her, but to enhance that glow and soften her skin, I used Perfectly Clear, a Photoshop and Lightroom plug-in from Athentech Imaging (www.athentech.com). It’s my number-one plug-in for enhancing portraits: softening skin, reducing shine, removing dark circles, and so on.

And here’s my photograph of Glo (top of next page) after applying the Beautify+ effect in Perfectly Clear. For a realistic photo effect, I like the image. ALL IMAGES BY RICK SAMMON, EXCEPT WHERE NOTED

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THE PROPS

RE-CREATE If you want to learn about lighting and portraiture, try this: Find a photograph or painting that you like and try to re-create it, but using your own style. Try to re-create highlight and shadow patterns, and to capture the same kind of expression. Another way to put it is like the title of the best-selling book by Austin Kleon: Steal Like an Artist: 10 Things Nobody Told You About Being Creative. I found the book to be inspiring. My favorite inspiring quote by Salvador Dali is: “Those who do not want to imitate anything, produce nothing.” To illustrate this idea further, do a search on the Web for “Rick Sammon Girl with a Pearl Earring,” and “Rick Sammon Old Man in a Military Custom,” and you’ll see how I “recreated” two other images. ■

LIGHTING TIPS Here are some tips for creating softer light on your subjects. • The larger the light, the softer the light. • The closer the light, the softer the light. • Don’t point the lights directly at the subject; instead, place them so the light falls across her face at an angle. The pros call this technique “feathering the light,” which produces a softer light than direct light. • And here’s a softbox tip: Get a softbox with a recessed diffusion panel, as opposed to one with a panel that’s flush with the face of the softbox. The recessed panel lets you shape and model the light on a subject’s face more accurately.

After looking at the image for a day, however, I thought I’d try a more artistic approach. To add a painterly quality to the image, I applied the BuzSim filter in Topaz Simplify, another one of my favorite plug-ins (see the image that opens this article). My advice, as with all plug-ins, is to select a preset, and then fine-tune the effect with the available sliders to create a oneof-a-kind image. This behind-the-scenes photo (below) by Susan captures Glo’s surprise when I showed her the first shot. Added to this surprise, we, as a team, nailed it on the very first shot. I took six more photographs, but the first image was our favorite.

©Susan Sammon

bright flash can intimidate a subject, and Glo isn’t a professional model. It’s also easier to see the shadows and highlights on a subject’s face when using constant lights. (Although having said that, with some Speedlites, like the Canon 600EX-RT that I use, you can get a modeling light when you hold down the depth-of-field preview on some Canon cameras, such as the Canon 5D Mark III and Canon 5Ds.) One advantage of using Speedlites over constant lights is that you can shoot at a lower ISO (for less noise) and a smaller aperture (for more depth of field). So, when using constant lights, you may need to shoot at ISO settings of 400, 800, or even higher. If you do get some noise in your photographs, don’t worry: You can reduce the noise in Adobe Photoshop, Lightroom, or with plug-ins such as Topaz DeNoise. For more advice on lighting, see “Lighting Tips.”

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by Tom Bol

But over/under photography had a lot of challenges 20 years ago, and only dedicated shooters attempted it. First, you had to set up a bulky, massive, dive housing to hold your camera. (Imagine carrying around a 20-lb basketball-sized camera setup on the beach.) Housings were finicky; one bump and the entire housing purged. I’ll never forget when a model asked me if the round dome port holding my lens was supposed to have sea water sloshing around in it. Say goodbye to that camera. And let’s not forget that there were no LCD preview screens back then, and after 36 exposures you had to open the housing and change film. Ugh! Here’s the good news: Today, your grandma could shoot over/under photographs on your next summer vacation. Cameras, housings, and technology have dramatically improved to the point that for a few hundred bucks you can create terrific over/ under images. How do I know? I’ve shot numerous assignments using underwater cameras and housings. I just returned from a shoot in the Caribbean where I used three different types of cameras to get over/under shots. So, let’s look at today’s options, and what techniques to use to create stunning water shots.

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Over/Under Photography Offers Fresh Perspectives Ever since I started my career as an adventure sports photographer, I’ve been floating in the water with a camera in hand. On one assignment I might be documenting a two-month kayaking trip in southern Chile, and the next month photographing a famous trout fisherman in Wyoming. Editors wanted fresh imagery, and that meant figuring out a way to shoot in the water. And not just simply shooting underwater, but creating a photograph that revealed both under and above the water at the same time. These images, referred to as over/under images, always caught the viewer’s attention.

There are three basic camera systems you can use to shoot over/ under images. I’ll start with the least expensive compact cameras ($200–300), which offer a lot of performance and great image quality. Most major camera manufacturers, including Nikon, Canon, and Olympus, to name a few, have a waterproof compact camera in their lineup. I’m a Nikon shooter, and I love the “bombproof” (waterproof, shockproof, and freezeproof) Coolpix AW130. Similar to other compacts, the AW130 has minimal doors, which means less rubber gaskets (i.e., fewer places for water to seep into your camera). The lens is the equivalent of a 24–120mm, and this is important for over/under photography, as you need to have a wide-angle lens that can capture below and above the water. The 24mm is about the minimum, and a wider angle is better and easier to create these images. Most compacts are waterproof to 100' or more, so you don’t have to worry about shooting on the surface. Perhaps the best thing about these cameras is that you can knock them around and they still don’t leak. And they’re small enough to put in a shirt pocket. (The GoPro could also qualify in this category; but I put this camera more into the video category, rather than a dedicated still camera.) Next in the lineup is a unique camera offered by Nikon: the mirrorless AW1. This camera is the only one on the market that is waterproof and has interchangeable lenses. Each lens firmly attaches to the camera body, and a rubber gasket keeps the water out. For over/under photography, use the 10mm lens for a wide-angle perspective. The image quality in this camera is noticeably higher than in the compacts, and with this comes a steeper price: $699.95. The Nikon 1 AW1 has more doors and interchangeable lenses, so you need to be a little more care-

ful to avoid hard knocks on the lens. This is, however, a great option between a compact and DSLR with housing. Last, and most expensive, is a system that uses a dedicated housing with your DSLR. Often the housing costs more than your camera, and will only work with that particular model; but you have full access to all your controls, and the ability to use different lenses with different lens ports attached to the housing. Hands down, my favorite lens for shooting over/under images is a 16mm fisheye with my full-frame DSLR. The 16mm lens gives you a 180° view, making over/under images simple, with room to spare. I use an Aqua Tech housing (https://aquatech.net) with dome port for my fisheye lens. The AquaTech is a sport housing that’s meant to be used at or near the surface, and it can take a lot of bumps and knocks and still keep your camera safe and dry. Note: You can go deeper with a standard dive housing, which is meant to keep things sealed tight as you descend into more water pressure; but at the surface, these housings can leak

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The Gear

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Once you’ve chosen your gear, the fun begins. You get to jump into the bathtub-warm, cerulean waters of the Caribbean and photograph marine life and super models snorkeling past! Well, maybe something like that, but you do get to shoot in the water. Let’s discuss a few tips that will help you with your over/under shooting.

Start shooting first in shallow water, ideally where you can stand: Most people aren’t nearly as agile in the water as they are on shore, especially with a camera in hand. If you’re standing on the bottom, it’s easier to get a good shot; however, be careful not to stir up the sand as this will reduce clarity and cause backscatter.

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Shoot in calm water: Next, shoot in the calmest water you can find. If you’re shooting with a small waterproof compact camera, the lens diameter may only be 1" across. To perfectly split the

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Shoot at noon: First, start celebrating because you don’t need to get up early for first light. In fact, shooting in midday sun is best for over/under photos. Why? Because water absorbs light and, just a few feet under the surface, you lose stops of light. To avoid the huge exposure difference between above and below the water, shoot at midday with lots of sunlight to minimize the contrast. Along the same lines, try shooting in sandy shallow areas, as sand reflects light. If you’re shooting in 3' of clear water in the Bahamas with a sandy bottom, there’s minimal exposure difference between above and below the water. Avoid backscatter: Backscatter is created when your flash hits particles in the water and reflects them back to your camera. In essence, it looks like a snowstorm underwater and the images go into the trash. Keep the water as clear as you can. Don’t wear a dive mask: Over/under images are created at the surface, so technically your head shouldn’t be underwater. Unless your camera/housing is designed to be used with a dive mask, don’t wear one, as this pushes your eye further from the viewfinder, which makes composing the shot harder. I will sometimes use a snorkel, as my mouth might be underwater; but my eye is above the water. Note: Compact cameras have viewfinders for normal viewing, but housings often have special eyepieces so you can use a mask to compose underwater. If I’m shooting with my fisheye, I may not even look in the viewfinder while shooting. Because there’s such a wide angle of view with this lens, I just point it in the general direction of my subject with half the lens port above water, and shoot away.

If I’m photographing a sea turtle or snorkeler underwater, then I’ll put the focus point underwater. And, if I’m using my 16mm fisheye, I often set my focus to infinity, and tape the lens at this point. When shooting at f/16, I’ll have everything from a few feet to infinity in focus.

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Over/Under Techniques

Focusing: With over/under photography, focusing can be tricky. Your camera may have a hard time if the focus point is right at the surface. If my subject is above water, I normally put my active focus point in the above-water area.

under and above water parts of the image, you need flat water. Even the smallest waves will cause lots of trouble when you’re trying to capture the perfect over/under shot. (But you may get some cool creative shots just trying.)

Cree Bol

with just one little bump. And the inexpensive, plastic waterproof camera bags will keep your gear dry, but they often fog up and don’t give you much access to camera controls and settings.

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Bring a lens cleaning cloth: Now this might be impractical if you’re going out snorkeling; but if I’m in the shallows and shooting over/under shots, I try to have a dry, cleaning cloth handy (let your friend hold it while you shoot). Every little droplet of water that lands on the above-water part of your lens will show up in your final shot, so using a cloth to wipe these off is helpful. Submerge your camera: Here’s another technique to try if you’re getting a lot of droplets on your lens: Submerge the camera entirely underwater, then quickly bring it up and shoot. Sometimes this gives you better results than shooting through a lens with lots of water spots on it.

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Over/under photography can be addictive. Imagine the strange looks you’ll get as you hike down a trail in the mountains with a DSLR underwater housing in your hand; but just think how incredible your over/under fly-fishing image will be. The viewer will see the massive brown trout hooked to the fly underwater, and the grinning fisherman above the water. Now that’s a cool shot! ■

084 ALL IMAGES BY TOM BOL EXCEPT WHERE NOTED

After the Shoot

organizing a travel shoot BY RC CONCEPCION

One of the greatest joys of photography is our ability to go out and make beautiful pictures of the places that we visit. Lightroom is one of the best places to collect and organize these travel images. Unfortunately, many of us spend lots of time shooting the images, only to mass-import them into Lightroom, and then never really do anything with them. In time, we forget all of the details of this vacation, and we don’t go back to these images to find those great moments. I’d like to give you a few tips and ideas to keep in mind for your travel shots that will help mitigate this process.

Model image by Ted Belton

Rob Sylvan

BY SEÁN DUGGAN

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Tips Tricks

BY SCOTT KELBY

Questions Answers

Maximum Workflow

BY SEAN McCORMACK

palette

Under the Loupe

B Y R O B S Y LVA N

extend your lightroom workflow with plug-ins

Lightroom Workshop

BY SCOTT KELBY

using one-click presets (and making your own!)

After the Shoot

BY RC CONCEPCION

organizing a travel shoot

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Scott Kelby

Rob Sylvan

Scott Kelby

RC Concepcion

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import the images as soon as you get home One of the best suggestions I can give you is to import all of those travel images into one spot. During the Import process, I’d recommend that you change the import destination in the To field at the upper-right corner, and create a folder on your desktop for the entire vacation.

apply general keywords to images during import

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Once you’ve created the parent folder for the vacation, you can then import the images directly into this folder. If you have pictures that you’ve taken over several days, import them into separate subfolders by using the Destination panel in the import process. This will help you keep all of your images organized on a folder level.

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During the import process is a great time to apply some keywords to your travel images; but it’s not the time for you to get specific. In the bottom-right of the Import panel, add keywords to your images that will apply generally to the trip that you’ve taken, but don’t try to add individual keywords to individual images. (Doing so will just separate you from the excitement of looking at all of these pictures.) Once you’ve set general keywords for your images, you can always go back and add specific keywords to them at a later point in time.

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try to set your images to a map The Map module, one of the most under-appreciated modules in Lightroom, can give you another way to remember the trip you’ve taken. Click on the Map module at the top to see an interactive map. (Note: For some of the map functionality, you may need an Internet connection.) If the images that you’ve selected have GPS information attached to them, they’ll appear on the map as bubbles. Some bubbles will have a number that corresponds to how many images you have at that location. This is great except that many of us don’t have a GPS locator on our cameras; but now, this is where your phone can be a great asset for your image organization in Lightroom. When I’m on location taking pictures, I always make sure that I take a couple of pictures with my iPhone. If the Location Services on your phone is turned on, and your camera has access to it, your location will be placed in the picture. Import this iPhone picture into your Lightroom Catalog, and place it inside the collection for that portion of your trip.

Here are a couple of things that you can do to speed up the process: • After you create one collection set inside the main collection set, you can Right-click on it and create a Duplicate Collection Set. Then, Right-click on the new collection set and choose Rename.

create a collection set that works When I get back from vacation or from a travel location, I’ll usually create a collection set that encompasses the entire vacation, then inside that set, I’ll create three collections named, “All Images From Trip,” “For Book,” and “To Print.” Of course, I’ll start by placing all of the vacation images into the “All Images” collection for later sorting into individually named collection sets. Once I’ve created these collections inside this collection set, I’ll create additional collection sets for each of my vacation locations. If you were just at one location, but were there

In an earlier article, I discussed a file-naming convention I use that involves a combination of camera card and day numbers. If you wanted to keep another level of organization, this would be a good place for you to do this. [Note: See Photoshop User, July/August 2015, p. 81.—Ed.]

for several days, you could do something similar, for example: Create multiple collection sets in this main collection set for Day 1, Day 2, and so forth. In each of those collection sets, you can then place two additional collections named, “All Images” and “Favorites.” While this may sound a little time-consuming, you’ll be surprised how fast you can get it done after you’ve tried it a couple of times. Having an organization like this will solve a few issues: • When your Lightroom collection is really big, the All Photographs view is hard to navigate, and you may find it difficult to isolate the set of images for your vacation without overshooting them with your mouse. Having all of the images in one place makes scrolling within that subset a lot easier. • By focusing your editing sessions on one location (or day) at a time, you can speed up the culling/editing process. • If you want to build a site or a book, this type of organization will give you a good foundation to start laying out your trip visually.

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Select your cell phone image first, then Shift or Command-click (PC: Ctrl-click) on all of the other images in the Filmstrip to select them, then click on the Sync Metadata button at the bottom right of the module. A Synchronize Metadata dialog will appear, allowing you to copy the GPS • Once you’ve created a couple of collections inside a collection set, you can select those sets by Shift-clicking them and then Option-drag (PC: Alt-drag) those selected collections into a new collection set to copy them.

• Now you can drag the images into the appropriate collections inside the collection sets and get your travel shoot a little more organized.

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matically add these pages in a book by clicking on the Preset drop-down menu in the Auto Layout panel.

information from your original iPhone picture to all of your other DSLR pictures. With one click, all of these images will now have tagged GPS information. There’s also a faster way to do this: With the iPhone image selected, go to the Map module, select all of the other images that you want to add to this location, and drag them onto the pin on the map in the Map module. Now you’ll see the picture number change, providing GPS information for all of these pictures. While a slideshow is usually the default format for sharing your images, let me take a moment to remind you that your pictures are worth printing, and would look really good in a book format. Lightroom has a great Book module that you can use to create a keepsake of your travels. I think it’s definitely worth exploring. You can also leverage the power of this Book module by not sending the book to print just yet; instead, save it as a PDF. And even in PDF form, you can choose the size and quality of the PDF that you’ll be creating.

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about which image will go where. If you want to swap images around in the book, it’s as easy as dragging the image from one page to another. This gives you complete control of how your book will read for the viewer. Now that the final images have been set and the book has been organized and cleaned up, I’d recommend that you click the Create Saved Book button near the top right, and then in the Create Book dialog, save the book inside your master collection set. This will also save the organization of those images and the settings for the book, should you want to make another copy later. It’s also great for it to stay there as a reminder: You can always switch it to Blurb, and print a hardcover copy to peruse.

You can take this further by creating your own custom arrangements for your book by selecting the Edit Auto Layout Preset in the Preset drop-down. Once you specify how you want these individual pages to look in the Auto Layout Preset Editor, you can save them for later use.

present your images in a book When you’ve gone through all of your images and edited them to be their very best, place your edited pictures into your Favorites collection for each of the sets. Proceed to the next collection set, make your edits, and move the finished files to the Favorites folder. When all of the images are complete, you can add all of those Favorite images into a larger “For Book” collection in the main collection set. The images will be sorted in chronological order, but you can rearrange them into your own order (one of the other benefits of holding these images in a collection). This will let you focus on telling the story that you want to tell for your presentation.

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Click on the Export Book to PDF button on the lower-right side of the Book module, and the book will export to a single PDF for you to view with Adobe Acrobat Reader. Having this as one PDF also helps in that you can email it to others to experience your photography laid out and developed exactly as you saw it.

When you’ve finished sorting your images, click on the Book module. If you’ve created another book in the past, you can just click on the Clear Layout button in the Auto Layout panel to stop Lightroom from working on that book. Once in this layout, you can customize how Lightroom will autoClick on the Auto Layout button and all of the images will be placed into the book, eliminating the need to worry

With this travel shoot complete, you’re now ready to tackle the next one! Oh, where will go you from here? ■ ALL IMAGES BY RC CONCEPCION

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step one:

We’ll start by looking at how to use the built-in presets, then we’ll create one of our own, and apply it in two different places. First, let’s look at the built-in presets by going to the Presets panel (found in the left side Panels area). There are seven built-in Lightroom collections (and a User Presets collection, where you can save and store your own presets). When you look inside each collection, you’ll see that Adobe named these built-in presets by starting each name with the type of preset it is (for example, within the Lightroom Effect presets, you’ll find Grain. That’s the type of preset, then it says, “Heavy,” “Light,” or “Medium”).

tip: renaming presets

To rename any preset you created (a user preset), just Right-click on the preset and choose Rename from the pop-up menu.

Lightroom Workshop

using one-click presets (and making your own!) BY SCOTT KELBY

Lightroom comes with a number of built-in Develop module presets that you can apply to any photo with just one click. These are found in the Presets panel over

step two: You can see a preview of how any of these presets will look, even before you apply them, by simply hovering your cursor over the presets in the Presets panel. A preview will appear above the Presets panel in the Navigator panel (as shown here, where I’m hovering over a Color preset called Cross Process 3, and you can see a preview of how that color effect would look applied to my photo, up in the Navigator panel, at the top of the left side Panels area).

in the left side Panels area, where you’ll find eight dif-

put there by Adobe and a User Presets collection (that one’s empty for now, because this is where you store the ones you create on your own). These are huge time savers, so take just a minute or two and learn how to Excerpted from The Adobe Photoshop Lightroom CC Book for Digital Photographers

put them to use (and how to create your own).

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ferent collections of presets: seven built-in collections

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step three: To actually apply one

step five:

step four:

step six: Now, go the Split Toning panel. In the Highlights section, set the Hue to 54 (for an amber tone) and Saturation to 80, so there’s a lot of it. In the Shadows section, set the Hue to 218 (kind of a powder blue) and the Saturation to 45. The Balance slider in the middle lets you choose the balance between the Highlights Hue and the Shadows Hue. Drag the Balance to –36, so the image is leaning toward the blues in the shadows. Now, let’s save it as a preset. In the Presets panel, click on the + (plus sign) button on the right side of the panel header to bring up the New Develop Preset dialog (shown here). Give your new preset a name (I named mine “SK Cross Process 1”), click the Check None button at the bottom of the dialog (to turn off all the checkboxes), then turn on the checkboxes beside all the settings you edited (as seen here). Now, click the Create button to save all the edits you just made as your own custom preset, which will appear under the User Presets collection in the Presets panel.

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of these presets, all you have to do is click on it. In the example shown here, I went to the Lightroom B&W Filter presets and clicked on the Green Filter preset to create this black-and-white conversion. I could be done right there with one click, but the nice thing is if you want to tweak things after the preset has been applied, you can just grab the sliders in the Basic panel and go to town!

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For example, here I lowered the Contrast to –17 (lowering Contrast is something I rarely do, but it looked way too contrasty), and I lowered the Highlights a bit more than the preset had (to –95), so I could darken the sky a bit. I opened up the Shadows a bit to +10, so you could see more detail in the dark parts of her hair, and I backed off the Clarity amount to +16 to keep the image from looking so “crunchy.” Also, once you’ve applied a preset, you can apply more presets and those changes are added right on top of your current settings, as long as the new preset you chose doesn’t use the same settings as the one you just applied. So, if you applied a preset that set the Exposure, White Balance, and Highlights, but didn’t use vignetting, if you then chose a preset that just uses vignetting, it adds this on top of your current preset. Otherwise, if the new preset uses Exposure, White Balance, or Highlights, it just moves those sliders to new settings, so it might cancel the look of the original preset. For example, after I applied the Green Filter preset, and tweaked the settings I mentioned above, I went to the Effect Presets collection and applied the preset called “Vignette 1” (as shown here) to add a dark edge effect. The Green Filter didn’t have a vignette, so it added it on top.

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Now, of course you can use any built-in preset as a starting place to build your own preset, but let’s just start from scratch here. Click the Reset button at the bottom of the right side Panels area (shown circled here in red) to reset our photo to how it looked when we started. Now we’ll create our own cross-process fashion look: Increase the Exposure amount to +1.15 to brighten things up, and the Contrast to +64, set the Highlights to +64 to make it even brighter, the Whites to –58 (a more high-key look), Blacks to –15, Clarity to +4, and Vibrance to –32 to desaturate the image a bit. That’s it for the Basic panel.

Note: To delete a user preset, just click on the preset, then click on the – (minus sign) button, which will appear to the left of the + button on the right side of the Presets panel header.

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step seven:

Now click on a different photo in the Filmstrip, then hover your cursor over your new preset. Look up at the Navigator panel, and you’ll see a preview of the preset (as seen here). Seeing these instant live previews is a huge time saver, because you’ll know in a split second whether your photo will look good with the preset applied or not, before you actually apply it.

tip: updating a user preset

If you tweak a User Preset and want to update it with the new settings, Right-click on your preset and choose Update with Current Settings from the pop-up menu.

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step eight: If you’re going to ap-

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ply a particular preset (either a built-in one or one you created) to a bunch of images you’re importing, you can actually have that preset applied to your images as they’re imported, so when they appear, they already have your preset applied. You do this right within the Import window. Just go to the Apply During Import panel (seen here), where you’d choose which preset you want from the Develop Settings pop-up menu (as shown here, where I chose that SK Cross Process 1 preset I just created), and now that preset is automatically applied to each photo as it’s imported. There’s one more place you can apply these Develop presets, and that’s in the Saved Preset pop-up menu, at the top of the Quick Develop panel, in the Library module.

tip: importing presets

There are lots of places online where you can download free Develop module presets (like from my www.LightroomKillerTips.com site). Once they’re downloaded, go to the Presets panel, Right-click on User Presets, and choose Import from the pop-up menu. Locate the preset you downloaded and click the Import button, and it will now appear in your User Presets. ■ ALL IMAGES BY SCOTT KELBY

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photoshop as external editor

Under the Loupe

extend your lightroom workflow with plug-ins B Y R O B S Y LVA N

From additional image editors to small productivity helpers to full-fledged website management, there are a growing number of software tools you can plug into your Lightroom workflow to help you get more done.

Let’s start with a look at popular external editors and how to get them to work with Lightroom, and what’s more popular than Photoshop? I know that there are many Lightroom 6 users who are still working with Photoshop CS6, so I want to start there, and then we’ll move up to Photoshop CC, and then other editors. If you go to Lightroom

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(PC: Edit)>Preferences and click on the External Editing tab, you’ll see the primary external editor listed at the top. The latest version of Photoshop installed is automatically set as the primary external editor, so there’s nothing more to configure if you’re happy with the default settings (which work for me). If you’re using Photoshop CS6, there’s an important change you should be aware of moving forward. Adobe announced back in July that Camera Raw 9.1.1 would be the last update provided for Photoshop CS6. From here on out, if you continue to update Lightroom 6 (for new camera support, new lens profiles, and bug fixes), you’ll see an incompatibility prompt when you send a copy with Lightroom adjustments to CS6.

Since you’ll no longer be able to update the Camera Raw plug-in in CS6, you can just choose Render Using Lightroom to have Lightroom create the copy instead of passing the data along to the Camera Raw plug-in. This way you still get the new camera and lens support in Lightroom 6.2 (and above) without having to convert to DNG. You can check the Don’t Show Again box and just move forward without interruption. If you’re using Lightroom CC, then I assume you’re also using Photoshop CC (which will be set as your primary external editor), and as long as you keep both updated simultaneously, you’ll never see that prompt, and can just keep moving forward.

additional external editors Moving beyond Photoshop, there are a growing number of image editors—such as ON1’s Photo Suite, apps in the Google Nik Collection, Photomatix Pro, Perfectly Clear, Topaz Labs, etc.—that photographers incorporate into their Lightroom workflows (I’ve no doubt there are more on the horizon). In my experience, these third-party image-editor apps all seem to have built the installation of the Lightroom plug-in component into their own app installers; for example, when I installed Perfectly Clear, I just ran the installer and found the option to send an image from Lightroom to the Perfectly Clear app under the Photo>Edit In menu, so there was nothing more for me to do except enter my serial number the first time I launched the program. This makes things much easier for users.

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The word plug-in can conjure up many different meanings in the Lightroom world. It’s most often used to describe third-party image-editing applications such as the ON1 Photo Suite, but in those cases the only part that really plugs into Lightroom is the ability to hand a photo (or a copy of the photo) off to the third-party app, and then have that work appear back in the Lightroom catalog. In this light, you could even consider Photoshop to be a plug-in for Lightroom. Beyond these external editors, there are a wide range of much smaller apps built by third-party developers (many of whom seem to be fellow Lightroom users) that focus on improving small, yet important, workflow tasks right inside Lightroom, such as one I use called TPG Snapshotter, or one of the slew of Publish Service plug-ins for online services such as SmugMug, 500px, and many more. Another flavor of Lightroom plug-ins are third-party Web galleries (or Web engines) that can be used in the Web module. In this column I want to take a closer look at each type of plug-in designed to help you get more out of your Lightroom experience by expanding its current out-of-the box capabilities.

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If, however, you have some other image editor that you’d like to incorporate into your Lightroom workflow that doesn’t automatically install a hook into Lightroom, you can manually configure additional external editors, too. Here’s how:

step one: Go to Lightroom (PC: Edit)>Preferences, click on the External Editing tab, and look in the Additional External Editor section.

step two: Click the Choose button and go to the Applications folder (PC: Program Files).

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step five: Click the Preset drop-down menu and choose Save Current Settings as New Preset. Enter a descriptive name in the New Preset dialog and click Create. You’ll now see that preset name available under the Photo>Edit In menu.

You can set up as many of these additional editor presets as your workflow requires. While these external image editors are great, there are also a number of cool apps that you can plug right into Lightroom itself.

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place where you can enter your serial number to get out of trial mode.

using the plug-in manager Under the File menu you’ll find the option to open the Lightroom Plug-in Manager, which is how you can add small tools designed to assist you with a wide range of tasks, such as exporting directly to a compressed zip file, search-and-replacing text in the metadata fields, or the batch creation of snapshot settings, to name a few.

step three: Select the application executable file you want to use. In my case I selected an old copy of Snapseed for the desktop. Click Choose (PC: Open) to confirm your selection and return to the preferences.

When it comes to using these types of plug-ins, accessing it will somewhat depend on the task with which it’s designed to assist you; for example, the Snapshotter plug-in can be found under the File>Plug-in Extras menu, while other plugins, such as the Zip Exporter plug-in, might only be found in the Export dialog. Each plug-in author provides some level of instruction and support for their plug-ins, so be sure to check the author’s website for info specific to your plug-in.

step four: Back in the Lightroom preferences, configure the File Format, Color Space, and Resolution fields to your liking. These will be the settings Lightroom uses when it creates a new copy to send to that external editor.

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step one: Unzip the plug-in file, which will have an .lrplugin file extension, and place the plug-in in a folder that you’ll be able to find easily. I created a folder named “Lightroom Plugins” for this purpose.

extending the web module

step two: Open the Plug-in Manager via the File menu.

but you can add a number of third-party Web engines to

step three: Click the Add button and manually navigate to the folder where you stored your .lrplugin file. Select the plug-in and click Add Plug-in to confirm your selection. This adds the plug-in to Lightroom.

The Web module often gets overlooked for being too simple, Lightroom that can greatly expand your website options. There are a few Web engines available on The Photographer’s Toolbox worth checking out, including some that allow you to go way beyond the basic Web gallery. My favorite source for Web module plug-ins is The Turning Gate

step four: Confirm that the plug-in is installed and run-

(www.theturninggate.net), which has the most full-featured

ning. If you’ve purchased the plug-in, there will also be a

and robust Web plug-ins I’ve ever found.

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My favorite place to find these practical and useful Lightroom plug-ins is The Photographer’s Toolbox (www.photographerstoolbox.com), but you can also click the Adobe Add-ons button in the Plug-in Manager to visit the Adobe Add-ons website, where a large number of developers have made their work available. Once you find a plug-in you’d like to try, you’ll download the file (and most that I’ve encountered have a freetrial option), which will most likely be compressed into a zip file. Here’s how to install this type of plug-in:

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Like the previously mentioned plug-ins, the third-party Web engines will be downloaded in a zip file that you’ll need to unzip before installing. Once unzipped, you’ll see that the Web engines have an .lrwebengine file extension. These aren’t installed with the Plug-in Manager, though. The basic installation process requires copying the .lrwebengine file to a special Web Galleries folder on your operating system. Consult the installation instructions for the Web engine you’re installing for the proper path on your ope­ rating system. Once installed, you can access the new Web engines from the Layout Style panel just like the built-in Web galleries. The big difference with these Web engines is the range and depth of new options you can configure, some of which can empower you to create an entire Web presence right from the Web module.

As Lightroom continues to become the central hub of a photo­ grapher’s workflow, I expect to see more of these tools enter the picture to help us do more, and do it more efficiently. ■

ALL IMAGES BY ROB SYLVAN

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what is palette? Palette is a modular system based on magnetic modules with pins and contacts. The Palette power module (called the Palette core) connects to the computer via a USB cable. No further power is required; it all comes from the USB connection (there’s a power adaptor connection, so it’s possible to power it externally). The Palette core contains an OLED screen that’s bright and easy to read, showing the currently active profile. There are three module types that connect to the Palette core: the slider, the dial, and the button. The button looks like a proper arcade gaming button with a reassuring feel in use. The dial rotates continuously, while the slider is a simple but efficient fader. The modules are well constructed and reassuringly solid, with an Apple laptop aluminum finish (there’s a wood version in the works, as well). Each top panel is surrounded by a small gap near the edge where an internal programmable LED shines through. Each module has pins on one side, and contacts on the other three. The pins from any module must connect to the Image courtesy Palette; Picture of model: Ted Belton

connect to the Palette core. The second module pins must connect to the first and so on. The connection is made with

palette BY SEAN McCORMACK

The install process for Palette

strong magnets, so the modules remain connected, as long

step two: In PaletteApp, choose Lightroom from the list

as you leave them on your work surface. It can be picked up,

to start creating a new profile. Profiles contain the settings

but is liable to disconnect more easily.

you apply and can be saved for reuse. The application will tell

As well as being a MIDI, Palette works with a number of

you to connect the Palette core.

Adobe products, including Lightroom, Photoshop, and Pre-

“Maximum Workflow” has looked at a lot of soft-

miere Pro. It’s also profile based, meaning you can change

ware to help when working with your images in

setup for rating, another for editing, one for lens correction

Lightroom, but software isn’t the only thing that can boost your workflow. This issue we’re looking at an awesome gadget that speeds up this work. It’s called Palette and is available from http://palettegear.com. Palette began as a Kickstarter project and launched last July. It has been rolling out product and kits ever since.

what the setup does by changing the profile. You can have a or split toning, etc. Any of the Lightroom functions available can be added to any profile. You can also program buttons to change between profiles for quick access.

setting up palette Let’s take a look at how to install and set up Palette.

step one: Download the current version of the software from http://palettegear.com/start. Install the software and then run PaletteApp.

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Maximum Workflow

previous module. So the pins from the first module must

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step three: Once connected, the name of the current

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step six: To name the profile, click on the Profile 1 tab

where the party asked for another shot. For images I want to

step eleven: Finally, press the keyboard shortcut you

profile (Profile 1 in this case) will show on the Palette core

or click on the Palette core in the app. Type the name and

keep, I just move on to the next shot.

want to apply. Here it’s the Right Arrow key (KEY Right). Click

module, and the core will appear in the software window.

click Done.

You’ll also see the name of the profile in the tab at the top

step eight: Go through the modules until you’ve as-

of the application. It’s neat how the app reflects the current

signed a function to each. I have one left to do here, but

physical module configuration.

the option to move to the next shot isn’t in the menu. That’s

Done to apply the setting.

okay though; I can add it manually. I could add a Pick button, but really I just want to go to the next image, so I need to add a Right Arrow shortcut.

step twelve: The Palette is ready to go! But that’s not all we can do to help speed up our workflow. Each module also has a colored LED surround that can be changed to make

step four: Start to attach the modules to suit your task.

it easy to remember what it does. Plus, it looks cool. It’s my son’s favorite feature!

As each module is attached, the app will update to reflect

Click on the light-blue square at the top right of a module

the addition.

step nine: To get this, click on the unassigned button module, and from the list, choose Keyboard Shortcut.

in the PaletteApp to select a different color for that module. Things like red for reject and green for next/keep are a good idea, and make sense visually.

step seven: To assign a function to a module, click on it in the app. Dials, sliders, and buttons all have different options. Once a module has been assigned a function by the PaletteApp software, it remembers it. Even if you disconnect and reconnect it, the function remains active. I’m going to create a profile to suit my nightclub processing. For this,

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little, and occasionally I’ll use Shadows. I find dials better for

als, and two sliders. You can purchase a few different kits and

commonly used controls (see “Using Palette” for why!). For

add-ons depending on the number of modules you need,

nightclub shoots, I tend to reject images I’m not going to

and I’ve listed those at the end of the article.

deliver (e.g., shots that were out of focus), or duplicate shots

step ten: Next, click the green button to activate the Press Action button.

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step five: The setup I have contains two buttons, two di-

I generally use Exposure and Highlights a lot, Crop Angle a

Congrats, you’ve just made your first profile.

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working with profiles

In use, the dials and sliders can control the same things,

Now that you’ve created your first profile, it’s worth saving it

but there are definite differences in how they operate. The

for easy access and for sharing. Click Save Profile on the top

dial has no center and rotates indefinitely. This means it picks

right of the screen. For easy reference, use the same name

up the current setting immediately, and changes depending

as the profile for the filename. To load a profile, click Load

on how you rotate the dial. You can also press the dial down

Profile, navigate to the folder in which you’ve saved your pro-

to get a greater amount of the dial setting applied as you

files, and select one.

twist—in a similar fashion as holding down the Shift key.

A recent feature addition is Share Profile. Clicking this

Sliders, on the other hand, jump the setting to wherever the

opens a webpage (http://palettegear.com/presets) where

slider is situated when you start to move it. As much as I like

you can upload a saved profile. You can also download

that the sliders represent what you see with Lightroom slid-

profiles that other users have shared. In fact, you’ll find my

ers, I prefer the action of the dial, so for my next addition,

Nightclub Photo Workflow profile there.

it’ll be dials.

purchasing a palette system Palette can be purchased in a number of configurations starting at $199 for two arcade style buttons, one slider, one dial, and the power module. The Expert kit is $299 and contains a more useful setup: the Palette core, three dials, two sliders, and two buttons. There’s also a Professional kit that’s available in aluminum, as well as wood, which lists for $499 and $899, respectively. Both contain the Palette core, four buttons, six dials, and four sliders. Buttons can be added for $29, with dials and sliders listing at $49 each. Note: You must have a kit for these add-on modules to work. If you’re looking to get started with Palette, the Expert kit is the best value.

You can create a series of profiles to perform different tasks. Clicking a profile tab in the app will switch the Palette to those settings, and the Palette core will flash the name of the new profile to show it’s loaded. This way you can perform many tasks with a smaller kit. I’d recommend getting an extra

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Image courtesy Palette

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button and setting it to Next Tab in the Palette Functions menu option. This will allow you to toggle through all the profiles that are available. Another additional button would allow you to add the Previous Tab function.

using palette

The Professional Wood Kit

Once a profile is created and the PaletteApp is running,

I’ve used MIDI-based systems with Lightroom in the past, and

launch Lightroom. A bezel will flash up saying, “Palette:

I have to say I really like using Palette. It’s halved my process-

Connected!” The hardware will now run as if it were native

ing time on my nightclub work, which is done directly after

to Lightroom.

the shoot. It means I get to bed quicker, which is fantastic motivation for using a product like this. If you’re looking for a gift idea, this is an excellent one. It ticks the boxes for looking great and saving you time. ■ ALL IMAGES BY SEAN McCORMACK EXCEPT WHERE NOTED

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Questions Answers I don’t see the advantage of Lightroom’s built-in HDR except for the fact that it combines three images into one. When it’s done, it looks just like the normal exposure. What am I missing? Well, I always say it looks like the normal exposure with a 1/2-stop or so brighter; but you’re right, it doesn’t look “HDR’d” or tone-mapped, as you’d normally see. So, what’s the advantage? It’s mostly that you can now open up the shadow areas quite a bit without seeing noise, so you can push what you do farther in Lightroom postprocessing without the image getting all noisy on you. I’ve also found that the images seem sharper (to my eye anyway), and oftentimes, I don’t apply any sharpening to these combined HDR images for that reason: They already look on the edge of crunchy. Give it a look and see what you think.

I know that Lightroom has a built-in tethering feature, but when I start it up, it never connects to my camera. I’ve watched videos on it, and I’m following the step-by-step instructions, but it never connects. Am I doing something wrong?

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First, make sure that you have the latest version of Lightroom—tethering support is often added in free updates from Adobe, so check that first. If you do have the latest version, it’s possible that your camera make/model isn’t supported for tethering. Adobe posts a list of cameras they currently support at this link: https://helpx.adobe.com/lightroom/kb/tethered-camera-support.html. If your camera isn’t on that list, it won’t tether (and my guess is, that’s what the problem is).

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Sometimes when I’m working on an image, the name of the image and some EXIF data appears over the image in the upper-left corner, and sometimes it doesn’t. Why is that? It’s probably because you’re accidentally toggling this Info Overlay on and off during your work in Lightroom, but it’s not your fault. It’s easy to accidentally engage/disengage, because the shortcut is simply the letter I on your keyboard, so you see how

ADOBE PHOTOSHOP

SCOTT KELBY

you might accidentally switch it on/off during any session. By the way, depending on which module you’re in, you might have to tap I more than once to hide it again.

If I imported a bunch of images and forgot to ask for smart previews when I imported them, is there a way to have Lightroom build smart previews now, or do I need to re-import them, and apply it then? You can convert them now. Go to the Library module and choose the collection (or folder if that’s how you work) of images that you want to have as smart previews. Press Command-A (PC: Ctrl-A) to Select All (so that all of the thumbnails are selected), then go under the Library menu, under Previews, and choose Build Smart Previews. That’s it!

Lately Lightroom has been running pretty sluggishly for me. As I have 82,000+ images in my main catalog, am I getting close to the limit, or is it something else? I don’t think it’s the 82,000 images; you can add a lot more than that with no problem. But here’s something you should try: Go under Lightroom’s File menu and choose Optimize Catalog. This runs a cleanup routine that could well put that spring back into your catalog, and get you back to full speed. My guess is that will do the trick. Give it a try.

I went back to a book I created last year in the Book module and the layout was a mess—photos were missing and in the wrong order. Is there a way I can keep my photos in order and in the layout where they’re supposed to be, without replacing them manually? Absolutely. Once you’ve completed a layout, look up in the top-right corner of the layout area where you see your book, and you should see a button called, Create Saved Book. If you don’t see it, press the Backslash key (\) on your keyboard, and the button will appear. When you click the button, it creates a new collection with your images in place, and in the right order, so you can go back to it anytime, and your layout will still be perfectly intact. This new Saved Book collection will appear in the Collections panel right under your original collection, but the icon will look like a little open book, so you’ll instantly know which is which.

I love the new Dehaze slider in Lightroom, but I don’t always like what it does to the entire image; for example, sometimes it makes the sky look noisy, or it has weird colors. Will Adobe ever add Dehaze as a brush so we can apply it just where we want? While it’s not a separate brush in the latest update of Lightroom CC, Adobe added the Dehaze slider to the Adjustment Brush (K). You’ll find it in the Adjustment Brush panel, between the Clarity slider and the Saturation slider. I have to say I was thrilled to see this because, as much as I love Dehaze, in some situations, I had the same results you were getting in the sky and such. Glad they’ve added it.

I heard that there are a bunch of new features—like built-in vignettes and a black-and-white conversion tool—in Lightroom Mobile, but I can’t figure out where they are. Are they hidden?

Well, kinda. When you tap on the Adjustment icon at the bottom of your image, it takes you to the Basic panel adjustments; but if you look over on the far left, to the left of the White Balance pop-up menu, you’ll see a little icon that looks like a lens opening. Tap on that icon and a list of other adjustments appears, including the Vignette and Black & White options. And in this latest update, Adobe has added Dehaze as well, but it’s on a slider. You can’t brush it on like you can in the desktop version of Lightroom (see the “Dehaze” question above), but I hope that’s coming soon. (Note: Adobe has done some amazing brush-on-screenwith-your-finger technology in the free Photoshop Fix app, which is pretty remarkable unto itself.)

Is there a way to get rid of the gray bar that appears beneath my photo? I don’t use it for anything, so why should I need it if it’s just taking up space? That’s a secondary toolbar, but it mostly has options for tools you’ve chosen from the toolbar at the top of the right panel area or elsewhere (like the White Balance Selector [W] eyedropper in the Basic panel). You can hide it altogether by pressing the letter T on your keyboard, which toggles it on/ off; but you can also hide it temporarily by just pressing-andholding T. While you hold T down, it’s out of sight; when you release it, the toolbar comes back.

I know we have multiple undos through the History panel, but I have two questions: How many undos do we get; and is there a keyboard shortcut for it, or do I have to go to the History panel every time? Well, there are things it shares with Photoshop’s History panel, and things it doesn’t. For example, you’re not limited to just 50 undos in Lightroom (which is the default setting in Photoshop): It automatically keeps track of all your changes. If you made 500 changes, you can undo 500 times, and get back to where you started—or you could, of course, click Reset to get back to where you imported the image. Like Photoshop, though, Lightroom uses the same keyboard shortcut for undos without your having to go to the History panel at all: Command-Z on Mac, or Ctrl-Z on a Windows PC. ■ ALL IMAGES BY SCOTT KELBY

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TipsTricks soft proofing in lightroom cc

SEÁN DUGGAN

Soft proofing is a way to alter the display of the image onscreen so that its appearance will reflect how that image will look when converted to another color space, or when printed using a specific printer and paper combination. It’s known as a “soft” proof because it’s one that’s created on a screen display, as opposed to a hard proof, which is an actual print.

For an inkjet printer, choose the profile that represents your printer and the type of paper you’ll be using, or the printer/ paper combo used by your print vendor. There are two rendering intents you can use: Perceptual and Relative Colorimetric. Depending on the image and the profile you’re proofing to, these may produce slightly different results. On some images, you may not be able to discern any difference between the two. Give each one a try and see how it affects your image. If you prefer one over the other, you can use this same rendering intent when you go to make the print. There’s also a checkbox here for simulating paper and ink properties. This can be useful in the print visualization process since backlit displays are much brighter than reflected light on paper.

calibrate and profile your display

create proof copy

In the previous column, I covered some useful tips for working in the Print module in Lightroom. For this issue’s column, we’ll take a look at a topic related to printing, but one that can be found in the Develop module: Soft Proofing.

proofing is enabled. If you’d rather use a different neutral color, Right-click on the background and choose another option from the contextual menu (this shortcut also works for changing the background color when you aren’t in Soft Proof mode).

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what is soft proofing?

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Soft proofing relies on accurate ICC profiles, both the profiles that describe the printer and paper combination, as well as the one that describes your display. Having a calibrated and profiled display is an essential component in a color-managed workflow. You may not feel the need to calibrate your display, especially if the prints you make or receive from print vendors come back looking as you expect and are a reasonably close match to what you see on your screen. But if there’s ever an issue with the appearance of your prints being significantly off from what you see on your display, and you bring this up with the lab that does your printing, one of the first questions they’ll ask is whether or not you have a calibrated and profiled display. To get the most benefit from the soft-proofing capabilities in Lightroom, make sure that you do have a calibrated and profiled display. Products such as the Spyder5 by Datacolor or the i1Display Pro and ColorMunki by X-Rite, are important tools to ensure that what you see on your display is an accurate representation of the colors in your images.

soft proof keyboard shortcut

set profile and intent Use the Profile menu under the histogram to set the profile for the destination space, as well as the rendering intent, which controls how the conversion from one color space to another is handled. For images destined for the Web, or for proofing a book project that you’ll send to Blurb, use sRGB. If you’re using a different online vendor for your book project, double-check with them to see what ICC profile they recommend for their reproduction process.

When viewing the soft proof of the image, you may decide that you want to make some changes to get certain colors to look better. Since changes made to an image for a specific output device may not be how you want the main version of the file adjusted, click the Create Proof Copy button under the histogram to create a copy for soft proofing. Or, once you begin to make any changes to the Develop settings, Lightroom will ask you if you want to make a proof copy. Proof copies are essentially the same as virtual copies, but are used for soft proofing.

view out-of-gamut colors Soft proofing for the Web to the sRGB color space

To activate soft proofing, you need to be in the Develop module. Turn it on and off by clicking the Soft Proofing checkbox under the large preview or simply use the handy keyboard shortcut of S. A label on the top-right side of the preview area will indicate that you’re viewing a Proof Preview.

change the background color The background surrounding the image preview, which is normally a gray tone, will change to paper white when soft

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Soft proofing for an inkjet print to an Epson printer/paper profile

some areas of highly saturated blue colors are showing up as out of gamut for Epson Velvet Fine Art paper. Glossy coated papers do a much better job at reproducing brighter, more saturated colors.

adjust out-of-gamut colors To adjust out-of-gamut colors, try using the HSL controls along with the Targeted Adjustment Tool (the small “target” icon in the upper-left corner of the panel) to click-and-drag down on the affected colors to bring them back into gamut, either by decreasing the Saturation of that color, modifying the Luminance, or sometimes by slightly altering the Hue value. If this affects other areas of the image in a way that isn’t acceptable, try using the Adjustment Brush (K) to paint in a lower Saturation value over just the affected areas. In the example of the night photograph, the blues had been saturated quite a bit prior to the soft-proofing process. By backing off on this adjustment, the blues were brought back into gamut for the targeted printer/paper profile.

In the top-left and -right corners of the histogram where the shadow and highlight clipping buttons normally appear, you’ll see an icon on the left side for monitor gamut, and another on the right for destination gamut. Click the Destination Gamut Warning icon to turn it on and see if any colors in the image are out of gamut for the current print profile space. The keyboard shortcut to toggle this on and off is Shift-S. A bright-red overlay color will appear over these colors. (The out-of-gamut overlay color for the Monitor Gamut Warning [icon on the topleft corner of the histogram] is blue.) You’re more likely to see out-of-gamut warnings with bright and highly saturated colors, especially if you’re proofing to a watercolor or matte surface fine-art paper. In this example of a night photo, for instance,

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Review by Erik Vlietinck

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Painter 2016 has received some much-needed inerface improve­ ments as well as new brushes and capabilities that enable artists to have more fun and get closer to an analog painting experience. Photoshop artists will be happy too, with brush import capabilities. The first thing you’ll notice when launching Painter is the updated Welcome screen that has a cleaner look and direct access to the online Painter store where you can buy brushes and media. Another improvement (but it won’t blow you away) is what Corel calls “Document Views.” Give it a try, and you’ll discover it just boils down to a better integration with OS X capabilities, like Full Screen mode. There were a couple of more hollow phrases in the marketing talk for this upgrade, but most of the new features are really worthwhile. For example, Painter 2016 has the ability to import Photoshop brush files as well as to export your tools to the Painter “box” format, which in essence is the format of custom tool palettes. It comes with many benefits, and the ability to create custom tool palettes for export allows you to really make the interface look and work the way you want. What I’m always most curious about when a new version of Painter is released, is whether there will be new brushes, and surprisingly, there’s an awesome new set of them. Dynamic Speckles brushes combine the Particle System physics that were introduced in Painter 2015 with brush-thickness controls (pen touch, speed, pressure, etc.). The result is that your painting experience gets unbelievably close to painting with natural media brushes. The Dynamic Speckles brushes add a subtly random feel to your strokes, and best of all, you can tune them to your liking by fiddling with the many advanced brush controls at your disposal without losing that subtle touch. Strangely enough, these totally artificial-looking brushes come closer to the real thing than Painter’s copies of the real ones (Real Watercolor comes to mind), if a natural “feel” is possible at all without replacing a plastic or glass graphics tablet surface by physical media. Among the new painting features, there’s also one that I personally think is no more than a gimmick: Audio Expression. With this feature you can play music or recite your favorite Shakespeare sonnet, and the brush will respond to the

sound level and frequency. It’s fun, but I doubt if it will add much to your creative control. In my opinion, new dab types are more useful, and Painter 2016 has a few. The new dab types apply to both Particles and Liquid Ink or Watercolor brushes. Paper and Flow Map rotation are also a big improvement. These two allow you to change the angle of the texture and Flow Map, resulting in subtle or dramatic changes (depending on the media) in the look of a stroke. It’s the grain that gets rotated, which makes it look like you’re really working on physical media. Blending 2, an improvement that’s probably long overdue, improves multicolor blending so you won’t have to put up with white or black fringes anymore. A last overdue feature that I welcome is a set of Hints and Tooltips. Unless you turn them off, you’ll now get help with almost anything you do. Change a brush parameter? A Tooltip shows you graphically what to expect. Brushes come with a complete help panel (Hints). For a complex app like Painter, these two helping hands will appeal to newcomers as much as experts who don’t want to memorize every brush. ■ Company: Corel Corporation

Price: $429

Web: www.painterartist.com/us

Rating: ◆ ◆ ◆ ◆ ◆



Hot: Improved help; new brushes; rotation of Flow Maps and grain



Not: The Audio Expression feature looks far-fetched

The user interface is remarkably simple and intuitive. You can be up and running in no time and integrate the brushes into your workflow with a minimal learning curve. The recent 1.1 update has nondestructive layer support so you can apply the effect to a duplicate layer, and when it returns to Photoshop, it appears on a transparent layer. The plug-in retails for $49.99 and comes with a brush Starter Pack that includes 11 sample brushes, one each from the 11 brush packs, which are available at an additional cost of $29.99 per pack. I’ve played with all the brush packs and they’re all very cool. ■ Company: Corel Corporation

Price: $49.99

Web: www.painterartist.com/us

Rating: ◆ ◆ ◆ ◆



Hot: Easy interface; impressive effects



Not: Starter Pack could use more brushes

Ultimaker 2 Extended Easy-to-Use 3D Printer Review by Corey Barker

I’ve been using 3D in Photoshop for quite some time, but 3D printing was one thing I hadn’t tried yet, so I was excited when we received an Ultimaker 2 Extended 3D printer for testing. The Ultimaker 2 Extended is really easy to set up; it was out of the box and printing in just under 30 minutes. You can connect via USB, or it comes with an SD card and a built-in card reader for transferring your 3D models. Whether created in Photoshop or another 3D application, the 3D models must be processed through the Ultimaker proprietary software called Cura, which is available as a free download at the Ultimaker website. Prepping the file using the Cura software is straightforward and intuitive. The printer is rather simple and the instructions are easy to follow. The filament is spool-fed from the back of the machine and it’s easy to load. The build plate is heated with a removable glass sheet, which is a big help in keeping the models in place as the print progresses. LED light strips illuminate the print job, and they make for a cool display to show off the final 3D print, as well. The Ultimaker 2 Extended can print models up to about 8x8x12", which is about 4" taller than the standard Ultimaker. You get a roll of gray filament with the printer but can purchase

a variety of colors starting around $41 per roll. Both PLA and ABS filaments are available. Since I haven’t used other 3D printers, I can’t say with certainty how well it ranks with the others, but all-told it’s an impressive tool that’s effortless to set up and use. While 3D printing at a consumer level is still somewhat a novelty, the costs have come down. When it comes to 3D printing, the one thing you need regardless of the printer is patience! ■ Company: Ultimaker B.V.

Price: $3,030

Web: http://ultimaker.com/en

Rating: ◆ ◆ ◆ ◆ ◆



Hot: Ease of setup

Not:

› › k e l b yo n e . c o m

Painter 2016

As a longtime Photoshop designer, I’ve rarely been a user of special effects plug-ins. Many have come and gone over the years, and some have even ended up in Photoshop as a standard feature, but I’ve never discovered one that became a key part of my special effects workflow—until now. Corel, which is best known for Painter, its extremely powerful painting software (see review on the opposite page), has released a new brush plug-in for Photo­ shop called ParticleShop. The coolest thing about Painter has always been its brush engine. You can create unique brushes to achieve effects that you just couldn’t do in any other application—not even Photoshop. I’d often go into Painter to generate a brush effect and then bring it back to Photoshop to finish a design. Well, that process is history for me, because ParticleShop brings the very brushes that I love in Painter to the Photoshop workspace. Using the Corel Painter Particle brush technology, ParticleShop allows you to create photorealistic effects from dust and debris to fur and hair, to flames, smoke, and steam. Corel refers to these as “living” brushes, which means that they’re not simply static brushes; they “spring, flow, gravitate, and glow,” based on the artist’s pressure and stroke.

115

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EL-Skyport Plus HS

17hats

The Skyport You’ve Been Waiting For

Small Business Management Suite

Elinchrom strobe users rejoice! The much-requested, long-anticipated refresh of the Skyport radio transmitter has finally arrived, and I’m happy to report it’s been well worth the wait. Elinchrom’s new EL-Skyport Transmitter Plus HS (Skyport HS for short) is a quantum leap forward, boasting must-have features, real-time visual feedback, and a simple, easy-to-use digital interface. First and foremost, the Skyport HS features a large LCD screen that allows users to visually monitor and precisely adjust strobe power from the camera position. Designed in collaboration with Phottix, and sharing the same physical housing as that company’s Laso Transmitter (reviewed below), the Skyport HS has four function buttons and a large digital dial for fast setup and control. With 20 Channels and four Groups for both Normal and Speed Sync modes, users get a ton of built-in flexibility. Additional amenities include features such as Hi-Sync, up to 1/8000 sec with Canon and Nikon cameras; an AF illumination beam; a sure-lock mounting foot; and an extended working range up to 656' (200 m). Created with the future in mind, the Skyport HS also includes a built-in USB port, allowing new fea-

From a one-person operation to a small- or medium-sized business, you must have intuitive and easy-to-use software to stay organized. Simple tasks, such as getting complete contact information or following up on contracts, can fall by the wayside if you don’t have your workflow under a standard operating procedure. With 17hats, you have an effective online-based process of going from business lead to receiving payments, and the followups and automated tasks can also save a lot of time. There’s a slight learning curve for anyone who has used a similar product, so it’s best to use a forget-what-you-think-you-know approach and start fresh. The interface is in very direct language, and each aspect of a new entry is done in a simple, step-by-step method. It’s also not much of a chore to add contacts, send quotes, or even use the questionnaire feature; however, the best results come from using 17hats from beginning to end. The time-tracking and workflow features help ensure that you have all of the elements you need in a format that syncs with both Google and Apple Calendar (they still refer to it as iCal). Your daily overview lets you know at a glance what’s due and

Review by Michael Corsentino

Review by Daniel M. East

tures to be added as they become available, and making firmware upgrades fast and easy. The Skyport Transmitter Plus HS is currently available for Canon (model EL19366) and Nikon (model EL19367) cameras. According to the company website, Sony will follow. The Skyport HS runs on two AA batteries and is compatible with the three previous generations of flash units, including the EL-Skyport Transceiver RX module for Style RX, Digital RX, and Ranger RX systems; and the integrated EL-Skyport modules for D-Lite RX, BRX, ELC Pro HD, and ELB series. ■ Company: Elinchrom

Price: $249.95

Web: www.elinchrom.com

Rating: ◆ ◆ ◆ ◆ ◆



Hot: Large LCD; real-time feedback; precise power control from camera

Not:

Phottix Laso System

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

who has responded to you; however, there’s no apparent way to share tasks or projects, as this is targeted to smaller businesses. For some, 17hats may be too casual (compared to software like QuickBooks), but it’s a powerful suite with a lot to love for a reasonable price. The company’s marketing makes it look easy— and it is. It’s well worth looking at the demo video or even taking a test drive with the free trial version. Let them wear the 17 hats in your business so you can wear the one you like the best! ■ Company: 17hats

Price: $13/month (Two-Year); $17/month (Annual); $29/month (Monthly)

Web: www.17hats.com

Rating: ◆ ◆ ◆ ◆



Hot: Complete solutions; features; e-commerce; ease of use



Not: No collaboration tools

DXT Wireless Mouse 2 – Light Click

New Life For Old Canon EX Speedlites!

Upright Design Helps to Reduce RSI

Loving what’s possible with your Canon 600EX-RT Speedlites, but wishing your older non-radio-based EX flashes were doing more than just collecting dust? I have great news for you. The folks at Phottix have come up with a brilliant solution to bring all your flashes into the modern age. It’s comprised of a radio transmitter and receiver, and they call it the Laso System. With radio-based communication, there are no line-of-site requirements between transmitter and receiver, which opens up a world of creative possibilities. Now you can put your Canon 580EX inside a soft box, behind a wall, or outside a window, and successfully trigger it—something that’s not going to happen with an optical system. At about half the price of the Canon ST-E3-RT, the Laso Transmitter provides an option for Canon 600EX-RT Speedlite users who are looking for a controller, while the Laso Receiver makes it possible to retrofit older, non-radio-based Canon EX Speedlites with full radio capabilities. And it gets better: Laso Receivers are also fully compatible with the Canon ST-E3-RT, which means if you already have an ST-E3-RT, all you need is a Laso Receiver to convert your older EX Speedlites into radio-based units. The Laso System makes it easy to mix new and older flashes and enjoy the flexibility of radio-based communication.

Making micro-movements with our hands in a rotating position may generate pain that evolves to permanent agony (read carpal tunnel or repetitive strain injury [RSI]). The DXT Wireless Mouse 2 – Light Click is an ergonomic mouse that helps to prevent this from happening. The small DXT Wireless Mouse has an upright design so you can keep your hand in a handshake position. It has a curved front with two upward-sloping buttons and a generous wheel. In the back, it has a molded recess for your thumb, allowing you to pick up and move the mouse without effort. There, you’ll also find a button to switch from left-handed to right-handed use, a micro-USB charging port, an on/off switch, and a button to cycle through four speed settings from 500–2000 dpi. The mouse is light as a feather, and a precise grip (like writing with a pen) is all it takes to operate it. Most other mice, including ergonomic ones, require you to use a pinch grip—similar to turning a key to open a door. The DXT mouse may be ergonomically close to perfect, but it takes some getting used to. I started using it with my left hand, and one of the frustrating things I found was the light click—no muscle tension required at all. After a couple of days, I realized

Review by Michael Corsentino

116

GET THE SCOOP ON THE LATEST GEAR

Review by Erik Vlietinck

The Laso Transmitter has an AF Illuminator, something missing on the ST-E3-RT, and it allows up to 15 flashes in five groups. Flash modes include Ext.A, MULTI, Linked Shooting, E-TTL II/E-TTL, and Manual. Users familiar with the 600EX-RT and ST-E3-RT will be right at home with the Laso System, as the transmitter sports nearly identical functionality, navigation, communication lamps, and the simple-to-use interface that made Canon’s radio-based system a hit. ■ Company: Phottix

Price: Transmitter $159.95; Receiver $99.95

Web: www.phottixus.com

Rating: ◆ ◆ ◆ ◆ ◆



Hot: Mix new and older Speedlites with radio-controlled communication

Not:

that I was pinching when I didn’t need to; then moving the mouse around felt immediately natural. Using my right hand took another couple of days before it felt okay. Once it did, I could switch hands using the mouse’s L/R button, and be comfortable using it with either hand. One thing that bothers me (a little) is that, because it’s vertical, I sometimes bump it when I reach for something across my desk! ■ Company: City Ergonomics

Price: $99

Web: www.cityergonomics.com

Rating: ◆ ◆ ◆ ◆ ◆



Hot: Small; ambidextrous; accurate to 2000 dpi; no effort to use



Not: May be too small for someone with very large hands

› › k e l b yo n e . c o m

REVIEWS

117

REVIEWS

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Cerise Custom Desktop Lives up to “The AMG of Computers”

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

Review by Bruce Bicknell

118

As many of you know, I’m no stranger to Cerise computers: I dubbed the last one I reviewed “the AMG of computers” for good reason. When I was asked to review this new one, I wondered what they could possibly have done to improve on the last one. I’ve been impressed with the company and the high-quality product they manufacture, so I was intrigued. Well, I wasn’t expecting the huge box that I received. My first thought was that the tower must be the size of a mini-fridge, and when I thought about lugging it upstairs to my office, I let it sit for a day. Needless to say, I was a little bummed before I opened the box; but I should have opened it right away, because the reason for the larger box was the exceptional packing! The form factor of the new Cerise Desktop is much smaller and sleeker, and its black aluminum case is easy on the eye. And it will fit easily into small places, so space isn’t an issue. The computer’s case is exceptionally well designed with whisper-quiet operation (I hit the power button before I realized that it was already on), and it has outstanding ease of use with access to all of the drives and ports. One feature that the company has continued is the top-accessible audio and USB ports, which are great for quickly attaching headphones or external drives (particularly thumb drives, as they’re a pain to insert/remove from the front or back of a computer). So what does this computer have under the hood, and what can it do? Let me start by saying that Cerise builds desktops for pros (and consumers) who need to process large photography, video, graphics, and audio projects. The computers are built by one person (hence the AMG reference) to the consumer’s specs so that every component is matched for the best performance possible. The setup is unique in that the processor is an Intel i7 Haswell 4.0-GHz Quad-Core processor, backed by 20 GB of RAM, which was enough horsepower to chew through any project that I threw at it. (Note: My tests involved one major photo/video shoot that included more than 800 corporate headshots, award ceremonies, a party, and more than 100 interviews for video reels/corporate commercials, as well as a conference graphics project that utilized almost the entire Creative Suite and Lightroom.)

It’s not enough that the Cerise included the horsepower, it also incorporated three solid-state hard drives (SSD) in this unit: One Intel 480-GB SSD for the operating system and applications; one Intel 400-GB SSD for multimedia editing; and a third Samsung 500-GB SSD for storage—a brilliant plan that allows the drives to operate cleanly and uncluttered! What I think is the best addition, however, is the PNY Quadro K2200 VCQK2200-PB with 4-GB of 128-bit GDDR5 GPU memory—a true workstation card. It handled my two hi-res 27" monitors with ease, and gave better detail than the card in my Mac Pro. Needless to say, this card is a game changer, and pushes the computer’s capabilities above anything I could have expected. Other notable features are: an Atech Flash Technology PRO-77U 5.25" USB 3 Hub & Card Reader, and an ASUS DRW-24B1ST 24X DVD±R DVD Burner. In conclusion, this computer didn’t disappoint at all, and deserves a very hard look if you’re thinking about purchasing a machine that’s dedicated to your profession. The cost is reasonable for this high-quality machine, and the attention to your needs by the staff is invaluable. I’m thinking that this one is the replacement for my desktop. ■ Company: Cerise Computers LLC Web: www.cerise.com

Price: $3,174 (as tested) Rating: ◆ ◆ ◆ ◆ ◆

Hot: Horsepower; killer graphics card; quiet; configurability

Not:

BOOK REVIEWS

PETER BAUER

› ›

Adobe Photoshop CC for Photographers: 2015 Release

The Photographer’s Pricing System: Get Paid What You’re Worth for Portraits and Weddings

This comprehensive volume (it’s almost too large to call it sim-

This book provides very specific information about running a

ply a “book”) has a table of contents and index that each runs

professional photographic business. Filled with worksheets and

almost 14 full pages. These are great for finding information on

charts, you’ll find the author’s very precise suggestions on run-

a particular feature or technique. The table of contents entries

ning a profitable studio or other photo operation. (The work-

for Chapter 1 “Photoshop Fundamentals” number almost 100.

sheets and the author’s “gross-earning calculator” are available

Chapter 2, “Camera Raw Image Processing,” has three full

on the book’s website so that you can re-use them as your

pages of entries for a chapter about 175 pages long. I mention

business changes.) The author offers suggested pricing systems

these points to demonstrate the incredible comprehensiveness

as well as different business models. She advocates finding a

of this book. This revision to the author’s 2013 Photoshop CC

niche, becoming the best in the niche, and marketing to clients

for Photographers includes not only all of the new features, it

who match that niche. You’ll also find her recommendations on

also shows changes made to the program’s interface since the

how many days and hours to work each week (as well as how

original Creative Cloud version of Photoshop. The book’s web-

many weeks to work per year). Charts show her recommenda-

site includes helpful information and charts, as well as updates

tions on what percent of your gross income should be devoted

on features added to Photoshop CC 2015 since the book’s pub-

to taxes, your “paycheck,” cost of goods sold, marketing, sav-

lication. The website, www.photoshopforphotographers.com,

ing for emergencies, education and growth, and outsourcing

is open to all Photoshop users.

for both start-up and established businesses.

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

By Martin Evening

120

Publisher: Focal Press

Pages: 729 (plus, associated website)

By Alicia Caine

Publisher: Peachpit Press

Website: www.focalpress.com

Website: www.peachpit.com





Price: $59.95 Rating: ◆ ◆ ◆ ◆ ◆

Pages: 190 (plus, associated website)

Price: $39.99 Rating: ◆ ◆ ◆ ◆ ◆

Photoshop December 2015

I N D E X

O F

A D V E R T I S E R S

For advertising information, please contact Kevin Agren, V.P. Sales, at 813-433-2370. email: [email protected] 4 Over, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 www.4over.com

[A]

[H]

Adobe Photoshop Lightroom CC Book for Digital Photographers, The . . . . . . . . . . . . . . . . . . . . . . . . . 97 http://kelbyone.com/books

[P]

Epson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC–3 www.epson.com/printyourlegacy

Profoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC http://profoto.com/us/home

Headshot: The Secrets to Creating Amazing Headshot Portraits, The* . . . . . . . . . . . . . . . . . . . . . . . . . . 124 http://kel.by/hurleyheadshot

[R]

Adorama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 www.adorama.com How Do I Do that in Lightroom?* . . . . . . . . . . . . . . . . . . 109 http://kel.by/howdoilr

Really Right Stuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 www.reallyrightstuff.com

Athentech Imaging, Inc.* . . . . . . . . . . . . . . . . . . . . . . . . . . BC www.athentech.com

[K] [S]

[B] KelbyOne . . . . . . . . . . . . . . . . . . . . . . . . 38–39, 71, 119, 124 http://kelbyone.com B&H Photo* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 www.bhphotovideo.com

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

Bay Photo* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30–31, 124 www.bayphoto.com

122

Squarespace* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 www.squarespace.com KelbyOne Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 http://kelbyone.com/live

[T] Best of The Digital Photography Book Series, The* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 http://kelbyone.com/books

[M]

Miller’s Professional Imaging . . . . . . . . . . . . . . . . . . . . . . 57 www.millerslab.com

[E]

Elinchrom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 www.elinchromus.com

Mpix* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 www.mpix.com

Tamron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 www.tamron-usa.com

Topaz Labs* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 www.topazlabs.com

*Advertiser offers discount to KelbyOne members. Visit http://kelbyone.com/discounts for more information. While every attempt has been made to make this listing as complete as possible, its accuracy cannot be guaranteed.

COLUMN › ›

From The Help Desk › ›

Answers to Photoshop and gear-related questions BY PETER BAUER

How come when I zoom in on a subject my images are often blurry compared to the same shot not zoomed in?—Irene

› › p h ot o s h o p u s e r › d e c e m b e r 2 0 1 5

To: Irene From: KelbyOne Help Desk

126

Most point-and-shoot cameras and zoom lenses have different maximum apertures at different zoom factors. Keep in mind the relationship among aperture, shutter speed, and ISO settings: These three factors determine your exposure. (Also keep in mind that the larger the aperture number, the smaller the aperture opening.) When the aperture is smaller (higher aperture number), less light enters the camera, and to create a proper exposure, either the ISO must be increased or you need to use a slower shutter speed. When your camera is shooting in Auto, Aperture Priority, or Program mode, the camera adjusts the shutter speed to compensate for changes in the aperture. (The ISO is typically set manually by the photographer.) If you’re shooting “wide open” (using the largest aperture available) to keep the shutter speed at its fastest, or to minimize the depth of field (the range of distance from the lens that’s in focus), perhaps for shooting sports or wildlife, your zoom factor can determine the aperture size. (If you’re shooting at an aperture of the smallest available for the maximum zoom or smaller, the shutter speed won’t change, regardless of zoom factor.) Some zoom lenses have a fixed maximum aperture setting throughout the zoom range; but that comes at a cost. Let’s take a look at a real-world example: • Canon’s 24–105mm f/3.5–5.6 lens has a maximum aperture of f/3.5 when shooting at 24mm, but the maxi-

mum aperture shrinks to f/5.6 when zoomed to 105mm. Our friends at B& H (www.bhphotovideo.com) currently list this lens at $599. • Canon also offers a 24–105mm lens that has a fixed maximum aperture of f/4, regardless of the zoom factor. B&H currently offers this lens at $999. When zoomed to 105mm, the difference between f/4 and f/5.6 can be significant for your shutter speed, depending to some degree on the ISO setting. That can make the difference between freezing the action and having a blurred subject in front of a focused background. Let’s look at another, more dramatic comparison, using two of my favorite Canon zoom lenses for capturing sports action: • My 70–200mm lens has a fixed maximum aperture of f/2.8. When shooting fully zoomed (200mm), the aperture can be as large as f/2.8. • When I need to get closer to the action or want to have the capability of shooting wider than 70mm, I switch to my Canon 28–300mm f/3.5–5.6 lens. (I think of this as my all-in-one lens, and after shooting with it for a while without a tripod, it seems to weigh about as much as all of my other lenses together!) When this lens is zoomed to 200mm (using the same ISO), the maximum aperture is f/5.6. And the difference in shutter speed between f/2.8 and f/5.6 is extremely significant.

The KelbyOne Member HELP DESKS

Are you taking advantage of the Help Desks at the KelbyOne member website? This is the place where you can get all of your Photoshop and Lightroom questions answered either by other KelbyOne members or by our Help Desk experts. Not only that, you can get photo and computer gear help and advice, as well. What are you waiting for? Visit the Community section on the KelbyOne member site today! ■

Photoshop User magazine is the official publication of KelbyOne. Each issue features in-depth Photoshop tutorials written by the most talented designers, photographers, and leading authors in the industry. As a KelbyOne member, you automatically receive Photoshop User delivered right to your door (or digitally) ten times a year.

FIND KELBYONE MEMBERSHIP DETAILS AT

www.kelbyone.com