Photoshop User Magazine (March 2009)

M A R C H 2 0 0 9
T H E A D O B E ® P H O T O S H O P ® “ H O W- T O ” M A G A Z I N E
INSIDE SECRETS QUICK TIPS SCOTT KELBY’S NEWS, REVIEWS

AND AND DOWN AND AND OTHER
CLASSIC EFFECTS SHORTCUTS DIRTY TRICKS COOL STUFF
Reduce your contact sheet workflow to drag-and-drop ease
Digital Camera Workshop:

Mastering the ins and outs of self-
promotion in photography
Beyond Photoshop:
Explore an awesome
new way to rotoscope
PLUS:
 What is DNG and why should you care?
 Under the Loupe:
Using third-party plug-ins for your online galleries
 Lightroom book reviews
THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM DISPLAY UNTIL APRIL 14, 2009
Features
36 | The Future of Automation in Photoshop
In the past, we were relegated to standing on the sidelines and observing as our favorite
program continued to evolve. Today, we can take Photoshop and truly make it our own. By way
of example, through automating the process of creating contact sheets, you can see the future
and stand on the bleeding edge of automation technology.—Drew “Dr. Woohoo!” Trujillo
Departments Reviews
8 | About Photoshop User Magazine 98 | Nikon D700
10 | From the Editor 99 | ContrastMaster
14 | Contributing Writers 100 | Lensbaby

101 | Autodesk Stitcher Unlimited 2009
16 | Photoshop News
102 | EZcube Light Box
18 | NAPP Member News
102 | Casio Exilim EX-Z300
72 | From the Help Desk 103 | Nik Sharpener Pro 3
106 | Photoshop Q&A 103 | SANYO PLV-Z700
108 | Photoshop Design Showcase 104 | Photoshop Book Reviews
March 2009 | www.photoshopuser.com Contents
Columns
22 | Down & Dirty Tricks 70 | The Copyright Zone
Command the light when designing with silhouettes; learn how to do a hot- Learn what to do the next time you’re shooting at the zoo and some
branded type treatment; and find out how we created the iconic helmet for security guard gives you the stink eye.—Ed Greenberg and Jack Reznicki
Photoshop World 2009.—Scott Kelby, Felix Nelson, and Corey Barker
74 | Beyond Photoshop
47 | Photoshop Mastery Rotoscoping video can be a time-consuming process. Here’s a unique
Rest assured, masking around trees has sent more than one artist to the way to save time and create a killer look.—Scott Onstott
insane asylum. Here’s how to ensure you don’t go next!—Ben Willmore
110 | Photoshop Quick Tips

48 | From Bert’s Studio Save custom settings; reinstall your presets; add a quick sepia tone; and
Using his next masterpiece, Bert covers masking basics to prepare us for rediscover some frequently used keyboard shortcuts.—Sherry London
the more technical aspects of hiding visual elements.—Bert Monroy
130 | Photoshop Beginners’ Tips

50 | Graphic Secrets These are some killer tips this round: Resize images that are too big to see;
Do you pause (or even flinch) when asked for your business card? Here’s drag to select; speed up your scrubby sliders; and more.—Colin Smith
everything need to know to usher yours into modernity!—Lesa Snider King
52 | Photoshop Speed Clinic

Been searching for the PDF Presentation feature in Photoshop CS4 to no
avail? Matt shows us where it is and a whole lot more.—Matt Kloskowski
56 | The Fine Art of Printing

John Paul gives us an exceptional education on what it means to offer unique
print runs, and things to consider before doing so.—John Paul Caponigro
60 | Beginners’ Workshop
Concluding his series on patterns, Dave makes some seemingly daunting
technical information on patterns more accessible.—Dave Cross
62 | Digital Camera Workshop

Today, more than ever, selling your artwork is highly competitive. Ensure you
stand out from the others with this recipe for self-promotion.—Jim DiVitale
64 | The WOW! Factor

By using smart objects you can build a set of instructions to make Photo-
shop handle your images nondestructively.—Jack Davis and Linnea Dayton
66 | Digital Photographer’s Notebook

Back by popular demand, Kevin gives us more professional printing tips;
this time through the use of smart objects.—Kevin Ames
108
68 | Classic Photoshop Effects But Wait—There’s More: Wherever you see the symbol at the end
The video wall effect never goes out of style. Corey updates this grand of an article, it means there’s additional material for NAPP members at
technique with smart objects to maximize versatility. —Corey Barker www.photoshopuser.com.
Photoshop Lightroom Section Contents
Feature 78 | To DNG or Not?

DNG, or Digital Negative, is a RAW format unlike any other because it’s publicly docu-
mented, not proprietary. This means our great-grandchildren will be able to open our DNGs
in 100 years’ time, long after the proprietary formats are unsupported. Victoria Bampton
explains the pros and cons of DNGs, and how to work with them.—Victoria Bampton
82 | Lightroom News
84 | Featured Photographer
This issue, we showcase the versatile photography of Doug Levy.
88 | Under the Loupe

There’s a variety of third-party Web gallery plug-ins for Lightroom.
Learn where to find Web galleries and how to install them.—Rob Sylvan
90 | Lightroom Book Reviews
92 | Under the Hood

Camera profiles are new to Lightroom 2.2. Matt explains what they are
and how to use them.—Matt Kloskowski
96 | Lightroom Tips & Tricks
97 | Lightroom Q&A
84
PHOTOSHOP USER
NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS
Photoshop User magazine is the official

publication of the National Association
of Photoshop Professionals (NAPP). It is for
members, by members, and is not available
to the general public by subscription.
As a NAPP member, you automatically
receive Photoshop User delivered right to your
door eight times a year. Each issue features
in-depth Photoshop tutorials written by
the most talented designers, photogra-
phers, and leading authors in the industry.
Photoshop User magazine cover image by Doug Levy.
Photoshop World Conference & Expo Discounts on hardware and software Discounts on seminars
n at i o n a l a s s o c i at i o n o f
p h ot o s h o p p r o f e s s i o n a l s
The National Association of Photoshop Professionals (NAPP) is a dynamic trade association and
the world’s leading resource for Adobe® Photoshop® training, news, and education. Founded in
1998, NAPP has become the largest graphics and digital imaging association in the world with
more than 70,000 members worldwide. NAPP is open to any individual using Photoshop in a casual
or professional environment.
There’s no faster, easier, and more affordable way to get really good at Photoshop. Join today for
only $99 U.S., $129 Canada, and $99 International (digital delivery). NAPP also offers special educational
memberships. Go to www.photoshopuser.com to get more info.
NAPP Membership Benefits:
› › p h ot o s h o p u s e r › m a r c h 2 0 0 9
• Annual subscription to Photoshop User magazine (eight issues annually)

• Members-only website with time- and money-saving content
• Registration discount to Photoshop World Conference & Expo—the biannual
NAPP convention and the largest Photoshop event in the world
• Monthly e-newsletter produced just for members
Find NAPP membership details at www.photoshopuser.com or call 800-738-8513
Monday–Friday, 8:30 a.m. to 7:00 p.m. EST.
008
A Few Words from the [Managing] Editor
[managing]
The Inner Workings of Photoshop
Under the surface there is a brave new world
To attend the Adobe MAX conference is to witness the convergence of art and science, and
learn what it means to stand on the bleeding edge of technology. Truly unique and inspira-
tional ideas emerge from this nexus of designers and developers. For instance, after attending
Drew “Dr. Woohoo!” Trujillo’s class on automating tasks across Creative Suite 4, I approached
him with a challenge to reduce the number of steps involved in creating contact sheets; the
time-consuming process I encounter when artists submit their work.
This meeting spurred our desire to answer the question “Where did the Contact Sheet II
plug-in go?” and it’s where the idea for this feature was born (it starts on page 36). First, he
shows us how to return the Contact Sheet II plug-in to Photoshop CS4. Then, through the use of
Adobe AIR and Adobe SwitchBoard, he demonstrates how Adobe is loosening the tethers and
making Photoshop more customizable than we ever imagined possible. After transplanting the plug-in and installing
some software, you can check out an AIR application and a script Dr. Woohoo! made exclusively for Photoshop User.
This is a great opportunity to learn more about automation and the inner workings of Photoshop.
Speaking of creatively compelling conferences, the Photoshop World Conference & Expo is headed to the John B.
Hynes Convention Center in Boston March 25–27, 2009, and we hope to see you there. NAPP members have it made:
If you sign up before February 20, 2009, you can knock another $100 off your registration fee (NAPP members already
save $100 just for being a member, so altogether that’s $200 off). Nowhere in the world will you have the opportunity
to see the far-reaching and diverse set of Photoshop instructors that we have waiting for you at Photoshop World.
In this issue, we embraced the opportunity to fulfill some reader requests, which is truly a pleasure. First, we were
inundated with requests to help folks learn how to use Photoshop to refresh their business cards, and you can read
how Lesa Snider King stepped up to this challenge on page 50. Then Kevin Ames received lots of accolades from read-
ers for his last article on pro-level printing, so he’s given us an in-depth piece on how to zero in on the perfect print
settings using smart objects (page 66).
Starting on page 56, we have a special three-page edition of John Paul Caponigro’s column, “The Fine Art of Print-
ing.” Have you ever wondered what that “AP” scribble on some prints means? How about the difference between
“limited editions,” “rare editions,” and whether or not you should engage in this practice with your own artwork? John
Paul gives us an exceptional guide that you’ll want to keep on hand for years to come.
The Lightroom section is really hopping this issue, too. We have a feature called “To DNG or Not?” by Victoria
Bampton that begins on page 78. In it, she explains the pros and cons of using the DNG format and how to use it in
Lightroom. On page 88, Rob Sylvan shows us how to add Web galleries to the Web module’s Engine panel. And, for
the next couple of issues, Rob is going to review a slew of Lightroom books. This issue, it starts on page 90.
Well folks, time to get in gear! This issue is packed with info that will ensure NAPP members stay one step ahead of
the pack. We hope you enjoy this issue at least as much as we enjoyed putting it together.
All the best to you and yours,

Issac Stolzenbach
Managing Editor
010
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MARCH 2009
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Dave Cross • Jack Davis • Linnea Dayton • Jim DiVitale • Daniel East
Laurie Excell • Mark Fleming • Ed Greenberg • Dave Huss • Lesa Snider
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Scott Onstott • Chris Orwig • Jack Reznicki • Colin Smith • Rob Sylvan
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1.800.771.9665 www.itsupplies.com belong to their respective owners. Some of the views expressed by contributors may not
be the representative views of the publisher. ISSN 1535-4687
5100 Newport Dr. Suite #6 Rolling Meadows, IL 60008
Photoshop’s Most Wanted
KEVIN AMES LAURIE EXCELL CHRIS ORWIG

creates evocative photographs for clients has 28 years of photography and photo- a photographer, book and video author, is on
such as Westin Hotels, AT&T, and Coca- graphic equipment sales experience. Her the photography faculty at the Brooks Insti-
Cola. His fourth book, recently published by images have been showcased in galleries, tute in Santa Barbara. His publications include
Peachpit Press, is The Digital Photographer’s Audubon calendars, Camping Life Magazine, Adobe Photoshop CS4 How-Tos: 100 Essential
Notebook: A Pro’s Guide to Photo shop Amtrak publications, and BT Journal. Check Techniques and Adobe Photoshop Lightroom 2
CS3, Lightroom and Bridge. He teaches the digital out her website at www.excellnaturephotography.com. How-Tos: 100 Essential Techniques (Adobe Press). For more
arts worldwide. inspiration, visit www.chrisorwig.com.
STEVE BACZEWSKI MARK FLEMING COLIN SMITH

is a freelance writer, professional photogra- is an award-winning photographer who is an award-winning designer, lecturer, and
pher, graphic designer, and consultant. He also completed coursework in the photojour- writer, who has authored or co-authored 12
teaches classes in traditional and digital fine arts nalism program at R.I.T., then returned to books on Photoshop and has created a series
photography. His company, Sore Tooth Produc- his passion of editorial photography. His images of Photoshop training videos available from
tions, is based in Albany, California. Steve can have been featured in publications including PhotoshopCD.com. Colin is also the founder
be reached at foxhole510@sbcglobal.net. Down East, GO Magazine, and Layers. More at www.mark- of the online resource PhotoshopCAFE.com.
flemingphoto.com.
PETER BAUER DAVE HUSS ROB SYLVAN

is the Director of the NAPP Help Desk and with more than 25 years’ experience as a a trainer and photographer, is the author
a featured columnist at Planet Photoshop. photographer, has authored more than of Photoshop Lightroom 2 for Dummies, a
As an Adobe Certified Expert, Pete does 18 books on digital photography and photo Help Desk Specialist for the NAPP, host
computer graphics consulting for a select editing. His latest book is Adobe Photoshop of Peachpit’s Lightroom Reference Guide,
group of corporate clients. His latest book is Lightroom 2: A Digital Photographer’s Guide. and Site Director for iStockphoto. Check
Photoshop CS3 for Dummies. Dave is a popular conference speaker in the U.S. and Europe. out his Lightroom tips and tutorials at http://light-
roomers.com.
JOHN PAUL CAPONIGRO LESA SNIDER KING BEN WILLMORE

an inductee to the Photoshop Hall of Fame is the chief evangelist for iStockphoto.com is the author of Up to Speed: Photoshop CS4,
and author of Adobe Photoshop Master Class, and author of Photoshop: The Missing Manual which covers all the new features in CS4 and
is an internationally renowned fine artist (O’Reilly). She’s an author for KelbyTraining.com nothing else. Ben spends many of his days on
and authority on digital printing. Visit www and writes for Macworld, Layers, and Elements the open highway, a digital nomad in his 40'
.johnpaulcaponigro.com and receive a free Techniques magazines. Check out her free motorcoach. Learn about his latest adventure
subscription to his enews Insights. tutorials at GraphicReporter.com and catch her live Wed- at www.whereisben.com and view his photography at
nesday nights on YourMacLifeShow.com. www.thebestofben.com.
J IM D I VITALE SHERRY LONDON JACK DAVIS & LINNEA DAYTON

is an Atlanta-based photographer and is author of Photoshop CS2 Gone Wild and Jack Davis and Linnea Dayton are
instructor specializing in digital photography. has written a number of other books on authors of many books on Adobe
His clients include IBM, Carter’s, Mizuno USA, Photoshop, Illustrator, and Painter. Sherry Photoshop. Jack’s most recent book
Genuine Parts Company, Scientific Atlanta, also writes tips and product reviews for is How to Wow: Photoshop CS3 for
TEC America, and Coca-Cola. Check out his Photoshop User and Layers magazines, as Photography. Linnea is at work on
website at www.divitalephotography.com. well as tutorials for Planet Photoshop. The Photoshop CS3/CS4 Wow! Book
(with Cristen Gillespie, Peachpit
Press, 2009).
ANGELA DRURY DEKE M C CLELLAND
is a photographer who specializes in floral, is author of Adobe Photoshop CS4 One-on-One
travel, kids, and stock images. Her work has (http://deke.oreilly.com) and the video ED GREENBERG & JACK REZNICKI
received many awards and has been featured in series Photoshop CS4 New Features and
numerous shows. Angela is working on several Photoshop CS4 One-on-One (http://lynda Ed Greenberg and Jack Reznicki
stock projects in addition to teaching work- .com/deke). In his spare time, he creates the can be reached at Igotaquestion@
shops about Lightroom. To see her work, visit www free biweekly podcast, dekePod (http://deke.com/dekepod). thecopyrightzone.com. Because of
.angeladrury.com. the large volume of questions and
shortness of time, not everything can
be answered personally. But they’d
DANIEL EAST BERT MONROY still like to hear your questions and
is an author, freelance writer, presenter/trainer, is considered one of the pioneers of digital stories. It could even become the
and consultant with more than 20 years’ art. His work has been seen in countless subject of a future column.
experience in professional photography, magazines and scores of books. He has
pro-audio, and marketing. Daniel is also served on the faculty of many well-known
founder and president of The Apple Groups institutions, written dozens of books, and
Team support network for user groups. appeared on hundreds of TV shows around the world.
KATRIN EISMANN SCOTT ONSTOT T

author of Photoshop Restoration & Retouching author of Enhancing CAD Drawings with
and Photoshop Masking & Compositing and Photoshop, has written and edited dozens
co-author of The Creative Digital Darkroom, of books and videos on AutoCAD, Revit,
is the Chair of the MPS in Digital Photography 3ds Max, Illustrator, and Dreamweaver.
department at the School of Visual Arts in NYC Subscribe to his Digital Architect video
(www.sva.edu/digitalphoto). podcast on iTunes and check out his website at www
.scottonstott.com.
014
Photoshop News By Mark Fleming
All the latest on Photoshop-related gear and software
Digital Photography Life now on podcast network

Personal Life Media, Inc., publisher of lifestyle podcasts and blogs, has
added Digital Photography Life: Make Every Shot Count to its digital photogra-
phy network. This new podcast features Scott Sherman and Michael Stein,
Latest | Photoshop-related gear and software
the original creators of The Digital Photography Show, one of the most
successful photography podcasts out there.
“Working with professionals like Scott and Michael to create the best
show in the world for photo enthusiasts has been an intense collabora-
tion,” says Susan Bratton, CEO of Personal Life Media. “They are superstars
in the space and are truly focused on serving their listeners. Our expertise
in optimizing podcasts to grow audience and sponsors is a perfect match.”
Digital Photography Life is targeted to the digital photography enthu-
siast who wants to learn everything about the latest cameras and soft-
ware, the best photography techniques, and the most helpful resources.
Providing listeners with reviews, tips, tricks, and shopping advice, the
show is augmented by an online photography album, a Twitter account,
Facebook, MySpace pages, and a fan-run Flickr group. For additional details visit http://personallifemedia.com. A free
multi-show podcast player widget is available at http://personallifemedia.com/widget.
Spyder3Elite and Spyder3Pro upgrades

Datacolor has released upgrades for their Spyder3Elite and
Spyder3Pro: Elite 3.0.5 and Pro 3.0.7 are free for both Mac and
PC from the software download page of Datacolor’s website
(spyder.datacolor.com).
While these upgrades don’t contain major improvements to
Spider3Elite or Spyder3Pro lines, the Spyder3Utility included with
these upgrades has been significantly improved. Redesigned for
easy use, Spyder3Utility has a new tabbed Preferences pane,
including the following tabs: General is used to control the length of
time dialogs are displayed and for making choices regarding the
LED indicator function; Ambient provides choices for how frequently
you want the ambient light checked; Certification presents a number
of choices for certification frequency; and Recalibration offers
choices for frequency of equipment recalibration.
Ted Kawalerski, featured photographer in Datacolor’s December
2008 Newsletter says, “What appears perfect on my screen may
appear flat, inaccurate, and even unattractive to an art director
whose screen isn’t properly calibrated. We all put so much time
and effort into creating our art. Why everyone in the world of art
and commerce doesn’t calibrate their systems regularly remains a
mystery to me.”
Affordable scanning
The HP Scanjet G3110 Scanner at just under $100 comes standard with software capable of removing red eye, dust, and scratches, as
well as restoring vibrant color to old, faded images. Able to scan 48-bit color at 4800x9600 dpi, the G3110 can handle photos, documents,
slides, and even 35mm negatives.
The G3110 scans up four 35mm slides, five negatives, or three 4x6" photos at once, then you can save each as a separate file. Users
can archive important records and documents, create word-processing files and PDFs from scanned documents, scan directly to
email accounts for quick and easy sharing, and print copies of scanned documents using a one-touch button.
Additional information is available at www.hp.com.
016
Photoshop News
Lightroom 2.2 Make money with

provides RAW your blog
support for seven Chances are that if you’re an artist
new cameras
Latest | News
with an Internet connection, you
Adobe Photoshop Lightroom 2 have a blog. Why wouldn’t you?
enhances RAW digital photography Blogs provide an easy and user-
workflow with powerful importing, friendly way to get your work out
processing, and managing features; there. Now, how do you turn blog
however, RAW data-processing soft- traffic into revenue?
ware must be upgraded regularly
IMAGE COURTESY ADOBE SYSTEMS INC. The keen minds over at Expo-
because of the frequent arrival of sureManager have a quick and
new cameras. Adobe’s recently painless solution: BuyThisImage.
released Lightroom 2.2 upgrade This free Web service gives users
(free to Lightroom 2 users) adds the opportunity to install a wid-
RAW support for seven new camera get that will manage and track
models including the Canon EOS 5D the sales of images on websites
Mark II, Canon PowerShot G10, or blogs.
Panasonic DMC-G1, Panasonic DMC-FX150, Panasonic DMC-FZ28, Panasonic DMC- Simply select the print sizes or
LX3, and Leica D-LUX 4. specialty items that you want to
Available for Mac OS X and Windows, Lightroom 2.2 is the second half of Adobe’s sell, choose images to make avail-
one-two punch for support of RAW image processing. The first came in late able, and you’re ready to go. Get
November with the release of Lightroom 2.1, which included improvements to started by visiting www.buythis-
Photoshop integration, Web module stability for Windows Vista 64-bit operating image.com.
system, and improved performance with the 64-bit Mac OS X 10.5 operating system.
Quantum’s new TRIO

offers nonstop flash all
day everyday
The new Qflash TRIO QF8 from Quantum
Instruments, Inc. combines a dedicated
portable Qflash head with built-in FreeXwire
TTL radio adapter for digital cameras. This
unit delivers nonstop (10,000+) flashes of
studio-quality light from the convenience
of the camera hot shoe. The TRIO QF8 is
capable of sending TTL commands to
other remote Qflash units including
other TRIOs. It also allows the user to
configure modes and settings on remote
Qflash units right from the back of the
on-camera unit.
For more details as well as Q-Flash
dealer locations, visit www.qtm.com.
› › w w w. p h ot o s h o p u s e r . c o m
Wireless comes to pen tablets

The Wacom Graphire Wireless tablet offers the user an unprecedented 30' of wireless freedom. Compatible with Bluetooth 1.1 or
higher, the Graphire is easy to install and even easier to operate.
The tablet, powered by either a rechargeable lithium battery or a universal power adapter, makes editing wirelessly a pleasure.
Draw, paint, or mark up documents from nearly anywhere in your home or office with 512 levels of pressure sensitivity.
The Graphire Wireless tablets work with most mouse drivers and adapt easily to both PCs and Macs. Check out www.wacom.com
for information. ■
017
NAPP Member News All the Latest on Membership and Benefits
Ten years running

and better than ever
This year, 2009, marks the 10-year anniversary
of Photoshop World and it looks to be the best
Photoshop World & Expo yet! How do we know
this? Simple, Photoshop World just gets better
every year. For example, roughly 95% of the SCOTT
100+ classes are brand new with some true KELBY’S
WORLD-
Member News
ALL THE LATEST ON MEMBERSHIP AND BENEFITS
industry legends teaching them. Plus, our Expo

just keeps getting bigger with more and more
bonus classes available.
But best of all is what you’ll take away with you:
a spinning brain, packed with new techniques; an
enlightened sense, thanks to all the inspiration and
creativity that will surround you; and a heavy suit-
case, thanks to your ginormous Photoshop World
workbook containing instructor notes from nearly
every class—so you can take what you learned
from class home and even learn from classes you
didn’t take.
And, of course, we can’t forget the stuff that leg-
ends are made of: our keynote speech, “after-hours”
events, and wrap-up ceremony!
By Nancy
Masse
› › p h ot o s h o p u s e r › M a r c h 2 0 0 9
Speaking of Photoshop World…the blog is back

Last year, between Photoshop World Orlando and Photoshop World Las Vegas, something went missing: the Photoshop
World blog. We’re pleased to announce, however, that the Photoshop World blog is back—with even more in store for
everyone. Be on the lookout for guest posts from your Photoshop World instructors, behind-the-scenes updates, Photoshop
World survival tips to help you make the most of your experience, and so much more.
When Photoshop World is taking place, this blog will be the place for live reporting, the latest news, and pictures galore.
Basically, what happens at Photoshop World…gets broadcast on the Internet ASAP. This way, even NAPP members who
couldn’t make it to the conference can at least join in and keep up with all the latest developments as they happen.
So, for all the latest Photoshop World news, be sure to bookmark or add the RSS feed from www.photoshopworld.com/blog.
018
NAPP News is now a podcast
Great news! The weekly NAPP News from NAPP Director, Larry Becker, is now a podcast
on iTunes.
Every week, Larry gives the rundown on the latest from NAPP: news, discounts, Recent NAPP Discounts
book and DVD releases, and most importantly, cool contests. Watching Larry’s podcast
To take advantage of these discounts,
not only puts you in the first-to-know category, but it’s also a great way to win cool
programs, plug-ins, and more. NAPP members should go to the
The easiest way to find and add the NAPP News podcast to your iTunes library is to open Discounts section at www.photo-
iTunes and search for NAPP. Then, scroll down to the Podcasts panel and, poof! there it is. shopuser.com.
Photodex Corporation—ProShow
Producer, the award-winning pro-
fessional slide show software from
Photodex Corporation that provides
potential output to more than 60 dif-
ferent formats, is available at a special
20% discount for NAPP members.
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019
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› › p h ot o s h o p u s e r › M a r r c h 2 0 0 9
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020
Down & Dirty Tricks
The hottest new Photoshop tricks and coolest special effects
■ BY COREY B ARKER
Design with Silhouettes

A little detail can say a lot. This issue, we’ll make a compelling movie poster by crafting a silhouette effect
from a photograph. Combined with subtle light effects, we create a sense of drama and mystery, and it
will look pretty cool too.
STEP ONE: If you already have a silhouetted image, go ahead

and start with that, but for this example we’ll create one from a
photograph. To keep it simple, we chose a photograph with
a subject against a white background; more complex back-
grounds may require more masking time.
STEP TWO: Open the Channels

panel (Window>Channels) and
©FOTOLIA/T.TULIC
click on each channel to view

them separately. Look for the
one that’s the darkest overall
against the background, made
easier in our example because
the background is white. With
that in mind, we chose the
Green channel then made
a duplicate (Green copy) by
dragging it onto the Create New Channel icon located at the bot-
tom of the Channels panel. With the new duplicate alpha channel
selected, press Command-I (PC: Ctrl-I) to invert the values.
STEP THREE: Grab the Brush tool (B) from the Toolbox and select
a medium-sized, soft-edged brush (ours is 65 px). In the Options
Bar, change the blend Mode to Overlay.
Press D to set the Foreground color to white, click in the gray
area, and start painting. As you paint you’ll notice that only the
gray area is affected. This is because with the tool in Overlay
mode, it will only affect these lighter areas, leaving the darkest
areas alone. Continue to paint, adjusting the brush’s Mode as
needed, until the subject is totally white, as shown here.
022
STEP FOUR: Choose File>New to create a new RGB document
(ours is 7x10" at 150 ppi). (Note: Size will vary depending on
desired result.) Press Command-I (PC: Ctrl-I) to invert the white
background to black.
STEP FIVE: Go back to the silhouette file, click on the alpha chan-
nel, and drag it to the new document. It will automatically go to
the Channels panel. With the Move tool (V), reposition the shape
toward the bottom of the document, leaving a fair amount of
room at the top.
Note: If you’re using tabs in Photoshop CS4, click-and-drag
the tab for your new document onto your desktop to create two
separate document windows, then drag the alpha channel into
the new document.
STEP SIX: In the new

document, go to the
Layers panel and click the
Create a New Layer icon
to create a new blank
layer. Go to the Select
menu and choose Load
Selection. In the dialog
that appears, click the
Channel pop-up menu,
select the alpha channel
(Green copy in this example), and click OK. This will make the
silhouette an active selection. Press Shift-Delete (PC: Shift-Back-
space) to open the Fill dialog, set Use to Black, and click OK. You
can click the Background layer’s Eye icon to turn the visibility on
and off to ensure the shape is filled properly.
STEP SEVEN: Drag Layer 1

onto the Create a New
Layer icon to duplicate it
(Layer 1 copy). Click the
Lock Transparent Pixels
icon (circled) and press
Command-Delete (PC:
Ctrl-Backspace) to fill the
silhouette with white. Now
hold down the Shift key

and press the Up Arrow
once; this will nudge the
layer up 10 pixels.
Hold down the Command (PC: Ctrl) key and click on the origi-
nal silhouette layer’s thumbnail in the Layers panel to load it as
a selection. Press Delete (PC: Backspace). What you should have
left is a subtle white edge just above the selection. This will be
our highlights.
023
STEP EIGHT: With Layer 1 copy selected, click the Lock Transpar-
ent Pixels icon to unlock it, then choose Filter>Blur>Gaussian
Blur. Give this a very slight blur (because we have a small file, we’ll
keep it around 1 pixel). If you’re working with a higher resolution
file, then you’ll want to increase this setting.
STEP NINE: Click the Add a Layer Style icon at the bottom of the
Layers panel and choose Outer Glow. Click on the color swatch
to change the color of the glow (we chose R:255, G:156, B:0 but
feel free to experiment with other colors). Set the Opacity to 100%,
increase the Size (ours is 15 px), and click OK. Again, this will
need to be higher on a larger file. Press Command-D (PC: Ctrl-D)
to deselect.
STEP TEN: Grab the Gradient tool (G) from the Toolbox. Select the
Radial Gradient in the Options Bar, click on the Gradient Editor,
and choose the Foreground to Transparent gradient. Press X to
set the Foreground color to white. Click the Create a New Layer
icon and drag out a small radial gradient just above the subject.
To apply the layer style to the new layer (Layer 2), press-and-
hold the Option (PC: Alt) key and click-and-drag the ƒx icon onto
it. To modify the size of the glow, Control-click (PC: Right-click)
directly on the ƒx icon and choose Scale Effects at the bottom of
the menu.
STEP ELEVEN: Now let’s do a quick step-and-repeat process.

Command-click (PC: Ctrl-click) on the Layer 2 thumbnail to load
the gradient as a selection. Press Command-Option-T (PC: Ctrl-
Alt-T) to make a duplicate in Free Transform mode, then click
in the selection and drag it to the right of the original. (Note: If
you’re having difficulty dragging it, zoom in, click just inside the
bounding box, and try again.) Press Return (PC: Enter).
Now press Command-Option-Shift-T (PC: Ctrl-Alt-Shift-T)
two times to create two more copies at the same distance to
the right. This should give you a row of four lights.
STEP TWELVE: Create a second row of lights below the first by

repeating the first part of Step Eleven. Deselect if you have an
active selection. You should have eight lights stacked, as shown.
Press Command-T (PC: Ctrl-T) to invoke Free Transform, Control-
click (PC: Right-click) on the object, and choose Warp from the
menu. Then just manually move the corner handles to give the
lights a looser look, so they don’t look too symmetrical, and press
Return (PC: Enter).
024
continued on p.26
STEP THIRTEEN: Press Command-J (PC: Ctrl-J) to duplicate these
lights (Layer 2 copy), then go under the Edit menu, under Trans-
form, and select Flip Horizontal. Use the Move tool to drag it to the
other side so there are two sets of lights.
STEP FOURTEEN: Click the Create a New Layer icon to create a

new blank layer (Layer 3). Grab the Lasso tool (L) from the Tool-
box and draw a selection that will roughly be the area of the light
beam (as shown). Choose Edit>Fill, set Use to Color, choose the
same yellow color we used in Step Nine, and click OK to close the
dialogs. Now go under the Filter menu, under Blur, and choose
Gaussian Blur. Give it a big amount of blur, such as 60 pixels, and
click OK. Deselect.
STEP FIFTEEN: Click the Add Layer Mask icon at the bottom of
the Layers panel to apply a layer mask. Grab the Gradient tool,
choose Linear Gradient in the Options Bar, and press X to set the
Foreground color to black. Draw a gradient from the bottom of the
image to approximately three-quarters of the way up the image.
This will give the light beam some fade. In the Layers panel, lower
the Opacity (we used 75%), then click-and-drag the layer to posi-
tion it between the Background layer and Layer 1 in the stack.
Finally, add some text to complete the design. Enjoy! ■

026
Down & Dirty Tricks
■ BY FELIX NELSON
Hot, Textured, Melting Brand

That’s the best way to describe the text effect used for one of the logos on FX’s website (www.fxnetworks
.com) for their television series Rescue Me. The type treatment has a very hot, branded look, even though
it’s probably intended to be more of a badge or shield. Either way, it’s an awesome look that’s just crazy cool.
STEP ONE: Press D then X to set the Foreground color to white.

Choose File>New to create a new RGB document that’s 6x4" at
150 ppi, and choose Background Color from the Background
Contents menu. Choose the Horizontal Type tool (T) from the
Toolbox and enter some text (we used 77-point Copper-
plate Regular).
STEP TWO: Duplicate the text

layer by dragging it onto the
Create a New Layer icon at the bot-
tom of the Layers panel. Control-
click (PC: Right-click) on the text
layer copy and choose Rasterize
Type. Click on the Eye icon next
to the original text layer to hide it
from view.
Choose the Lasso tool (L) from the Toolbox and make a loose
selection around the first character (“R” in our example). Go
under Edit, under Transform, and choose Warp. Move the Bézier
points and handles to slightly bend and distort the individual
character. Press Return (PC: Enter) to apply the Warp. Select
each letter individually and subtly bend and distort them until
the entire line of type is affected (see example). Press Command-D
(PC: Ctrl-D) to deselect.
› › p h ot o s h o p u s e r › M A R C H 2 0 0 9
STEP THREE: Choose the Brush tool (B) from the Toolbox. Using a
hard-edged brush, paint in some imperfections around the outside
of the type. Now, choose the Smudge tool (nested under the Blur
tool) from the Toolbox. Add even more imperfections by smudging
the edges of the type. Adjust the Strength value in the Options Bar
to vary the intensity of the effect.
028
STEP FOUR: Click the Add a Layer Style (ƒx) icon at the bottom of
the Layers panel and choose Bevel and Emboss from the list. Enter
500% for Depth, 3 for Size, 2 for Soften, uncheck Use Global Light,
135° for Angle, and 48° for Altitude. Change the Highlight Mode
Opacity to 100%, and set Shadow Mode Opacity to 57%. Click on
the Highlight Mode color swatch, choose yellow as the color (R:252,
G:232, B:60), and click OK. Click on the Shadow Mode color swatch,
choose a dark red color (R:116, G:8, B:8), and click OK.
Choose Texture from the Styles list on the left. Click on the
down-facing arrow next to the Pattern thumbnail, then click the
right-facing arrow and choose Rock Patterns. Click Append when
the warning dialog appears. Scroll to the bottom of the Pattern list
and choose Dirt. Enter 125% for Scale and +15% for Depth.
STEP FIVE: Now choose Pattern Overlay from the Styles list. Make
sure the Opacity is set to 100%, click on the down-facing arrow
next to the Pattern thumbnail, choose Rock Wall, and enter 400%
for Scale.
STEP SIX: Choose Gradient Overlay from the Styles list and change
the Blend Mode to Overlay. Click on the Gradient thumbnail and
when the Gradient Editor appears, click on the black color stop on
the bottom left. Now, click on the black color swatch, choose an
orange color (R:231, G:116, B:53), and click OK. Click on the white
color stop on the right, then click on the white color swatch, choose
a reddish-brown color (R:155, G:29, B:42), and click OK twice.
STEP SEVEN: Choose Satin from the Styles list. Change the Blend
Mode to Overlay, Distance to 38, and Size to 14. Click on the down-
facing arrow next to the Contour thumbnail, choose Gaussian (last
one on the top row), and click OK to close the Layer Style dialog.
STEP EIGHT: Duplicate your copied

text layer (RESCUE US copy) by drag-
ging it onto the Create a New Layer
icon (RESCUE US copy 2), then move
this new layer below your copied
type layer (RESCUE US copy). Click on
the word Effects under this layer and
drag it onto the Trash icon to remove
the effects. Now, press Command-I
(PC: Ctrl-I) to invert the image. Click

on the Add a Layer Style (ƒx) icon and
choose Bevel and Emboss. Choose
Emboss for Style, enter 500% for Depth, 15 for Size, 2 for soften,
135° for Angle, and 48° for Altitude. Change the Highlight Mode
Opacity to 100%, and set the Shadow Mode Opacity to 57%. Click
on the Highlight Mode color swatch, choose yellow as the color
(R:224, G:231, B:123), and click OK twice. Choose the Eraser tool (E)
from the Toolbox and erase away portions of the beveled edge (as
shown) to make it look irregular and imperfect.
029
STEP NINE: Click the Create a New Layer icon to create a new layer
(Layer 1), and drag it below the original text layer. Choose the
Rounded Rectangle tool from the Toolbox. In the Options Bar, click
the Paths icon, enter .25" for the Radius, then click-and-drag around
the text. Click on the Load Path As a Selection icon (the dashed
circle at the bottom of the Paths panel) to load it as a selection.
Press D then X to set the Foreground color to white. Choose
Edit>Stroke, enter 13 for Width, choose Inside for Location, and
click OK. Choose the Eraser tool from the Toolbox and, using varying
properties in the Options Bar, erase away portions of the stroke to
add some imperfections.
STEP TEN: Press-and-hold Command-Option (PC: Ctrl-Alt) and

click on the word Effects in the Layers panel, just below the first
text copy layer (RESCUE US copy in our example), and drag it
onto Layer 1 to apply the layer style.
STEP ELEVEN: Create another new layer (Layer 2) and drag it

below Layer 1 in the Layers panel. In the Paths panel, click on the
Work Path, then click the Load Path As a Selection icon. Press D
to set the Foreground color to black. Go under Edit and choose
Stroke. Enter 13 for Width, choose Inside for Location, and click OK.
(Because the stroke is black, you’ll have to hide the Background
layer and Layer 1 to see it.) Choose the Eraser tool from the
Toolbox, and add some imperfections the same way we did at the
end of Step Nine. Press-and-hold Command-Option (PC: Ctrl-Alt)
and click on the word Effects below the second text copy layer
(RESCUE US copy 2), and drag it onto Layer 2 to apply the layer
style. Deselect then turn on the visibility of the Background
layer and Layer 1 to complete the effect.
OPTIONAL STEP: We’ve added a textured background and flames to give the overall effect a little kick. NAPP members may down-
› › p h ot o s h o p u s e r › M A R C H 2 0 0 9
load these optional steps from www.photoshopuser.com/members/mar09-downloads.html. ■
030
Down & Dirty Tricks
■ BY FELIX NELSON
Photoshop World Helmet Retouch

We’ve been getting questions about the helmet we’re using for our Photoshop World promotional materi-
als. What lighting setup was used? How was it shot? Is it a 3D model or rendering? The answer is pretty sim-
ple: It’s just a photo with a basic retouch and a few elements thrown in to achieve the effect we wanted.
STEP ONE: Start by opening up an

image of a helmet. Use the selec-
tion tool of your choice to make a
selection of just the helmet. Press
©ISTOCKPHOTO/JASON LUGO
Command-J (PC: Ctrl-J) to put the

selection on its own layer (Layer 1).
STEP TWO: Go under the Image

menu and choose Adjustments>
Selective Color. Choose Reds from
the Colors drop-down menu, enter
100 for Yellow and 35 for Black. Now
choose Yellows
from the Colors
menu, enter 27
for Cyan, 3 for
Magenta, and 94
for Yellow. Finally,
choose Neutrals
from the Colors menu, enter 5 for
Magenta, 8 for Yellow, and click OK. This will give the helmet a
more golden hue.
STEP THREE: Click on the

Background layer, make a

selection of the face mask
and put it on its own layer
(Layer 2). Press Command-L
(PC: Ctrl-L) to bring up the
Levels dialog. Enter 10 in
the Shadow Input field (the
one on the far left), 1.11 in
the Midtone Input field (the one in the center), 180 in the Highlight
Input Field, and click OK to accentuate the shadow and highlight
details of the face mask (see example).
032
STEP FOUR: Open an image of a stadium. Grab the Move tool (V),
click-and-drag the stadium image onto the helmet document, and
©ISTOCKPHOTO/ALEXANDER HAFEMANN
move this layer (Layer 3) to the top of the stack in the Layers panel.
Reposition the stadium so that it’s over the right side of the helmet.
Go under the Edit menu and choose Transform>Warp. Move the
points, handles, and Bézier curves to bend the image, following the
contour of the helmet. It doesn’t have to match exactly; just try
to show a really exaggerated curve. Press Return (PC: Enter) to apply
the Warp.
STEP FIVE: Press Command-Shift-U (PC: Ctrl-Shift-U) to desaturate

the image then press Command-Option-T (PC: Ctrl-Alt-T) to make
a copy of this layer (Layer 3 copy) and bring up Free Transform.
Control-click (PC: Right-click) in the center of the bounding box and
choose Flip Horizontal. Move the flipped image down and toward
the left. Press Return (PC: Enter) to apply the Transformation.
STEP SIX: Press Command-E (PC: Ctrl-E) to Merge Down and then
change the Opacity of this layer (Layer 3) to 25%. Next, click on the
Add Layer Mask icon at the bottom of the Layers panel. Press D
then X to set the Foreground color to black. Choose the Brush tool (B)
from the Toolbox and, using a large, soft-edged brush set to
50% Opacity (in the Options Bar), mask away the areas beyond the
shell of the helmet, as shown here.
STEP SEVEN: Click on the Create a New Layer icon at the bottom of
the Layer panel (Layer 4) and change the layer blend mode to
Screen. Set your Foreground color to white and use a soft-
edged brush to paint in some stadium lights. Try to follow the
curve of the stadium, and make sure your “lights” get smaller and
less opaque as they curve toward the middle of the helmet (as in
our example).
STEP EIGHT: Drag Layer 4 onto

the Create a New Layer icon

(Layer 4 copy). Change this
layer’s blend mode to Lighten.
Go under the Filter menu and
choose Blur>Gaussian Blur. In
the dialog, enter 20 pixels and
click OK to add a slight halo
around the stadium lights.
033
STEP NINE: Click on the Foreground color swatch, choose a gold
color (R:190, G:172, B:116), and click OK. Create a new layer (Layer 5).
Command-click (PC: Ctrl-click) on the face mask layer thumbnail
(Layer 2) to make a selection. Use the Brush tool to paint in some
gold reflections on the face mask (see example). Change the layer
blend mode to Overlay. This will make the painted-gold reflection
look more realistic. Press Command-D (PC: Ctrl-D) to deselect.
STEP TEN: Open a logo of your

choice (we used the PSW logo, of
course). Click-and-drag it into the
helmet document. Use Free Trans-
form to resize and rotate the logo
into place. Now choose the Ellipti-
cal Marquee tool from the Toolbox.
Make a selection around the shell of the helmet (see example).
Go under the Filter menu and choose Distort>Spherize. Enter
75% for Amount and click OK. Reposition the logo, if necessary.
STEP ELEVEN: Click on the Add a

Layer Style icon (ƒx) and choose Bevel
and Emboss. Uncheck the Use Global
Light checkbox, enter 1 px for Size,
77° for Angle, 42° for Altitude, and
lower the Shadow Mode Opacity to
50%. Then choose Gradient Overlay
from the Styles list on the left, enter
20% for Opacity, 41° for Angle, 10%
for Scale, and click OK. This will
complete the effect, giving the logo a shadow that appears as if
it’s following the contour of the helmet. ■
034
By Drew “Dr. Woohoo!” Trujillo

Drew “Dr. Woohoo!” Trujillo is a New Mexico-based artist and developer who creates applica-
MONICA HOOVER
tions that add to and leverage from existing features in the Adobe Creative Suite (primarily).
Through his applications, Woohoo integrates natural phenomena, such as the forces that
036 cause motion, in his artwork, and he lectures all over the world on art and applications.
F
or some lead designers, photographers, and photo editors who must be able to rake through hundreds—or even
thousands—of images at any given moment, the absence of Contact Sheet II in Photoshop CS4 was noticeable (if
not scary!). Although the function isn’t totally gone, but relocated to Bridge, this article will show you how to bring the
Contact Sheet II plug-in back to Photoshop CS4—but that’s not all. We’ll make your photo-and-thumbnail-inspecting life a little
easier by showing you how to automate the process of printing, saving, and closing a new contact sheet. Finally, we’ll add the
ability to drag-and-drop images to a custom mini-application which does all of the above with a simple drag-and-drop.
Special thanks to John Nack, Jeff Tranberry, and Bernd Paradies at Adobe Systems Inc. who answered our questions
on Photoshop and Adobe SwitchBoard.
[To the technologically timid: Be advised, the first part of this tutorial is a simple plug-in transplant; however, the latter portion
is challenging and will require you to install some experimental software, so make sure your backups are up to date.—Ed.]
Like many Photoshop users, when a new version is released, we Click the Choose button and select a folder containing images
open it up to find new features with a bittersweet feeling. We that you want to include in your contact sheet. Adjust the Width,
love most of them, yet we wonder why some of our requests Height, Resolution, and any other settings you’d like to edit now.
didn’t make it into the release. Moreover, we wonder why some When you’re satisfied with the settings click OK.
of our favorite features disappeared; for example, the Contact
Sheet II plug-in from Photoshop CS4. (In CS3 it was found under
File>Automate>Contact Sheet II.)
Realistically, the Adobe Photoshop team has priorities that
might not match yours or mine. Yet we’re fortunate because there
are some do-it-yourself (DIY) tricks to enhance Photoshop, thanks
to some great foresight on their part and what you’re about to
learn. We’ll bring Contact Sheet II back to life in Photoshop CS4;
then we’ll automate printing, saving, and closing the contact sheet;
and we’ll take advantage of some new techniques that enable
you to drag-and-drop images onto a mini-application. Once you
complete this exercise, you’ll be able to apply this same technique
to further automate and extend Photoshop by yourself.
Bring back Contact Sheet II

First, we need to get our hands on the necessary data. You can get
this information and read the backstory regarding what happened
to this feature and others from the blog of Adobe Photoshop Prin-
cipal Product Manager, John Nack, at http://blogs.adobe.com/
jnack/2008/10/where_did_extra.html. Hint: The download links
are in the second paragraph—look for the “see Mac & Windows
downloads” hyperlinks.
STEP THREE: Photoshop will start the process of opening, processing,
STEP ONE: Download the Adobe Photoshop CS4 Optional plug-ins, and closing the series of images located in the folder you selected.
which contain a bunch of presets and other goodies, including the After a short period of time, the process will end and you’ll be left
Contact Sheet II plug-in. Once unzipped, we’ll copy the Contact- with a single Photoshop document (or documents, depending on
SheetII.plugin file from the English/Goodies/Optional plug-ins/ what settings you chose and how many images are involved) con-
Automate directory to: Hard Drive/Applications/Adobe Photo- taining a series of thumbnails based on the images.
shop CS4/Plug-ins/Automate (PC: C:\Program Files\Adobe\Adobe
Photoshop CS4\Plug-ins\Automate). › › w w w. p h ot o s h o p u s e r . c o m
STEP TWO: Let’s verify that we placed this file where it belongs
and that it’s working properly. If Photoshop was open, restart it
now, and then select Automate>Contact Sheet II from under the
File menu. 037
Woohoo! You’ve restored the Contact Sheet II plug-in and
Contact sheet...script...action recorded a Photoshop action. You can now select the “Contact
Next up, let’s automate the process of printing, saving, and closing
Sheet action” from the Actions panel, click on the Play selection
our contact sheet by installing a script and recording an action.
button to save, print, and close future contact sheets. This will
[NAPP members may download content associated with this
certainly make it easier to send contact sheets to your client and/
tutorial from www.photoshopuser.com/members/mar09-down-
or keep them for your own perusal. The tutorial could end here,
loads.html.]
but we’re more adventurous than that…
STEP FOUR: From the files you downloaded, double-click the Print-
CloseScript.zip file to open it, place it in Hard Drive/Applications/
Drag-and-drop contact sheets
Here’s a brand-new trick to make the contact-sheet-creation
Adobe Photoshop CS4/Presets/Scripts (PC: C:\Program Files\Adobe\
process more streamlined and even easier. Our objective is to
Adobe Photoshop CS4\Presets\Scripts), and restart Photoshop.
drag-and-drop a series of images onto a mini-application and
with that single gesture, automatically open up Photoshop, create
STEP FIVE: Open the Actions panel (Window>Actions) and click
a contact sheet, save, print, and close it. Sounds awesome, right?
on the Create New Action icon at the bottom of the panel (circled).
It is, but we need to install some additional software, and there’s
The New Action dialog will open. Name it “Contact Sheet action”
a dash of coding.
and click Record. Keep in mind that everything is being recorded
for this action until you press the Stop Playing/Recording button.
STEP SEVEN: Download and install the
Adobe AIR runtime. This is similar to
having the Adobe Flash Player installed
in your browser, except it allows appli-
cations created with Adobe AIR to run
on your computer. For more information
on AIR and to get the download, check
out www.adobe.com/products/air.
STEP EIGHT: The next program we need to install is Adobe

SwitchBoard, which allows our AIR applications to relay infor-
mation between Photoshop, Illustrator, and InDesign. Down-
load the SwitchBoard ZIP file from http://labs.adobe.com/wiki/
index.php/SwitchBoard#Installing_SwitchBoard. (Note: The
address is case-sensitive.) Be sure to read all the warnings and
license info before installing!
STEP SIX: With your contact sheet document open, let's run the STEP NINE: The other file contained in the associated download
script we just installed: Go under the File menu, under Scripts, and content—PS_AIR_Droplet.air—is an application I created espe-
choose PrintCloseScript. When the Print dialog appears, choose cially for Photoshop User. You can get it from the NAPP member
your parameters and click Print. Then the Save As Options dialog website at the link listed above (or you can get it from www.drwoo-
will appear, so input your filename, choose the Save location, the hoo.com/update on or about May 1, 2009). This mini-application
image Quality, and click OK. Click the Stop Playing/Recording will enable us to drag-and-drop images onto it and then it will tell
button at the bottom of the Actions panel when the script finishes Photoshop to create a contact sheet, save, print, and close it—with
(you’ll know that the script is finished when the document closes). a little help from you.
Download the mini-application, install it, and make sure you
save it to your desktop (so it’s easier to drag-and-drop your images
onto). If you’re on a Windows computer, check the Add Shortcut
Icon to My Desktop box.
038 Installing PS AIR Droplet on a PC

saved to the Desktop. Open the file with TextEdit on the Mac, or
Notepad on the PC, and you’ll notice there’s a lot of crazy-looking
code in there, separated into two steps on the Mac, three on the
PC. You can tell where the steps are separated when you see this:
// ==========================================
The top step represents the code associated with Contact

Sheet II, while the bottom step displays what code was generated
when we ran the action. This is going to be the set of instructions
we’ll give our mini-application, which in turn will pass it on to
Photoshop, which will then run it. Now that we’ve verified that our
Installing PS AIR Droplet on a Mac steps were recorded, save a copy of this log to your Desktop as
“magicPSInstructions.jsx,” and take a deep breath—you’re about
STEP TEN: At this point, if we were to drag-and-drop our images to start coding.
onto the mini-application, it would simply say “hello” to Photoshop
. We need to give it a set of instructions to pass on to Photoshop
so that Photoshop knows exactly what to do. For the most part,
recording our steps within Photoshop can automatically create
the instructions we need. By default this feature is turned off, so
let’s go turn it on.
On a Mac, you’ll want to make a copy of the ScriptingListener
.plugin located in your Hard Drive/Applications/Adobe Photo-
shop CS4/Scripting/Utilities folder. On a PC, you’re looking for
ScriptingListener.8li that’s in your C:\Program Files\Adobe\Adobe
Photoshop CS4\Scripting\Utilities folder. Once you locate the
file, copy it into your Automate folder (it’s the same folder where
we dropped the ContactSheetII.plugin earlier).
Code generated on Mac with ScriptingListener.plugin
STEP ELEVEN: Restart

Photoshop and select File>
Automate>Contact Sheet II.
Adjust the settings (if
needed) and then click
the OK button. When the
process is finished, go to
the Actions panel, select
the Contact Sheet action

we created earlier, and
then click the Play
Selection button.
STEP TWELVE: Because we

moved the ScriptingListener
file, thus turning it on, every-
thing we did in our last step
was recorded to a file called
“ScriptingListenerJS.log” that Code generated on PC with ScriptingListener.8li 039
STEP THIRTEEN: We need to make three small changes to the will be passed into our instructions, which in turn will be passed
script in our magicPSInstructions.jsx file. If we moved this set of to Photoshop, which will in turn run this script. The only thing left
instructions in its current state into where our mini-application to do now is move our edited script to where the mini-applica-
would look for it, when we dragged-and-dropped our images on tion can locate it.
the application icon, it would always process the same folder of
images—even if we selected images from a different folder. To fix STEP SEVENTEEN: On a Mac, locate your custom AIR application
this, we need to change our script so that it automatically figures (PS AIR Droplet), Control-click on it to reveal the pop-up menu,
out which folder our images are in. and select Show Package Contents. A new window should open
Let’s edit our magicPSInstructions script: Control-click (PC: up that contains a Contents folder. Copy your magicPSInstruc-
Right-click) on the magicPSInstructions.jsx file on your Desk- tions.jsx file to the Contents/Resources folder, replacing the exist-
top and choose ExtendedScript Toolkit from the menu. If you ing magicPSInstructions.jsx file, and then close the Window.
don’t see ExtendedScript Toolkit as an option, choose Open
With>Other from the menu. In the Choose Application dialog,
you’ll want to navigate to your Hard Drive/Applications/Utili-
ties/Adobe Utilities/ExtendedScript Toolkit CS4 folder (PC: C:\
Program Files\Adobe\Adobe Utilities\ExtendScript Toolkit CS4).
(Note: If the program is grayed out, select All Applications from
the Enable menu.) Pick ExtendedScript Toolkit from the menu
and click Open. (Note: ExtendScript Toolkit is an Adobe applica-
tion used to create and edit scripts that communicate with the
Creative Suite applications.)
If you’re on a PC, open an Explorer window, navigate to the

Desktop, and open the PS AIR Droplet folder. Copy your magicPS-
Instructions.jsx file into the PS AIR Droplet folder, replacing the
existing magicPSInstructions.jsx file, and then close the Window.
STEP EIGHTEEN: That’s it! Let’s test it! Drag-and-drop a set of

images on top of the mini-application icon; the application will
open, Photoshop will then open (if it wasn’t open already); and
STEP FOURTEEN: Input the following line to a new line at the very the process of preparing, printing, saving, and closing the contact
beginning of your script: sheet will start running. When prompted, press the Print button
and in the Save As Options dialog, enter your filename, save
function doMagic(folderPath) location, quality, and click Save.
{
STEP NINETEEN: We’re almost finished, the only thing left for
At the very end of your script, on a new line, add the following: us to do is delete the copy of the ScriptingListener.plugin (or
ScriptingListener.8li on PC) from the Photoshop Plug-ins/Auto-
} mate directory. (If we didn’t do this, the ScriptingListenerJS.log
file would continue to grow and eventually bring our computer
STEP FIFTEEN: Do a search in your script for “new File(” without to its knees!) Before you empty your Trash, make sure you still
the quotes. You should find a line of code that’s similar to this: have a copy of ScriptingListener.plugin in your Photoshop Script-
ing/Utilities folder.
desc1.putPath( idInpD, new File( "/Users/drwoohoo/Desktop/test" ) );
We just laid the foundation

If “desc1” ends in a number, don’t change it, it’s fine; “idInpD” of working with an enhanced
might be a little different as well but don’t worry about it. The Photoshop. But we’ve only
path (in quotes) to the folder containing the images you selected scratched the surface of what
to create a contact sheet will be different. We’ll need to replace we can do and by doing it
the path inside the quotations—and the set of quotes—to ourselves, we’ve also provided
folderPath. Your final code should look something like this: the opportunity to instill
greater confidence in future
desc1.putPath( idInpD, new File( folderPath ) ); DIY Photoshop techniques. If
you’d like to see more articles
STEP SIXTEEN: Go under the File menu and Save it! Now when like this, send your input on
we drag-and-drop the images onto the mini-application icon on this one to letters@photoshop-
040 our Desktops, the path to the folder that contains those images user.com. ■
ALL IMAGES BY DREW “DR. WOOHOO!” TRUJILLO UNLESS OTHERWISE NOTED
PHOTOSHOP WORLD • THE EASTERN CONFERENCE
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Boston, MA • March 25 – 27, 2009
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Plus, all attendees receive the Photoshop World workbook —
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Scott Kelby Julieanne Kost Jack Reznicki

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RC Concepcion Joe Glyda Helene Glassman
Bert Monroy Jim DiVitale Ed Greenberg
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Ben Willmore Rick Sammon Richard Harrington
Dan Margulis Andrew Rodney Kevin Ames
Fay Sirkis Moose Peterson Eddie Tapp
David Ziser Joe McNally Laurie Excell
Taz Tally Jay Maisel
OPENING KEYNOTE Tuesday, March 24: Pre-Conference Workshops. These pre-con work-
WEDNESDAY, MARCH 25 — Entertaining, en- shops are optional, so a separate registration and fee is necessary.
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helm, our keynote is more like a rock concert
CANON LIVE STUDIO LAB IN DEPTH
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Experience a live studio session and learn Take part in a discussion of Blends,
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WEDNESDAY, MARCH 25 TO FRIDAY, photographing models, as well as digital the power and creative potential of the
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Using Photoshop CS4 and Corel
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graphs into paintings that replicate the
portfolio reviews by some of the most highly minimum of gear and time. Ziser
the Old Masters. Sirkis
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masks which are two of the most im-
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Visit www.PhotoshopWorld.com for the complete class schedule and course titles.
Adobe, Photoshop, Creative Suite, Acrobat, Flash, After Effects, Lightroom, Illustrator, Camera Raw, Dreamweaver, Bridge, and InDesign are all trademarks or registered
trademarks of Adobe Systems Incorporated. *All classes, class materials and instructors are subject to change without notice.
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THURSDAY, MARCH 26
est books and DVDs by conference instructors at the Official 9:30 - 10:30am 9:30 - 10:30am
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10:45 - 11:45am 10:45 - 11:45am
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Attend any session in any track and move between them as often as you like. Instructors,
1:00 - 2:00pm
classes, and class materials may change without prior notice. Visit www.PhotoshopWorld.com And Then There
for the latest information.
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2:15 - 3:15pm 2:15 - 3:15pm
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Special room rates are available—just identify yourself as a Photoshop World attendee when you reserve your
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SHERATON THE WESTIN
BOSTON HOTEL COPLEY PLACE
Stay where the 10 Huntington Avenue
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©2009 National Association of Photoshop Professionals – all rights reserved. Adobe, the Adobe logo and Photoshop are registered trademarks of Adobe
Systems Incorporated. All other company names, logos and trademarks are the property of their respective holders.
Ben Willmore
Photoshop Mastery
Masking around Trees
In many of my images I alter the sky—to remove glows around trees (the result of processing an HDR image) or
to create a visual twist, such as a black-and-white effect—and often the most difficult part is selecting around the
edges of a tree.
T
he Photoshop Background
Eraser tool is my tool of choice
when I need to make a selection
around a tree. (To find it, click-and-hold
on the Eraser tool icon in the Toolbox.)
This tool isn’t designed to produce
selections, but I’ll show you how to
get a little sneaky and convert its results
into a selection.
STEP ONE: The Background Eraser will

delete pixels from your image, so you
Original image After using the Background Eraser
want to take precautions before you use
it. It’s best to make a duplicate layer (in Limits menu to Discontiguous and the STEP FIVE: Now, Command-click (PC:
our example, the trees) on which to work. Tolerance to 30%. Ctrl-click) on the duplicate layer’s thumb-
So press Command-J (PC: Ctrl-J), or if you nail, which will produce a selection. Once
don’t like keyboard shortcuts, go under STEP FOUR: The Background Eraser has you’ve done that, drag the copy layer to
the Layer menu and choose New>Layer a circular cursor with a crosshair in the the Trash icon, which will return you to
Via Copy. This will keep your image intact middle and when you click, it deletes the original layer with an active selection.
and prevent the tool from causing perma- the color that’s under the crosshair in Note: If the original layer is a Back-
nent damage to the image. the circle. The Tolerance setting deter- ground layer, you’ll need to make it a
mines how much it can stray from the regular layer before you go to the next
STEP TWO: Having the original layer color under the crosshair. Only allow step. Just double-click on the layer name
under the duplicate layer will get in your the crosshair to touch areas that should and click OK to change it to Layer 0.
way because you won’t be able to tell be deleted (like the sky), and keep the
where areas are being deleted—the crosshair close to the trees without ever STEP SIX: To refine your selection, press
original image will still appear in the touching them (at least not when you’re Q on the keyboard to enter Quick Mask
duplicate layer’s deleted areas. For this holding down the mouse button), while mode, choose the Brush tool (B), and
reason, click on the Eye icon beside allowing the circle to overlap any part paint with black to add to the red over-
your original layer to hide that layer and of the trees that also contains sky. lay or white to remove the overlay until
then click on the duplicate layer’s name If you find the Background Eraser red covers only what you want to be
to make sure it’s active. causes the trees to thin out, try lowering selected. Finally, when you’re finished
the Tolerance setting. If it leaves behind painting, press Q again to see your
STEP THREE: There are some settings too much of the sky, increase the Toler- finished selection. ■
that I find essential when I start to erase ance. Of course, the ideal setting will vary
around the edges of a tree. So, with the for each image you encounter. Concen-
Background Eraser tool active, click on trate on trying to delete the areas of the
the Brush Preset Picker in the Options sky that touch the trees while preventing
Bar and set the Hardness to 0%. Now the trees from being deleted. When
choose the leftmost icon (Sampling: working your way around the trees, try
Continuous) of the three that appear to not to concern yourself with what’s hap-
the right of the Brush icon, then set the pening in other areas of the image.
Background Eraser Quick Mask view after painting

Ben Willmore is author of Up to Speed: Photoshop CS4, which covers all of the new features in CS4 and nothing else. Learn about his latest
adventure at www.whereisben.com. ALL IMAGES BY BEN WILLMORE
047
Bert Monroy
From Bert’s Studio

Masking Basics
In this article, we’ll discuss two types of masking—methods of hiding elements so they’re not seen within the
context of the overall image. But why not eliminate them if you don’t want them to be seen? Well, we’re not
talking about totally getting rid of them, but partially hiding elements nondestructively.
T
he concept of masking takes on different meanings
within the vast number of functions in Photoshop.
One crucial way to work in Photoshop is with the many
features that have a nondestructive quality (and each new version
of Photoshop introduces more of these nondestructive elements).
The adjustment layer, for instance, is one such important feature:
It lets you alter images in a way that allows you to further alter or
reduce the effect later on—very important when dealing with
clients who change their minds a lot. Another feature is smart
filters, where you can apply all the filters you want and go back
and change the settings at any time without actually modifying
the original image.
The Eraser tool (E), however, is a destructive tool. Once you
erase something, it’s gone. Open that file next week and there’s
no history. The pixels you erased are gone forever!
And this is what makes the type of masking we’ll explore
in this article so important. You erase things without actually
erasing them. You hide them! In this fashion, you can always go
back and change things later because all the elements still exist completely hides those portions of the reflection. The dark red
within the image. of the logo area needs to partially expose the interior of the
building so this area was filled with a gray value that partially
Using layer masks hides that portion of the reflection.
The first masking technique we’ll look at actually has “mask” in
its title: the layer mask, which you attach to a layer. Based on the
values within that mask, the elements in the layer will either be
visible, invisible, or partially visible. Where the mask is black, the
layer will be invisible. Where the mask is white, it will be 100%
visible. There are, however, 254 levels of gray available in a layer
mask, where the level of gray equals the level of visibility. For
example, if you have 50% gray in the mask, the layer will have
50% opacity.
Once again you might say, “Why not just lower the opacity
for the layer?” Well, we’re talking about control here, the ability
to control various opacities within the same layer.
In this night scene of Times Square (top right), representing

a tiny portion of a painting I’m currently working on, the face
of one of the buildings is covered with glass. In that glass, a
reflection of a brightly lit sign is visible. The glass will show the
reflection but the metal separations will not. Furthermore,
the dark areas of the reflection will allow some
of the background inside the building to be visible through
the reflection. In our final image (next page), we see the result of the mask
This next image shows the layer mask created for the layer over the rest of the image. The beauty of this feature is that
containing the reflection. Notice that the area of the glass it can be modified at any time. Just Shift-click on the mask in
is pure white, allowing the reflection’s colors to appear full the Layers panel to turn the mask’s effect on and off, and the
048 strength. The metal separations area is solid black, which original elements within the image remain intact.
From Bert’s Studio
The image below, where the rest of the green rectangle appears
to be missing, shows the result of the clipping group. Note how the
clipping group is displayed in the Layers panel. The base layer name
is underlined and the layers being masked in the group become
indented with a small arrow pointing down toward the base layer.
Masking with clipping groups

The other masking technique we’ll discuss here is the clipping
group—a feature that I use extensively throughout my images.
This technique takes into account multiple layers working in
concert. But it’s the nondestructive quality of this method that’s
so important.
A clipping group is a collection of layers where the bottom-
most layer is used to mask the other layers in the group. It works
by using the transparency area of the base layer as the basis for
the mask. Any parts of the layers above the base layer that fall
within the area of transparency will be hidden and areas of There are a few ways to create clipping groups, but the method
those layers that fall within the area of active pixels in the base I prefer is the keyboard shortcut, as follows: Say you have two lay-
layer will be visible. Let’s use this image of a layer containing a ers that you wish to group, pass the cursor over them in the Layers
red circle to help demonstrate the clipping group concept. panel, and you’ll see the little pointing hand travel up and down.
Now holding down the Option (PC: Alt) key, pass your cursor over
the Layers panel again and this time the cursor changes to two
overlapping circles as it hovers between two layers. Click while
the cursor is changed and it will bring the two layers together into
a clipping group.
Each layer in the group can be altered in any way. Layer
styles or opacity changes can be applied to individual layers
and they’ll only be seen through the active pixels of the base
layer being used as the mask. It’s important to note that any
modification applied to the base layer will affect all the layers in
the group. For example, if you reduce the opacity for the base
layer, that amount of opacity reduction will be applied to all of
the layers in the group.

Masking through layer masks or clipping groups makes life
easy. It’s not unlike working on a coloring book and not having
In the next image (top right), we see an additional layer con- to worry about staying within the lines.
taining a green rectangle. Notice that portions of the green layer
fall outside the area of the red circle. The red, being the bottom- Now that we have layer masks and clipping group basics down pat,
most layer, will be the mask layer. next issue we’ll get into more advanced techniques. ■
Bert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has served on the
faculty of many well-known institutions, written many books, and appeared on hundreds of TV shows around the world. 049
ALL IMAGES BY BERT MONROY

Lesa Snider King
Graphic Secrets
Taking Care of Business…Cards
Few design projects are as nerve-racking—or important—as designing your own business card. Just like the
clothes on your back, a business card tells if you’re professional, artistic, or just a big ol’ ball of cheese. And, you
have to pack a ton of info into a very small space.
A
side from the aesthetic message, you need to include:
Bleed zone—items extend off card edge
company name, your name, logo, URL (it’s shocking
Trim zone—items appear on card edge
how many folks leave that out), phone, and email
address—you have to include them all.
But your first step is to pick a printer and get their document
specifications. A great resource is www.overnightprints.com. Print-safe zone
They’re fast, affordable, and they do double-sided glossy or
matte finishes (matte enables folks to write on the back). For a
few extra bucks, choose rounded corners so your card stands
out from the pile.
The next step is to create a Photoshop template. Here’s the
technique I use:
STEP THREE: Place your logo (or photo background) as a smart
STEP ONE: Create a new document by pressing Command-N (PC: object by choosing File>Place and locating the art on your hard
Ctrl-N). Enter “business card” in the Name field and use the follow- drive. If it’s a logo, keep it fairly big and move it to the left side of
ing settings: Width 1088 pixels, Height 638 pixels (for a standard the card. If you make it smaller and later decide to make it bigger,
3.5x2" business card size), Resolution 300, and CMYK Color Mode press Command-T (PC: Ctrl-T) to summon Free Transform and
at 8-bit. Select White from the Background Contents menu and increase its size. If it’s pixel-based, don’t make it bigger than its
click OK (you can always change the background later). actual size or it may pixelate. If it’s vector-based, it’ll never pixelate.
If you’ve placed a photo and want it to hang off the edges of the
card (known as a “bleed”), make sure it extends past the trim guide
to the document edges (if you went with a photo be sure it has a
fairly “calm” spot for text!).
STEP TWO: Press Command-R (Ctrl-R) to turn on your Rulers (if Smart Object, Adobe Illustrator file
they’re not already on). Now we’ll drag guides to mark the print-
safe zone—placing content within this area ensures that it won’t
print too close or hang off the edges of the card.
Open the Info panel (Window>Info), click within the vertical

LESA SNIDER KING
ruler, then drag to the right and drop a guide at 0.25" (watch
your Info panel if you don’t know where that is). Drag a horizon-
tal guide at 0.25" using the same process. To mark the trim line
Smart Object, Photo in Raw format
(where the card is cut), drag vertical and horizontal guides at
0.063". Drag similar guides on the right side of your card (3.373"
for print safe and 3.563" for trim), and at the bottom (1.877" for
print safe and 2.067" for trim). Command-click (PC: Ctrl-click) on
the guide to reposition it if you drop it on the wrong spot.
Tip: If your Rulers aren’t set to inches, choose Photoshop>
Preferences>Units & Rulers (PC: Edit>Preferences>Units & Rulers)
050
and change the Rulers menu to inches. Fill layer, solid orange
Graphic Secrets
To add a solid color background, choose Layer>New Fill STEP FIVE: If you’re designing a
Layer>Solid Color, and click OK. Grab a color from the resulting double-sided card, Shift-click to
Color Picker and click OK. (Tip: To pick a color from your logo, click select the layers and then from
it with the Eyedropper tool first.) With a Fill layer, experimenting the Layers panel flyout menu,
with colors is as easy as double-clicking the Fill layer to open the choose New Group From Layers.
Color Picker. Sweet! (Note: If this option is grayed out,
unlock or omit the Background
STEP FOUR: Press T to grab the Type tool, click within the docu- layer). Name it “Front” and turn
ment and add your text. Keep these text tips in mind: off the group’s Eye (visibility)
• Sans-serif fonts, e.g., Frutiger, Myriad, Arial, are easier to read icon. When you finish designing
at small sizes because they lack the “feet” of serif fonts like the back, add those layers to a
Times and Garamond. For our example, we used Myriad Pro group named (cleverly), “Back.”
Light (8–9 pt) and Regular (10 pt).
STEP SIX: Save your layered file,
then choose File>Save As and
pick TIFF as the Format. Turn off
the Layers checkbox and click
OK. In the TIFF Options dialog
that appears, set Image Com-
pression to None, and click OK.
If, however, your printer wants
a PDF, choose Photoshop PDF from the Format menu, and click
Save. In the Save Adobe PDF dialog, click Compression in the list
• Because the text lines vary in length, right alignment works on the left, choose Do Not Downsample from the menu in the
well (especially for the contact info block). Just select the Options section, and click the Save PDF button.
text and click the Right Align Text icon in the Options Bar.
• Adjust the spacing between letters. To adjust all spaces For extra pizzazz, pick an artistic element from your logo, make
evenly (tracking), select the text, press-and-hold the Option it bigger, reduce its opacity and hang it off the edge of the card,
(PC: Alt) key, and then press the Left Arrow to decrease (or as shown here.
Right Arrow to increase). To adjust one space (kerning), place
your cursor between two letters instead.
• Adjust the spacing between lines of text (leading). Select
offending text and while holding the Option (PC: Alt) key,
tap the Up Arrow to decrease or the Down Arrow to increase.
(This means you don’t waste space with blank returns.)
Also, remember to place related items closer together. For
example, put less space between your name and title, and
more between other info.
• Incorporate color from your logo. Basic black or dark-gray text Front
always works, though you might try using logo color for your
name, phone number, or email address to make them eye
catching. Select the text, click the Set the Text Color swatch
in the Options Bar, and when the Color Picker opens, mouse
over to the logo and click once on the color.
Back
You could also use solid color Shape layers in the background
for visual interest. The possibilities are endless! Until the next
time, may the creative force be with you all! ■
Lesa Snider King, chief evangelist of iStockphoto.com, is author of Photoshop CS4: The Missing Manual (Pogue Press/O’Reilly), From Photo
to Graphic Art, and Practical Photoshop Elements (KelbyTraining.com). Lesa is also founder of GraphicReporter.com. 051
Matt Kloskowski
Photoshop Speed Clinic

Faster Contact Sheets and PDFs
On page 36, Drew “Dr. Woohoo!” Trujillo shows us how to get the Photoshop CS3 Contact Sheet II feature back
into Photoshop CS4. Did Adobe remove the whole contact sheet feature from Photoshop CS4? And what hap-
pened to PDF Presentation (a great way to email images to someone)?
T
hey’re actually not gone; they’ve just been relocated STEP THREE: Well, we just stumbled upon the one small quirk with
into Adobe Bridge CS4 and once you get used to it, I this feature and that is: There’s no auto-update preview feature. This
think you’ll find that they work a lot better because of means that even though we selected our images and picked 4x5
it. Let’s check it out. Contact Sheet from the Template menu, nothing changes.
It’s an easy fix though. Just click on the Refresh Preview button
STEP ONE: Fire up Bridge CS4 (from Photoshop, go to File>Browse at the bottom of the Output panel and the middle Output Preview
in Bridge) and navigate to a folder of photos from which you’d like area will update to show your 4x5 contact sheet.
to make a contact sheet.
In Bridge, click on the Output icon in the top menu bar and
choose Output to Web or PDF. Bridge doesn’t go away but the pan-
els on the bottom and right-hand side change a bit. In fact, you’ll
see two buttons at the top right of the window: PDF and Web gal-
lery. This is now the new place to create PDFs (in the form of contact
sheets or PDF presentations) as well as online Web galleries.
STEP FOUR: The Document panel gives you options to change

the paper size (Page Preset), the PDF Quality, and the Background
color behind your photos. It’s also got an area for adding password
restriction (Open and Permissions Password) to the PDF file in
case you want to prevent someone from opening it or Disable
Printing, say in the case of high-resolution images.
STEP TWO: Let’s concentrate on the PDF aspect here, as it’s

changed the most. First, let’s assume you want to create a
contact sheet the new way and you don’t want to import the
old Photoshop CS3 contact sheet automation. The first thing
you’d do is select some images that you want to use for your
contact sheet
and then choose

one of the pre-
sets under the
Template menu
in the Output
panel (by default,
it’s the panel at
the top right). In
this example, we
chose the 4x5
Contact Sheet as
052 a starting point.
continued on p. 54
Photoshop Speed Clinic
STEP FIVE: The STEP EIGHT: Okay, back in the last step, we skipped over Playback
next area in the because it applies more to a PDF Presentation. But you probably
Output panel noticed that not only is Contact Sheet II missing from Photoshop
is Layout. This CS4 but PDF Presentation is missing as well. And that’s because
is where you you do both of them here in Bridge now.
choose how We’ve been looking at how to create contact sheets, but if
many Columns you wanted to create a simple one-photo-per-page presenta-
and Rows you’d tion, then just change both your Columns and Rows settings to 1
like on the page in the Layout panel (and click Refresh Preview).
and how you’d
like them to
appear. You can change how far the images are from the margins
as well as from each other.
STEP SIX: Next, the Overlays panel has one very simple (but
hugely important) feature in it: the ability to put the filename
under the image. This comes into play when you want whoever
is looking at this PDF to be able to tell you which image they like.
STEP NINE: If you’d like your PDF to open in presentation mode,

go to the Playback sec-
tion and select Open
in Full Screen Mode.
STEP SEVEN: Scroll down so we can see the rest of the panels. This automatically
Let’s skip Playback for a moment, because it affects PDF Presen- goes into presenta-
tation more than Contact Sheet, and jump to Watermark. I have tion mode when the
to admit, I tried this once and haven’t used it since. It places a viewer launches the
watermark of whatever text you type right in the middle of your PDF. You can control
image. It works a little better for presentation mode…but not so how long each slide
great with contact sheets. lasts (Advance Every
x Seconds) and any
Transition (None,
Fade, Dissolve, etc.)
you might want
between the slides.
When you’re ready

to create the PDF, just
scroll down, click on
the Save button at

the bottom right of
the right-side panels,
and choose a location.
The PDF will be saved
with your current set-
tings and you’re ready
to go. ■
If you have an idea for an action that you’d like to see in the
“Speed Clinic,” please send it to letters@photoshopuser.com.
054
ALL IMAGES BY MATT KLOSKOWSKI
John Paul Caponigro
The Fine Art of Printing

A Backgrounder on Edition Structures
Edition structures, which disclose the entire number of prints that will be made of an image, vary widely—some
are open (without limit) and some are limited. The current practice of limiting photographic editions was carried
over from other printmaking media, such as paperback books, newspapers, and the like.
I
n these other media, limiting an edition was for quality When photographer David Vestal polled many of the top
control purposes because after a certain number of prints photographers 10 years ago, he found that those who limited
were made, the plates used to make them deteriorated, editions (whether 25, 100, or more) tended to produce the full
and print quality suffered. With photomechanical processes, edition upon release, while those who offered open editions
no such restraint exists, as it’s possible to generate a nearly printed on demand, and the average number of prints made of
infinite number of prints. No one does—it’s impractical. any one image was six.
Consequently, there’s no physical need to limit editions; it’s Note: Limited and rare editions are two different things: one
primarily a matter of marketing. Scarcity is always a factor in any suggests but does not necessarily deliver the other. Again, prac-
marketing strategy. By limiting access, price is escalated, which tice in the industry is diverse.
produces pressure to purchase quickly before supplies run out There’s no correlation between price and collection and
or price escalates further. The word “limited” is used as a selling edition structure. Famous photographers, old and young, vet-
point, regardless of whether the edition size is small or large. erans or recently discovered, all produce either open or limited
editions. Few produce both. And this trend is growing among
Edition size emerging photographers.
There are no standards for limited-edition sizes. Practices It’s standard practice for artists to issue artist’s proofs
change at least once a decade, sometimes more frequently. (APs) within an edition. In addition to the number of prints
For example: produced in an edition, additional prints are produced
marked “AP,” generally in numbers not more than 10% of
• 50 years ago, the practice of limiting photographic editions the total edition—classically less than 10. These prints often
was unheard of. hold equal or greater value to the numbered prints issued
• 30 years ago, limiting photographic editions became in an edition. Disclosure of the number of AP prints pro-
widespread. duced is advisable.
• 10 years ago, the most widespread edition structure con-
tained 50. Print sizes
• 5 years ago, a large number of editions were offered at 25. Alternate print sizes may be issued, each with a limited-edition
• Today, many editions are offered at 12. structure of their own. The difference in print size may be small
but is typically significant. Editions of multiple sizes may each
Throughout that time, while there has been a constant trend contain the same number of each size or the number may vary.
favoring limited editions of increasingly small size, open editions The price of larger print sizes is traditionally higher than smaller
have persisted and succeeded. One should note that average print sizes. One approach is to offer larger numbers of smaller
photographic print prices have escalated substantially in that prints with increasingly small numbers of larger prints and
time, far in excess of economic inflation. This escalation isn’t steeply escalated prices to reflect both the increase in size and
uniform in the market; the low end has remained unchanged, limited quantity.
while the high end has become much higher. Alternate sizes may be offered after the first size escalates or
sells out, even if this isn’t disclosed at the time of sale of a previ-
Limited, open, rare, and AP editions ous edition. This practice is questionably legal, often frowned
It’s useful for the producer and consumer alike that there’s little upon, and it’s not advisable. But nonetheless, it’s not uncommon.
correlation between limited-edition size and the actual num- It is advisable to disclose at the time of sale that there will, or
ber of prints produced. Some limited editions are printed on may, be multiple sizes.
demand (as orders are received) and in this situation, while prints Portfolios are typically considered outside a limited edition.
are numbered, the full edition may never be produced. Open They’re typically produced in a limited edition in an alternate
editions are typically produced on demand, and demand may size (and documented and marked as such), so as not to be con-
be surprisingly low. fused with prints within a limited edition.
056
Print loose Print framed
An escalating structure
One common enhancement of the limited-edition structure • It limits the amount of time spent producing the same
is an escalating structure. This can be used with or without image, directing the attention of the artist and their rep-
limited-edition structures. Prices are raised as a number of prints resentatives to the production of new work. (More-prolific
are sold. In an open edition, it’s an arbitrary amount and an arbi- artists benefit more from limiting their editions than less-
trary number, frequently based on perceived opportunity or an prolific ones.)
artist’s fatigue. In a limited edition, it’s typically 20% (sometimes • It appeals to those customers who will only buy art in
more), every 20% of the way through the edition (sometimes limited editions.
more quickly).
Steep escalation may occur during the last 20% of the edi- And, conversely, there are many cons to limiting editions,
tion, where every print escalates substantially. Frequency and for example:
amount of escalation varies and here again, there’s no industry
standard, only options. • It limits the audience who may appreciate an image.
This option more rapidly escalates the value of an image and • It prevents an artist from enjoying sales of an image at
often establishes a trend within an artist’s entire body of work. escalated prices as his/her career matures. (These benefits
It also brings a pressure to purchase now rather than later, as are enjoyed only on the secondary market; though higher
today’s prices are more likely to be better than tomorrow’s. secondary market prices may help escalate the value of
new work.)
Pros and cons • It prevents the improvement of print quality as an artist’s
There are many pros to limiting editions, such as: vision matures or as technology advances. (This can include
producing prints with greater longevity or items that can
• It quickly escalates price. hold their value for a longer time.)
• It generates broad-based interest in an artist’s entire body of • It restricts the artist’s ability to gift or trade his/her work, per-
work, directing attention away from top sellers to other works haps to a colleague or a significant collection.
and to new works. • For better or for worse, limiting editions limits future options.
057
Print portfolio
Actual sales in the market vary widely. Currently, the two it; then act. Undecided? Wait. Keep your editions open. You can
most expensive photographs sold at historic highs (in excess of always limit later when you develop a clear desire or identify a
$3 million), both at auction, were issued in extremely low edition clear need to do so.
sizes (as low as 2). Some of the most expensive prints sold are An edition structure is considered part of the terms of sale.
unlimited or have very high edition sizes (10,000 or more). Earlier Honor it. If you limit your editions, don’t widen the edition
historic photographs sell for very high sums of money. While a number after initial sales. You may even further limit an edition
majority of them weren’t limited, production itself was limited, after it’s issued; but while this would increase the value of previ-
and print numbers have been further limited by damage or loss. ous sales, it’s rarely done, largely because of the complexity of
Market results are diverse. accurate labeling and recordkeeping.
You can adopt different edition structures for different images
Should you limit your editions? or at different points in your career; however, this makes describ-
It depends on many things. It depends on you. It depends on your ing edition structures more complex and may confuse consumers,
level of productivity. It depends on your age. It depends on the leading to a loss of sales. You can always raise prices after issuing
kind of work you produce. It depends on the market you’re target- an edition; how quickly and how much is unclear, as it’s deter-
ing. It depends on your representatives and how long you expect mined by increasing demand for an artist’s work. But, of course, it’s
to be working with them. It depends on how quickly you’d like to hoped for by artist, dealer, and collector alike.
see results.
There’s no clear consensus or set of practices on whether and The bottom line is that whatever you do, do it with an eye to pro-
how you should limit your editions. Ultimately, it’s a personal tecting and increasing the value of your collectors’ purchases. If
choice—make it an informed one. Think long and hard about you do this, the value and market for your work will increase. ■
John Paul Caponigro is an internationally respected fine artist, a member of the Photoshop Hall of Fame, author of Adobe Photoshop Master Class
058 and the DVD series R/Evolution. Get more than 100 free downloads and a free subscription to his newsletter, Insights, at www.johnpaulcaponigro.com.
ALL IMAGES BY JOHN PAUL CAPONIGRO

Dave Cross
Beginners’ Workshop
Patterns 101, Pt. 2
Last issue, we looked at the various ways we can use patterns in Photoshop and learned how to apply one of the
built-in patterns. In this article, we’re going to take it up a notch by creating and using our own patterns.
I
n theory, making a pattern is pretty simple: You select an The challenge
area with the Rectangular Marquee tool, then from the Edit As mentioned earlier, one of the catches/challenges appears
menu choose Define Pattern. Simple, huh? Okay, that’s when you try to define a pattern from something that has obvi-
it…see you in the next issue…. ous repetitions. Here we created a pattern from part of a photo
Actually, it can be that simple, but there are a few catches, so that contains more obvious elements.
follow along with this tutorial.
STEP ONE: Open your image, then make a selection using

the Rectangular Marquee tool (M) with no feathering (0 px for
Feather in the Options Bar). From the Edit menu, choose Define
Pattern. (If the command is grayed out, something is stopping
you—such as a feathered selection.) Name your pattern (we
called ours “wall”) and click OK.
Next, when we created a large document and filled it with

the pattern, the seams of the pattern tiles were very noticeable.
STEP TWO: Apply the pattern using one of the methods we

covered in the last issue. For our example, we click on the Add
a Layer Style (ƒx) icon at the bottom of the Layers panel and
choose Pattern Overlay. In the Layer Style dialog, we choose the
Here’s what’s involved in making a seamless pattern from the
pattern we created in Step One and click on Bevel and Emboss
selected area of our photo:
to add that style also.
It looks pretty good. The tiling of the pattern isn’t obvious

STEP ONE: Make a rectangular selection using fixed dimen-
because of the pattern itself and the relatively small area we
sions—we used 500x500 pixels, but 200x200 pixels will work
applied it to.
also. To do this, in the Options Bar change the Style menu from
Normal to Fixed Size and enter the Width and Height in pixels.
060
Beginners’ Workshop
STEP TWO: Copy the selection (Edit>Copy) and create a new pasted leaves using Free Transform (Command-T [PC: Ctrl-T])
document (File>New). The new file will generate automatically at where necessary—we defined a new pattern (Edit>Define
the same size as the selection you copied. Paste (Edit>Paste) the Pattern). This time, when we filled a large document with the
selected area into the new document. (Don’t close your original pattern, the seams are much less obvious.
document yet.)
As you can imagine, the amount of time and effort it can take
STEP THREE: Go to the Filter menu and choose Other>Offset. In to cover up the seams will vary dramatically depending on the
the dialog, enter a value that’s half the size of your document/ photo you’re using for your pattern. With a bit of practice you’ll
selection. For our selection, we entered 250 pixels in the Hori- find that it gets easier. And remember, once you have your pat-
zontal and Vertical fields—if yours is 200x200, then you’d enter tern, you don’t have to recreate it.
100 pixels in each field. Set the Undefined areas to Wrap Around.
This moves the pattern seams to the middle, where we can deal
SOME “HIDDEN” PATTERNS IN PHOTOSHOP
with them. Click OK to close the Offset dialog.
Until Photoshop CS4, there’s been a folder full of

Postscript patterns that you could use in Photoshop.
The pattern tiles, made in Adobe Illustrator, are already
seamless, so all you have to do is open any one of them
in Photoshop and define it as a pattern. Here’s where
you’ll find them:
• For the Mac: Hard Drive/Applications/Adobe Photoshop

CS3/Presets/Patterns/Postscript Patterns
• For the PC: C:\Program Files\Adobe\Adobe Photoshop
CS3\ Presets\Patterns\Postscript Patterns
STEP FOUR: If possible, cover up the seams in the middle using

the Clone Stamp tool (S). Depending on your photo, however,
this may or may not be easy or even possible. In our example
it would be very challenging to clone the leaves and make it
look realistic. Instead, we selected individual leaves from the
original photo, and copied-and-pasted them onto our pattern
document, and then, using the Move tool (V), positioned them
over the seams.
(If you have Photoshop CS4, you’ll have to move the pat-
Note: Be careful to avoid the four edges of the document
terns over from Photoshop CS3.)
because the edges are what create the seamless pattern.
The simplest way to access the patterns is to go to
Adobe Bridge so you can preview them. Once you find
STEP FIVE: After spending a few minutes pasting and position-
the pattern you want, Control-click (PC: Right-click) on it
ing leaves over the seams—including rotating and scaling the
and choose Open With>Photoshop CS(version).

In the Rasterize EPS dialog, enter the size you want,
colorize the pattern if you wish, and Edit>Define Pattern. ■
If you have an idea for a “Beginners’ Workshop” topic, please

send it to letters@photoshopuser.com; however, if you have
a question that you’d like answered immediately, go to the
Help Desk at www.photoshopuser.com.
061
Jim DiVitale
Digital Camera Workshop

Self-Promotion in Photography
Whether you’re a seasoned pro or recent graduate, self-promotion needs to be high on your list if you plan to be
successful in photography. And having a good, ongoing plan that works doesn’t mean you need to empty your
savings account to be effective.
W
ith a little planning—and a few simple Photoshop promo at an odd size and then spend hours shopping for the
projects—you can create a self-promotion plan that perfect fit—or spend extra money for a customized envelope.
works. Cold-calling portfolio interviews with poten-
tial clients have been replaced by the photographer’s website
and blog. Many industry experts believe that the blog is now
even more important than the website because it shows weekly
updates on what you’re doing in your day-to-day assignments.
Getting a potential client to visit the site is the challenge. In the
’80s, a commercial photographer wasn’t taken seriously unless
he or she had an expensive ad in a creative sourcebook, such
as The Black Book, Workbook, or The Alternative Pick. These are
still good avenues of advertising, but they’re not the only way to
go. A small, targeted campaign can be accomplished on a very
small budget with a little creative planning.
Whom do you want to work for?

This can be as simple as a little research on the Internet to find a
few local names, to buying a national list of creatives that’s con-
stantly researched and updated. Look for the websites of your
local creative clubs and associations. They usually list their com-
pany information and clients so you can tell if they’d be a good fit. The right envelope will give you a look that brands your style
Think of it this way: Instead of trying to reach thousands of and makes it recognizable as each promotional piece arrives in the
potential clients at one time, in might be better to pick a small mail. Make it as personalized as possible. You want the designer
group and make a campaign of several promotions sent one to recognize the envelope as yours and look forward to the next
after the other. A one-shot promotion might just get ignored; one. The purpose is to eventually drive them to your website
having one arrive once every week for several weeks in a row and blog.
will get the client looking forward to what’s coming next.
Keep it simple
Get some expert help Design a template in Photoshop with common-sized dimen-
There are always designers and art directors who need photogra- sions. Be sure to include the important information in the front
phy for their design competitions and portfolios. Establish a trade so if the client pins it to his or her office bulletin board, everyone
agreement with a few of your designer friends to help with the will see your name, Web, and blog address(es). If you don’t have
look of the promotion. Remember, they’re your target audience a website or a blog, use your phone number instead. And if you
and will know better than anyone if an image is appealing or not have a logo, use that as well.
(you’re not trying to attract other photographers). And generally, Design four templates—if you have the artwork to fill them—
you’re way too close to your own work to make an objective deci- at one time with a common look: Create one for a square image;
sion. But remember, what appeals to photographers and what one for a vertical image; one for a horizontal image; and one for
appeals to designers can be very different. mutable images. Finish all of them before you mail the first and
Note: If you’re attending an upcoming Photoshop World, you then set a schedule for the rest to go out. Let’s get you started
can have your portfolio reviewed by a Photoshop World instruc- on your first (square-image) template.
tor for some additional insight. Visit www.photoshopworld.com/
portfolio_reviews.html for the scoop. STEP ONE: Open Photoshop and select New from the File menu.
Enter the dimensions you’re planning to work with (or measure
Find the right envelope your cool envelope and then input those measurements). For
Before you plan your first promotional piece, visit your local high- our example, we used 8.5" for Width, 11" for Height, and 300
end art store and find the right envelope, because a cool enve- pixels/inch for Resolution. For the Color Mode, choose 8-bit RGB,
lope can go a long way in getting you noticed. By first finding the and then click OK.
envelope, you’ll know the final design size of the promotional
piece before you lay it out. It will be a whole lot easier to create the STEP TWO: Open the image you plan to use, select the Move
062
promotional piece to fit the cool envelope than to create a killer tool (V), and click-and-drag the photo over to your template (to
Digital Camera Workshop
keep it centered, press-and-hold the Shift key). Press Command-T

(PC: Ctrl-T) to resize the image using Free Transform. Add the Shift
key while you click-and-drag to constrain proportions; add the
Option (PC: Alt) key to resize it from the center Reference Point
(by default it’s in the center; you can change the position of the
Reference Point in the Options Bar).
Resize the image to fit the page, as needed. Add your logo,
some text with the Type tool (T), and you’re ready to go. (I used
Gill Sans Light for the text, and added my logo [of course], with a Vertical image template
Bevel and Emboss layer style.)
STEP THREE: Next, press Command-P (PC: Ctrl-P) to open the

Print dialog. Select the appropriate combination of paper and
profile for your particular model of printer. For my campaign, the
finals were printed on Red River Paper Ultra Satin 2 (www.red-
riverpaper.com) on a Canon imagePROGRAF iPF6100. (I prefer
Red River papers for this because it has no logos on the back and
it’s just a great paper to print on.)
Horizontal image template
Mutable images template
BARTER YOUR BRAINS OUT
After being in this business for more than 24 years, I finally

created a 20-page studio brochure to send out to clients,
First (square) of four templates with a common look done completely in trade with the designer, copywriter,
and printer. (I couldn’t figure out how to trade with the
Each envelope is then hand-addressed for a personalized U.S. Postal Service, so I just had to break down and pay for
look and mailed once every 10 days with a different print, as stamps.) If you’d like to see a high-resolution, PDF copy
I feel it’s better to send 10 different promo cards to a handful of my studio brochure, you can download it from www
of handpicked, potential clients than one card to thousands of .divitalephotography.com/portfolio.zip. ■
prospective clients. Give it a try and see what happens. Enjoy!
Jim DiVitale is an Atlanta-based photographer and instructor specializing in digital photography. His clients include Mizuno USA, Carter’s,
Genuine Parts Company, IBM, TEC America, Scientific-Atlanta, and Coca-Cola. Check out his website at www.divitalephotography.com.
063
ALL IMAGES BY JIM DIVITALE
Jack Davis and Linnea Dayton
The WOW! Factor

No Pixels Were Harmed in Creating This Image
When working with an image in Photoshop CS4 you can change the pixels directly with each step, or you can build
up a set of instructions for change and let Photoshop (quite magically, it seems) analyze the instructions, and apply
them to the file in the least destructive way.
H
ere’s an example: If you turn an image into a smart object To silhouette the shell, we used one click of the Magic Wand
and then filter it, rotate it, scale it, and then rotate it a little (with Contiguous chosen and Sample All Layers unchecked in
more to get it exactly right, Photoshop will calculate all the Options Bar) to select the black background. Then, in the
the changes before applying any of them. For instance, instead CS4 Masks panel (Window>Masks), we clicked the Add a Pixel
of rotating the smart object twice, Photoshop, working from the Mask icon and Invert button to make the mask.
original image, adds the rotations together and rotates the image
only once. One big advantage of this instruction-based—or nonde-
structive—approach is that you can freely change the instructions,
now or in the future, without the unintended “softening” that can
come from working and reworking pixels.
To develop a promotional postcard, we used Adobe Camera Raw,
a smart object, a pattern fill layer, and layer styles—all nondestruc-
tively. [NAPP members may download the Shell Card.psd file from www
.photoshopuser.com/members/mar09-downloads.html and explore its
“live” details as you follow along. Image is for personal use only.]
STEP ONE: From Adobe Bridge, open your photo in Camera Raw
for optimizing. (Note: File>Open in Camera Raw opens JPEGs and
TIFFs as well as RAW files.) For our PSD image, we improved the
lighting using the Exposure, Contrast, Brightness, and Fill Light slid-
ers, then increased Vibrance to bring the subtle iridescent colors to
life, and added Clarity to sharpen the details. Lastly, we Shift-clicked
on Open Image, which changes to Open Object when the Shift key
is pressed, to open the file as a smart object. Looking at the masked image, we could see that the “elbow”
area of the mask needed a stroke of white with the Brush tool (B) to
reveal the dark brown edge of the shell. By Option-clicking (PC: Alt-
clicking) the mask thumbnail, we could see some small white spots
in the black. To eliminate them, we used the Dust & Scratches filter
(Filter>Noise>Dust & Scratches) and in the dialog, set a Radius of 4,
and clicked OK.
Back in the Masks panel, clicking Mask Edge and using
the default settings in the Refine Mask dialog smoothed the
mask’s edges.
STEP THREE: Now we’ll reorient the shell in the layout. Press
Command-T (PC: Ctrl-T) for Free Transform, Control-click (PC: Right-
click) inside the Free Transform bounding box, and choose Flip
Horizontal from the contextual menu. Finally, we moved the cursor
outside the Transform frame to get the curved rotation arrow, and
dragged to rotate. In CS4, a smart object’s layer mask is linked to
STEP TWO: In Photoshop, we the image by default, so the mask flipped and rotated along with
dragged-and-dropped our shell the shell. Press Return (PC: Enter) to commit the transformation.
photo into a file with a backdrop Exploring the layers in the download file, we noticed that
and text. We applied Noiseware Professional (a third-party filter the backdrop—originally created by clicking the Create New
by Imagenomic) to the smart object to reduce the noise, which Fill layer icon at the bottom of the Layers panel, then choosing
064
was partly a side effect of the high Clarity setting in Camera Raw. Pattern—has a layer style applied. (Tip: To see the settings for
The WOW! Factor
any effect in a Style, double- STEP FIVE: Clicking OK returned us to Photoshop with an
click its name in the Layers updated smart object. Then we clicked the Add a Layer Style
panel.) This style combines an icon at the bottom of the Layers panel, and added a Drop
Inner Shadow with an Inner Shadow and a dark Outer Glow to finish the layout.
Glow to darken the edges. By
default, an Inner Glow is light-
colored and in Screen mode,
but we used Multiply mode
and a dark color sampled from
the image instead.
On the text layer, a more
traditional Inner Glow lights
the edges and a Pattern Over-
lay effect provides surface
texture. A Drop Shadow is
offset (from top left) to match
the lighting in the backdrop.
STEP FOUR: When you import a smart object into Photoshop,

the object remembers where it came from—in this case from
Camera Raw. To match the shell’s lighting with the backdrop, we
double-clicked the Smart Object thumbnail to return to Camera
Raw for some local tone and color adjustments. Choosing the
Adjustment Brush (K) from the tools at the top of the window
and adjusting its size and other characteristics in the bottom-
right corner of the panel, we then increased Brightness, Contrast,
Saturation, and Clarity and painted to brighten up the cham-
bered part of the shell.
Then, we clicked the New button to reset the sliders and start
a separate adjustment, reducing the Brightness setting, and A few exceptions
painting to create shading. Here the red mask shows where we Even though we used Camera Raw, a smart object, a pattern fill
painted to create the shadows. layer, and layer styles—all nondestructive methods—for our Fiji
card, there were some steps that quietly involved pixels, such as:
• In Photoshop CS4, when you transform a smart object, its

linked layer mask is pixel-based, so if you transform many
times, the smart object will stay in great shape, but the mask
might be degraded.
• The patterns in the Pattern Fill layers or in the Pattern Overlay
effect in a layer style are pixel-based, so they can get a little
fuzzy if you shrink them to a size other than 25% or 50%.
Also, if you apply a third-party filter (such as the Noiseware

Professional in our project) to a smart object and then open the
file on a computer that doesn’t have that filter installed, Photoshop
suspends the filter to do the transformation, but then can’t find the
filter to reapply it once the transformation is done.
It’s good to be aware of these little gotchas so you don’t stum-
ble into them by accident. But watching out for a few exceptions is a
small price to pay for the quality, convenience, and flexibility of using
the brilliant, nondestructive methods that Photoshop offers. ■
Jack Davis, a member of the Photoshop Hall of Fame for his lifetime contributions to the fields of education and digital imagery, is the author of How
To Wow: Photoshop for Photography. Linnea Dayton, with coauthor Cristen Gillespie, is at work on The Photoshop CS3/CS4 Wow! Book, coming
from Peachpit Press in late spring/early summer. 065
ALL IMAGES BY JH DAVIS PHOTOGRAPHY
Kevin Ames
Digital Photographer’s Notebook

More Pro Printing…with Smart Objects
As useful as soft proofing is in Photoshop, there’s no substitute for evaluating the combination of adjustments
on an actual print. In the next couple of issues, we’ll use smart objects to set up a ring-around of possibilities
ready to print on a single sheet.
L
ast fall, during the closing ceremonies at Photoshop Go under the Edit menu and choose Stroke. In the Stroke dia-
World Las Vegas, Julieanne Kost, Senior Digital Imaging log, click on the Color swatch to open the Color Picker, enter 127
Evangelist at Adobe Systems Incorporated, showed how for R, G, and B (middle gray), and click OK. Enter 10 px for Width
to use smart objects to compare black-and-white conversions. and Center for Location, and click OK.
So, here’s my take on making a one-sheet set of versions to zero
in on the right adjustments. STEP THREE: Choose the vertical Single Column Marquee next,
[NAPP members may download the files to follow along with click the left edge, add the Shift key, and click the right edge. Once
this tutorial from www.photoshopuser.com/members/mar09- again add a 10-px Stroke. Then press Command-A (PC: Ctrl-A) to
downloads.html. All files are for personal use only.] select the entire document, choose Edit>Stroke again but this
time, change the Width to 20 px. Click OK. As the stroke is set to
STEP ONE: Open our starting file called 4x6.tif. Now open a new Center, this will give a 10-pixel border around the document’s
document (Command-N [PC: Ctrl-N]) and name it Smart Object edge when it prints. Press Command-D (PC: Ctrl-D) to deselect,
Ring-around with the following settings: Width 12", Height 18", then Command-0 (PC: Ctrl-0) to fit the document to the screen.
Resolution 320 pixels, Color Mode: RGB Color, Depth 8 bit, and
Background Contents White. Click OK. STEP FOUR: Control-click (PC: Right-click) next to the Original
Choose the Move tool (V), then in the Applications Bar (CS4), layer’s name and choose Convert to Smart Object from the
click the Arrange Documents icon and click the 2 Up button to menu. (Note: Any changes made to copies of the original smart
position the tabbed windows side-by-side. object in the layer stack affect all of the copied smart objects.)
Press Command-J (PC: Ctrl-J) twice to make two copies of the
Original layer. Drag Original Copy 2 below Original in the Lay-
ers panel. Click View>Show and ensure that Smart Guides is
checked. Select the Move tool (V), press-and-hold Shift, and
drag Original Copy 2 to the right edge of the document. When
the right edges align, a magenta guide appears. Rename this
layer R2 C3 (Row 2 Column 3).
Then click on the Original Copy layer and Shift-drag it to the
Start dragging 4x6.tif onto the Ring-around file and when a left until the Smart Guide highlights the left edge. Rename this
border appears over the latter, add the Shift key to center 4x6.tif layer R2 C1.
in the Ring-around file. Close 4x6.tif and rename Layer 1 “Original.”
STEP FIVE: Press-and-hold
STEP TWO: Press Command-Shift-N (PC: Ctrl-Shift-N), name this Shift and click on R2 C3 to
new layer “Grid,” and click OK. Zoom in to 100%. Choose the hori- select all three Smart Object
zontal Single Row Marquee tool (nested under the Rectangular layers. Now press-and-hold
Marquee tool [M]), click at the very top-left edge of the black line. the Option (PC: Alt) key and
Scroll down until you see the bottom of the layer, press-and-hold drag all three layers up until a
the Shift key, and click again to add another row of selected pixels. bold line appears under the
Grid layer. The double arrow
indicates the selected layers
will be copied. Now you have
six copies of the smart object
in the layer stack.
STEP SIX: With the Move

tool still selected, Shift-drag
the new copy Smart Object
066 layers up until a Smart Guide
Digital Photographer’s Notebook
appears at the top of the doc- STEP EIGHT: Rename the Curves layer C 13. Option-drag (PC: Alt-
ument. Rename R2 C1 copy drag) C 13 to both the R1 C2 and R1 C3 layers. Click the Clip icon
and R2 C3 Copy to R1 C1 and (the third-left icon at the bottom of the Curves view in the Adjust-
R1 C3, respectively. Rename ment panel) for both layers you just made. Rename the layers to
Original copy to R1 C2. remove the words “copy” and “copy 2.”
Now highlight the three
R1 layers. Press-and-hold the STEP NINE: Highlight the C 13 layer above R1 C1, then click the
Option key and drag down Return to Adjustment List icon (the arrow icon at the bottom of the
until the line just above the Adjustments panel). Now click the Hue/Saturation icon (second
Background layer becomes from the left, second row), drag the Saturation slider to +9, and
bold. Then Shift-drag these rename this layer S +9.
three layers from the top to Now highlight the C13 layer above R1 C2, click the Return to
the bottom until the Smart Adjustment List arrow and click the Hue/Saturation icon again.
Guide appears at the bottom Drag the Saturation slider to +18, then rename the layer S +18.
of the document and rename Repeat for R1 C3, making this Saturation setting +27 and the layer
them R3 C1, R3 C2, and R3 name S +27.
C3, respectively. You should
now have nine related Smart To see the power of smart objects, Control-click (PC: Right-click) on
Objects layers in three rows and the Original layer's name and choose Replace Contents. Find the
three columns (as shown here). Smoke Girl.tif file (downloaded from the NAPP member website)
and click Place. Holy instant gratification! All nine boxes are filled
STEP SEVEN: Next, we’ll add with the Smoke Girl image. Along the top row are three versions
curves and hue and satura- each one brightened by 13 points and with increasing amounts of
tion adjustment layers to saturation. And, best of all, you can use any 4x6" file at 320 ppi
eight of the smart objects. We Resolution. We’ll finish this next time, until then—keep shooting! ■
won’t adjust the Original (in
the middle) as it will form the
base for the Ring-around and
we’ll use it to compare to the other eight versions.
Highlight layer R1 C1. Click the Clip icon at the bottom-right

corner of the Adjustments panel. This will automatically clip all
new adjustment layers to the layer below, limiting their effect to
only the pixels on their layer. Now click on the Curves icon in the
KEVIN AMES
Adjustments panel. Click to add a point in the center of the line.

Enter 141 in the Output field and 128 for Input.
Kevin Ames creates evocative photographs for clients such as Westin Hotels, AT&T, and Coca-Cola. His fourth book, recently published by Peachpit
Press, is The Digital Photographer’s Notebook: A Pro’s Guide to Photoshop CS3, Lightroom and Bridge. He teaches the digital arts worldwide. 067
Classic Photoshop Effects
The oldies but goodies that never seem to go out of style
■ BY COREY BARKER
Video Wall Effect

This technique is a real classic. I saw Scott Kelby do this effect years ago. It has since become easier with
the newer features introduced in Photoshop, so I thought it would be cool to revisit the video wall.
Enjoy as you follow along.
STEP ONE: Choose File>New to create a new 3x2.5" RGB docu-

ment at 150 ppi. Click the Create a New Layer icon at the bottom
of the Layers panel to create a new blank layer. We want to fill
this layer with black, so press Shift-Delete (PC: Shift-Backspace)
to open the Fill dialog, choose Black from the Use menu, and
click OK.
STEP TWO: Create another new layer above this layer. Press Shift-
Delete (PC: Shift-Backspace) again to open the Fill dialog. This
time, set Use to 50% Gray and click OK.
Press Command-T (PC: Ctrl-T) to invoke Free Transform. In the
Options Bar, click the Maintain Aspect Ratio (chain) icon to lock
the proportions. Enter 80% for the Width and Height, then press
Return (PC: Enter) twice.
STEP THREE: Go under the Edit menu, under Transform, and

choose Warp. In the Options Bar, click on the Warp menu and
choose the Inflate warp preset. Set the Bend amount to 20%,
then press Return (PC: Enter) twice to commit the change.
STEP FOUR: Command-click (PC: Ctrl-click) on the gray layer’s

thumbnail to load this shape as a selection, then click this layer’s
Eye icon to turn off its visibility. Click on the black layer to acti-
vate it. Press Delete (PC: Backspace) to remove the selected area
of the layer. The result should be a black frame (as shown).
STEP FIVE: Click the Add a Layer Style icon at the bottom of the
Layers panel and choose Bevel and Emboss from the list. The
default settings should work fine here; we’re just defining the
shape a little better so it doesn’t look so flat. Click OK.
STEP SIX: Now reactivate the gray layer by clicking on its thumb-
nail and turn its visibility back on. Click the Add a Layer Style icon
and choose Bevel and Emboss once again. This time, we’ll need
to tweak the settings for this layer style because this creates the
effect of the light glare on the video screen.
Notice the settings we’re using here. In the Shading portion
of the dialog, clicking-and-dragging the marker inside the circle
adjusts the Angle and Altitude, as this determines the direction
of light. Also, make sure you turn off Use Global Light. Click OK.
In the Layers panel, set the Fill to 0% for this layer (Layer 2).
068 This will make the layer pixels transparent but not the layer style.
STEP SEVEN: Click the Eye icon next to the Background layer to
turn off its visibility and show transparency through the screen.
You may not see it, but the light glare layer style is still there. This
is critical because we need to be able to see through the screen.
Press Command-D (PC: Ctrl-D) to deselect. Next, go under the
Edit menu and choose Define Pattern. Give the pattern a name if
you want and click OK.
STEP EIGHT: Choose File>New to create a new file, and make this
one pretty big (ours is 13x9" at 150 ppi). Press Shift-Delete (PC:
Shift-Backspace) to open the Fill dialog, set Use to Black, and click
OK. Click the Create a New Layer icon at the bottom of the Layers
panel, then click the Background layer’s Eye icon to hide it.
Click back on Layer 1 to select it, then press Shift-Delete (PC:
Shift-Backspace) to open the Fill dialog. Choose Pattern from
the Use menu, then click the Custom Pattern preview, locate
the pattern we defined in Step Seven (it’s probably the last one),
and click OK.
STEP NINE: The pattern will be tiled over the whole file. Notice
that the pattern runs off the right and bottom edges. Simply
grab the Rectangular Marquee tool (M) from the Toolbox and
select these excess areas (hold down the Shift key to add to the
selection), then press Delete (PC: Backspace).
Choose the Move tool (V) from the Toolbox. Press Command-A
(PC: Ctrl-A) to select the entire document, click the Align Vertical
Centers and Align Horizontal Centers icons in the Options Bar to
center the graphic in the document, and deselect.
©ISTOCKPHOTO/CHRIS PRITCHARD
STEP TEN: Click the
Layers panel’s flyout
menu and choose
Convert to Smart
Object. The reason for
this is that we’ll need
to modify this shape
nondestructively. So
once the smart object
is created, double-click the layer thumbnail to open it.
STEP ELEVEN: In the smart object file, we need to add the image
that will appear on the video screens. Open the image you want
to use and drag it into this document (we’re using a city scene
from iStockphoto.com). Use Free Transform to resize the image,
if needed. In the Layers panel, click-and-drag the image layer
underneath the screens layer. Once this is done, close the docu-
ment and save the changes. Don’t flatten the file just in case you
want to change out the image later.
STEP TWELVE: Return to your working file. Press Command-T

(PC: Ctrl-T) to invoke Free Transform. Control-click (PC: Right-click)

on the object and select Warp from the menu. In the Options Bar,
choose Bulge from the Warp preset menu, set the Bend amount
to –20%, and press Return (PC: Enter) twice to commit the change.
This will give the video wall some dimension. Click the Eye icon to
reveal the Background layer.
Finally, just add some text and a simple gradient to the back-
ground and there you have it.
Remember, you can change the appearance of the video wall by going
back into the smart object and simply swapping out the image. ■ 069
Ed Greenberg and Jack Reznicki
The Copyright Zone

A Day at the Zoo and What You Can Do
So you want to go to the zoo and take some pictures. Here are four scenarios to help explain what you can and
can’t do, and what to look out for—other than the droppings. Model release issues aside for this column, here’s
the straight poop.
S
cenario One—The shooter takes a walk through the A simple phone call to the zoo’s public relations office and you’ll
zoo, photographing what catches the eye: the wild find out exactly what its policy and rules are. You may find out
kids, the tame animals, the monkey house, and the that they love doing photo ops, such as having 20 people at the
cotton candy. You can shoot all you can see. But what you can zoo doing their wedding photos. A fee or a donation/contribution
use it for becomes the fodder that photographers argue about to the zoo, likely tax deductible, may be required or suggested. A
endlessly and what lawyers litigate. donation may buy you priceless cooperation beyond your dreams.
While releases are needed with people, animals don’t have They may also require you to sign an agreement and provide
privacy rights or laws written to protect against the commercial proof of insurance. Don’t freak out: The process is actually a
use of their images. So with some exceptions, you don’t need very simple and quiet routine.
releases for animals. A photograph of a giraffe that’s similar to While the zoo may be a public space, like any other landowner,
thousands of other giraffes can be used by you for a throat the zoo has a right and obligation to control crowds and ensure
lozenge ad or submitted to a photo competition. But if the the safety of its patrons. That legal obligation is paramount in all
animal is unique or symbolic of that zoo, such as an albino tiger of these scenarios.
or “Freddy the Friendly Chimp,” then you may need a release
because you could be trading on the zoo’s intellectual property Scenario Three—If you’re a photojournalist with real press
or trademark. Another key consideration is whether that particu- credentials—and we mean real and legitimate press credentials
lar animal is used or employed from a real news organization, not
by the zoo in any trademarked
or licensed manner, such as
stuffed animals or T-shirts.
“You can shoot all you can see. But something that came from the
back pages of a comic book—
then you can photograph and
Similarly, images that may what you can use it for becomes the use anything in a story that is
incorporate animal enclosures newsworthy or of public interest.
or zoo buildings generally may
be used without the neces-
fodder that photographers argue about Let’s say you’re not a profes-
sional photojournalist, but rather
sity of obtaining property
releases as long as there are
no trademark issues involved.
endlessly and what lawyers litigate. ” a student, serious hobbyist, or
just a concerned citizen worried
about conditions at the zoo, then
So, a photo at the monkey you have the very same rights to
house that has a famous statue shoot and employ the photos as
of Freddy the Friendly Chimp any fully credentialed, Pulitzer
could be a problem for similar Prize-winning photographer. Your
intellectual property concerns place in the photo pecking order
mentioned in the last para- doesn’t matter in this respect. The
graph. If you move your camera images can be used in a public
and crop out Freddy, however, interest story concerning the zoo.
shooting just the building Now let’s crank it up a notch:
should be no problem. A zoo security guard comes up
to you—a really big surly security
Scenario Two—A bride and guard, not the Deputy Sheriff
groom’s first date was at the Barney Fife type, but more the
zoo and they want you to shoot Arnold Schwarzenegger variety.
the wedding party there. This Now’s the time for you to employ all
is easy. But don’t try and go the tact and diplomacy instilled in
commando. Don’t just show you by your parental units and reli-
up at the zoo and shoot away. gious figures. Now is not the time to
070
That’s trouble with a capital “T.” dig in your heels and be aggressive.
©ISTOCKPHOTO/ANNA YU
The Copyright Zone
Rule number one: Don’t make the first move or be the first
to speak. Don’t act like you’re guilty of anything because…
drum roll please…you’re not. While you should be prepared for
a discussion, don’t anticipate or assume a problem. If you act as
though there is a problem, there will be a problem. Tone is criti-
cally important—don’t raise your voice at any time.
Remember, you’re in a public place and you ought to
assume there will be witnesses or security cameras record-
ing the entire incident. Who goes to a zoo and doesn’t have
a camera or video camera—not to mention all the camera-
equipped cell phones? Keeping in mind that preservation of
life and limb should take precedence over legal niceties, you
should permit the security guard to say what he has to say,
uninterrupted and to completion.
Be aware that the security guard may be coming over to
you on his own initiative or at the direction of a superior. The
guard may simply and innocently want to know what you’re
doing. Your demeanor may be more important than anything
you actually say. Understand that the guard is doing what he’s
hired to do and you should express to him that you “appreciate
©ISTOCKPHOTO/ENGE
what he’s doing.” By saying so, you’re substantially reducing the

chance of the situation escalating.
Nevertheless, he says in a menacing manner, “You can’t
shoot here.” And tells you to get lost—but not in such nice
words. At this point, you have to take a deep breath and decide
how badly you need this shot. Do you really need it at that very
moment or will shooting an hour or two later suffice? Even if you
haven’t done anything wrong and you know you’re in the right,
the practical and prudent path may be to move on and circle
back later.
Now let’s go even more negative. The guard is extremely
abusive and unreasonable and does one or more of the fol-
lowing: He demands that you turn over your camera or digital
card, implies that you’re not free to walk away, threatens or
calls for his backup, or physically touches you or your equip-
ment. Stay cool and collected, and remember that there’s no
audio recording being made. If things have degenerated to
this point, you want the intervention and assistance of the local
police. You can even take out your cell phone—carefully—
telling the security guard that you’re calling the police, as you
believe it’s the “prudent” thing to do. Actually use the word
“prudent,” as it has legal meaning and demonstrates that you’re
cool and under control.
Scenario Four—You have a commercial assignment that needs

to be shot at a zoo. Simple. Anything short of a written, compre-
hensive agreement specifying date, time, location, insurance,
etc., signed by the parties won’t suffice—period.
Hopefully this information will keep you from messing your shoes
©ISTOCKPHOTO/S. GREG PANOSIAN
in elephant poop. ■
Ed Greenberg and Jack Reznicki can be reached at Igotaquestion@

thecopyrightzone.com. Because of the large volume of questions,
and shortness of time, not everything can be answered personally—
but they still want to hear from you!
Peter Bauer
From the Help Desk

To: NAPP Help Desk • Pixel Grid—When zoomed in to 600% or more, Photoshop
From: Libby CS4 can display a non-printing grid that shows the edges of
The new interface for Photoshop CS4 is a bit confusing. Do you each pixel. This can be great when doing very precise work,
have any tips on working in the new environment? especially in areas of solid or similar color. And, like other such
visual aids in Photoshop, you can hide/show the pixel grid
To: Libby (View>Show>Pixel Grid), making it available only when needed.
From: NAPP Help Desk • Smoother Zoom—Photoshop CS4 zooms in and out more
With the introduction of Photoshop CS4, the folks at Adobe have smoothly. It looks so natural and normal—and happens so
indeed made a number of changes to the user interface that I’m quickly—you may not notice.
sure you’ll eventually come to appreciate. (I admit that it took me
a couple of months to make the adjustment, too.) • More Accurate Views—While Photoshop CS4 gives a more
The biggest change, especially for Mac users, is how images accurate view of your image at any zoom factor, you may want
open. By default, each image opens into a tab rather than a float- to continue making your most critical decisions at 100% zoom.
ing window. (Even when no image is open, a gray background
hides the Desktop and other application windows to provide Also new in Photoshop CS4 are the Adjustments and Masks
a more color-neutral work environment.) The tabbed windows panels. You add an adjustment layer as before, using the icon at
don’t prevent you from dragging-and-dropping between images, the bottom of the Layers panel or by going to Layer>New Adjust-
however. Simply drag a tab from the bottom of the Options Bar ment Layer, but rather than seeing a floating dialog, the various
to convert it to a floating window. You can disable tabbed image sliders and controls for the adjustment appear in the Adjustment
windows by going under the Photoshop (PC: Edit) menu and panel. Just make the adjustment and move on to your next task;
selecting Preferences>Interface. there’s no OK button to click.
Having trouble with the appearance of cursors or menus in

Photoshop CS4? Then you may need to download and install
PETER BAUER
an updated driver for your video card. (If you’re not comfort-
able with the concept, contact your computer manufacturer’s
tech support folks for assistance.) You’ll find a list of video cards
with which the Photoshop CS4 advanced display options have
When a layer mask is selected in the Layers panel, the Masks
been tested at this Web address: http://kb.adobe.com/selfser-
panel helps you do some fine-tuning. The Density slider can
vice/viewContent.do?externalId=kb405711&sliceId=2.
lighten the mask, making it more transparent, and the Feather
If you continue to have problems or have a video card that’s

slider helps you control the mask’s edges. You’ll also find buttons
not supported, go under the Photoshop (PC: Edit) menu, select
for: Mask Edge, to open the Refine Mask dialog (comparable to
Preferences>Performance and disable OpenGL Drawing. If you
the Refine Edge dialog for selections); Color Range for making
have a video card that works with the advanced features, here
selections in a mask; and Invert to simply reverse the mask.
are some of the new capabilities:
When a vector mask is active in the Layers panel, the Masks
• Rotate View—This new tool (up in the Applications Bar) panel offers the Density and Feather sliders, enabling you to use
enables you to rotate the canvas rather than the image. the vector mask as if it were a second, pixel-based layer mask.
Rotating the canvas is a boon to those who paint intricate
masks and patterns in Photoshop, allowing for a more natural While these changes take some getting used to, once you’re com-
positioning of the hand and arm. (Think of it as rotating a sheet fortable in the new interface, you’ll find it to be a very worthwhile
of paper on the desk while drawing a picture.) set of changes. ■
072 Peter Bauer is Director of the NAPP Help Desk and a featured columnist at PlanetPhotoshop.com. His latest book is Photoshop CS4 for Dummies.
Beyond Photoshop
Adjusting video globally around +50 and the Midpoint slider to the left to about +40 to
After you finish rotoscoping even a short clip like this one (96 burn out the outer edges of the environment. Click OK to close
frames), you’ll appreciate the time saved if any adjustments can the dialog.
be made globally to all frames. We’ll now use adjustment layers Tip: If you don’t want the grid to show in the Lens Correction
to boost the saturation and shift selective colors, and then add dialog, just click on the Show Grid check-
a vignette using a smart filter. box to turn it off.
STEP SIX: To accentuate the difference between gray and colored

areas, we’ll boost the saturation of pixels that have color. Click the
Create New Adjustment Layer icon at the bottom of the Layers
panel and choose Hue/Saturation. If you’re using CS4, open the
Adjustments panel (Window>Adjustments), click the second icon
in the second row, drag the Saturation slider to +25, and then click
the left-facing arrow at the bottom left of the panel. In CS3, when
the dialog appears, drag the Saturation slider to +25, and click OK.
Rendering output
Press the Spacebar to watch your rotoscoped, adjusted, and fil-
tered video and you’ll notice that the playback is much slower
now that Photoshop has to do so much real-time processing.
To get smooth and portable playback, let’s render the video to
our hard drive.
STEP NINE: Choose File>Export>Render Video. In the Render Video

dialog, under File Options, choose QuickTime Export: MPEG-4 and
STEP SEVEN: Perhaps the boy’s orange shirt would be more dra- click the Settings button. In the MPEG-4 Export Settings dialog, set
matic in red—and there’s no repainting required with adjustment File Format to MP4 and choose H.264 as the Video Format. Set the
layers, so let’s add a Selective Color adjustment layer by repeating data rate to 256 kbits/sec. Set Image Size to Current, Frame Rate to
the steps above, except this time choose Selective Color. Set the 15, Key Frame to Automatic, and click OK. Back in the Render Video
Colors drop-down to Reds, drag the Magenta and Black sliders to dialog, choose Document Size for Size, click the Render button, and
about +25%, and click OK. (We set ours to Cyan –2, Magenta +23, wait a few moments as your video is saved to the hard drive very
Yellow +2, and Black +27.) You don’t want to go too far with the efficiently at only 396 KB.
color shift or it will adversely affect skin tone.
STEP EIGHT: Adjustment layers affect the whole video clip, but
filters affect the current frame only. To make filters global, we’ll put Now you can enjoy your newfound pixel-pushing-through-time
the video layer into a smart object “container.” In the Layers panel, power. Photoshop Extended goes way beyond expectations with
Control-click (PC: Right-click) on the Boy with plant video layer and rotoscoped video. ■
choose Convert to Smart Object. Scott Onstott authors books and video tutorials for architects, engi-
Now, with this layer active, choose Filter>Distort>Lens Correc- neers, and builders. Check out his Photoshop for Architects DVD
tion. In the dialog, drag the Vignette Amount slider to the right to and The Digital Architect video podcast at ScottOnstott.com.
Photoshop User magazine Library Develop Slideshow Print Web
Lightroom
Adobe® Photoshop® ®
section
84
88 92 97
78 96
to DNGo
that is rthenquoestt?
(digital negative)
ionBy Victoria Bampton
DNG.
hours of deb Those three
little letter
ate on forum s have spark
should you c s worldwide. ed
are? S o what is DN
DNG stands G? Why
for Digital
another RAW Negative. I
file format, t sounds li
but this on ke yet
e is differ
ent.
Images: iStockp
hoto.com Layo
ut Design: Taffy
Orlowski
U
nlike proprietary RAW formats, such as Canon’s CR2 and
Nikon’s NEF, the DNG format is publicly documented; there Finally, there’s backward
are no secrets. To you and me, this means that our great- compatibility. Have you
grandchildren will still be able to open our DNG files in 100 years’ ever been caught out?
time, long after the proprietary formats are forgotten and unsup- You’ve bought a
ported even by their own manufacturers. You think that won’t hap- brand-new camera,
pen? Some of Kodak’s early digital formats are already unsupported shot some fantastic RAW
by Kodak themselves. How long will it be before other formats start images, but then found that
to go the same way? your old Photoshop or Lightroom
The DNG format is Adobe’s baby, but that doesn’t mean only version can’t open them? Again, DNG
Adobe is supporting it. The list of companies involved includes Apple, comes to the rescue. Simply use the free
Canto, Corel, Extensis, Hasselblad, Leica, Pentax, Ricoh, and Samsung, Adobe DNG Converter to convert the RAW
among many others. It has also been submitted to the International files to the DNG format, and your older
Organization for Standardization (ISO) to become an ISO Standard, software will work with the files as normal
just like the Adobe PDF format many years ago. DNG is here to stay. RAW files.
The pros The cons

Besides the fact that it’s a universal archival format, which is good This sounds too good to be true. What’s
enough reason in itself, why else should you consider using the the catch? Well, as with all things, there
DNG format? are a couple of disadvantages but the
The DNG file is comprised of three different parts: the RAW list is short.
image data, the metadata that describes that data, and an embed- If you regularly use your manufac-
ded preview. That means it’s all encapsulated in one safe, tidy turer’s own software, DNG might not
wrapper—no more sidecar files to accidentally lose. be for you. Until the manufacturers
Along with that XMP (sidecar) data in the DNG wrapper, start supporting the DNG movement,
there’s an embedded preview. You’re in control. You choose how their software will only read their own
big you want that preview to be, and you can also update it to show file formats. Lightroom does most
the develop adjustments you’ve made in Lightroom or Adobe
Camera Raw. That means other programs that rely on the
embedded preview will be looking at your processed image
preview instead of the original camera preview. Updating
that preview doesn’t touch the original RAW data, so it’s a
nondestructive way of updating the files to look their best.
The DNG lossless compression algorithms are better than
those applied in camera, resulting in a smaller file size—
between 5% and 40% smaller, depending on the camera.
Hard drive space may be cheap these days, but it’s not free,
and those savings add up.
The conversion to DNG also offers an early warning of
file corruption—if the file’s corrupted, it won’t convert and
a warning dialog will appear, giving you the opportunity
to download the files again before you reformat the cards.
While not infallible, it’s an additional check worth having. › › w w w. p h ot o s h o p u s e r . c o m
079
things really well, but for some things, such as checking the Preview size: Your
focus point used, you might want to refer to the camera manu- embedded preview size does affect the
facturer’s own software. On the other hand if you, like most people, overall file size, so choose carefully: None creates a thumbnail of
fall into the camp of, “One day I might want to…,” then DNG is still only 256 px along the longest edge; Medium Size creates a preview
an excellent option. of 1024 px along the longest edge, which is ideal for general brows-
While we’re on the subject of manufacturers, there’s one other ing; Full Size embeds a full-resolution preview, which is useful if
minor issue: MakerNotes. Never heard of them? Then you probably you want to print or zoom into an image using DNG-aware software
won’t care. All of the important data is carried over into the DNG without having to render the RAW data. You can regenerate the
file, but camera manufacturers also put some secret data in the file. previews and change the size at a later date by changing the Light-
There’s a proper specification that they can follow, but some choose room DNG Preferences, selecting the images in Grid view (G), and
not to. Helpful, eh? If you shoot CR2 or NEF, don’t worry as those are choosing Metadata>Update DNG Preview & Metadata.
fully transferred, along with some other formats too.
Preserve RAW Image vs. Convert to Linear Image: Preserve RAW Image
If you’re concerned about being able to use the manufacturer’s
uses the existing mosaic data straight from the sensor without apply-
software or make use of those secret MakerNotes, don’t be! You do keep
ing any processing, and that’s usually the best option to choose, as it
more than one copy of your RAW files, right? So make one of your back-
maintains flexibility for the future. There are a few programs that will
ups a proprietary RAW file—that way you have the best of both worlds.
read only a linear DNG format at the moment; however, that produces
a much larger file size and you lose the ability to use a different demo-
I’m hooked—what’s next? saic algorithm in the future.
So you’ve decided to use the DNG format, now comes that obvious
Compression is simple because it’s lossless, so you have nothing to
question: how? There are numerous ways to convert to DNG, but
lose by turning it on.
let’s first take a quick look at your options.
To find the DNG preferences for Lightroom, go to Lightroom Embed Original RAW File embeds the proprietary RAW file format
(PC: Edit)>Preferences and click on the Import tab. The preferences inside the DNG wrapper, and this can be extracted later by clicking the
for the standalone Adobe DNG Converter are accessed via the Extract button in the standalone Adobe DNG Converter. If you choose
Change Preferences button in the main dialog. to embed the original RAW file, remember that your DNG file size will
essentially be doubled in the process, so it might be better to keep
your proprietary RAW file backup separate.
Still unsure? Here are some sensible defaults to get started. Set JPEG
Preview to Medium Size; Image Conversion Method to Preserve RAW
Image; choose Compressed (lossless); and turn off Embed Original
RAW File.
Now, on to converting. You have at least four options, so you can
choose which best suits you.
Converting while
importing into Lightroom
This is really complicated so listen very carefully...okay, it’s not really.
In fact, it couldn’t be any simpler!
In the File Handling menu at the top of the Import Photos dialog,
select Copy Photos As Digital Negative (DNG) and Add to Catalog.
The rest of it is a standard Lightroom import, as any other. The DNG
options used are those that we’ve just set in the Preferences dialog,
so you don’t even have to remember which options you prefer.
Don’t forget that if you check the Backup to: checkbox, the
backup will be of the original proprietary file with its original file-
name, not a backup of the DNG file.
VICTORIA BAMPTON
080
Converting existing The standalone
Lightroom files DNG Converter
Why would you want to convert files That’s it for Lightroom, but what happens if you don’t have Light-
that are already in your Lightroom catalog? Let’s say you were in a room around at the time or you’re using an older version of Lightroom
hurry and just wanted to import your images without stopping to that doesn’t support your camera? Not a problem. Adobe provides
convert them. You can come back later and have Lightroom run the a free standalone DNG Converter that’s updated at the same time
DNG conversion overnight. Perhaps you want to edit or rename as each Adobe Camera Raw release. You can download it from www
before conversion, so that your proprietary backup copies have .adobe.com/products/dng.
the same names as the working DNG files. Or maybe you want to The Adobe DNG Converter now comes with a standard installer.
convert photos that were in the catalog before you decided on a Once installed, it’s available in Hard Drive/Applications/Adobe DNG
DNG workflow. Simply enter Grid view, select the photos you want Converter (PC: Start\Program Files\Adobe\Adobe DNG Converter).
to convert, then choose Library>Convert Photos to DNG. Select the It will take any Adobe Camera Raw-compatible RAW format and
DNG options as discussed above, and click OK. The progress will be convert to DNG. First, select the folder containing the proprietary
shown in the status bar. RAW files and choose where to save the resulting DNG files; set
You have two additional options in this dialog but they’re not rocket the renaming options if you want to rename at the same time; and
science. Only Convert RAW Files will, fairly logically, only convert the click the Change Preferences button. Now press Convert to begin
RAW files. That’s useful if you’ve accidentally included other formats, the conversion, and a second dialog will keep you informed of the
such as JPEGs in your selection. Delete Originals after Successful Conver- progress. When you’ve finished, simply quit the program.
sion will move the proprietary RAW files to the Trash (PC: Recycle) once
the DNG file has been created.
Converting when
exporting from Lightroom
Lightroom has one more DNG conversion option at the opposite
end of the workflow. You can convert to DNG when you export
the files. But why convert on export? Perhaps you prefer to work
on proprietary RAW files in your own workflow but then archive as
DNG, or you want to send a DNG format to someone else.
Go to File>Export and the DNG options are under the File Settings
section. All of those preferences are no doubt quite familiar by now!
What will do?

Now you have all the information you need, it’s just up to you to
make the decision to DNG or not to DNG! ■
Victoria Bampton is the author of Adobe Lightroom 2: The Missing

FAQ, a 426-page compilation of the Lightroom questions people are
asking in real-world situations. She’s a familiar name across numer-
ous photographic and Lightroom forums, where she’s always willing
to lend a helping hand. Check her websites for more details at www
.lightroomqueen.com and www.photoshopservices.co.uk.
081
Matt Kloskowski X Y
LIGHTROOM News
. . . .
▼ THE LIGHTROOM 2.2 UPDATE IS OUT
The Lightroom 2.2 update includes support for a number of new cameras but let’s get to the juicy stuff. For starters, Adobe
has improved performance of the Adjustment Brush. Although my issues with the Adjustment Brush were sporadic and hard
to reproduce, the buzz on the street is that it definitely works better now.
There are a few other fixes included but, to me, the major one is that the camera profiles (which were in beta before) are
now prime time and included in the Camera Calibration panel by default. This is huge! There are a lot of people who are still
hesitant of beta software and wouldn’t download the profiles from the Adobe Labs website (plus, they were buried there
anyway). I think they’ll become a lot more useful now that they’re included in the software. The update is free and available
at www.adobe.com/downloads/updates. If you’re not sure if you have Lightroom 2.2 or not, just open Lightroom, go to the
Help menu, and choose Check for Updates. It will let you know if there’s anything newer out there.
▼ THE TURNING GATE RELEASES LIGHTROOM iPHONE PORTFOLIO

The Turning Gate (TTG) has been bringing us cool-looking
Lightroom portfolios for a while now. With the growing
popularity of mobile devices, they’ve recently released
the TTG iPhone Portfolio. This is the first Lightroom Web
photo gallery engine to address the mobile phenomenon.
Apple’s iPhone and iPod touch are among the top-
selling mobile devices on the market, and the TTG iPhone
Portfolio creates light portfolio sites tailored specifically
for viewing on Apple’s devices, complete with a Gallery,
About page, and Contact form.
For a demo gallery, direct your iPhone or iPod touch to
www.theturninggate.net/iphone. The gallery costs $5. For
more information about TTG Web galleries for Lightroom,
visit www.theturninggate.net.
▼ LIGHTROOM KEYBOARD SHORTCUTS GALORE

Anita Dennis (from Adobe) heads up the Lightroom Help
files online and she recently posted a keyboard shortcut
page for Lightroom. Now, I’ve seen keyboard shortcut
pages before but they’re usually created by module, so
you have to know what module you want to work in
and what command you want before you can find the
shortcut. But these shortcuts are also listed by task, so
it’s a lot easier to find things.
You can check out the shortcuts at http://help.adobe
.com/en_US/Lightroom/2.0. Just click on Keyboard Short-
cuts on the left-hand side.
Make sure you stop by www.lightroomkillertips.com for updated news, free presets, Lightroom how-to videos, and tips. ■
082
By Mike Mackenzie
FEATURED PHOTOGRAPHER
Doug Levy
“Movement defines my work, which is fitting considering that I spend almost two hundred days a year on the road,”
says Boston-based photographer Doug Levy. “My friends would also say that it fits with my personality and attention
span.” A 2003 graduate of Syracuse University, Levy’s taken a bit of an unconventional, self-taught route to photog-
raphy. Levy umpires professional baseball during the summer, a career full of 7:05 starts that leaves plenty of time for
photographing sunrises in the small towns that minor league baseball calls home. He fills his off-season shooting New
England landscapes, weddings, and portraits.
Q. Can you give us a short list of the equipment you use?

Nikon D700 and D300 bodies; NIKKOR 10.5mm, 14–24mm, 17–55mm, 50mm, and 70–200mm lenses; Nikon SB-800, SB-600, and SB-80DX
flashes with PocketWizards; SLIK carbon fiber tripod with a Manfrotto ballhead and quick-release plate; a BlackRapid camera strap; and
a Dell Inspiron E1705 laptop.
Q. When did you know you wanted to be a photographer?
Umpiring leaves me with a lot of downtime during the day, and I’d been searching for an outlet for my time. Then in 2006, umpires and
baseball had a labor issue and we were on strike for the first two-and-a-half months of the season. As the strike went on, I saved money
to pay for my health insurance. Thankfully, things were resolved at the last minute, leaving me with a spare $1,000 in the bank. I used
that money to buy a Nikon D70s with the 18–70mm kit lens and I’ve been hooked ever since. I sold my first print later that summer and
I’ve been shooting professionally since 2007.
Q. What’s your favorite feature of Adobe Photoshop Lightroom?
The Clarity slider because it gives my images that extra kick in the midtones that I’m looking for. I’ll say that the entire Library module
has made my life so much easier. I was never a Bridge user, so before Lightroom I kept track of my images using Windows and a convo-
luted filing and folder system I’d developed—a total nightmare.
Q. Most of your photos exhibit a calm, tranquil quality. Is that a signature style or does it just happen naturally?
I’d say those are the images I’m most drawn to. They’re my favorites so there’s a level of continuity there—but to say that I plan it that
way would probably be an overstatement. I think it’s good to have an idea going out, but not necessarily a plan. You can’t be afraid to
throw out your ideas and start over. If you go out with too much of a regimented plan in mind, you can miss a lot of opportunities for
great images trying to make your image.
Q. The way some of your shots are composed and lit tends to hide as much as is revealed, creating intrigue. How do
you decide what to show (or hide) in a photo?
As photographers, we talk a lot about bouncing light. Recently, I had a con-
versation with a friend about bouncing shadows. It’s essentially the same,
but I try to think about where the shadows are going to fall first and figure
out the light from there. Bright is easy—anyone can do bright—the nuance
is in the shadows.
Q. You’re adept at many photographic styles. Is there a subject you’d
like to explore more?
I’ve done some work with athletes, and it’s definitely something I’d like to do more
of. There are so many possibilities to make really dynamic images that yank the
viewer into the frame. I have a friend who says, “Beautiful women are aplenty—
it’s the stunning ones that are rare.” I try to create stunning photographs.
Contact Doug Levy at http://douglaslevyphotography.com Nikon D300, NIKKOR 17–55mm, 1/250 at f/11, 31mm, NEF
Folders/Doug Levy
084
Adobe Photoshop Lightroom Section
Nikon D300, NIKKOR 17–55mm, 1/250 at f/4, 55mm, NEF
Nikon D300, NIKKOR 14–24mm, 1/250 at f/5.6, 16mm, NEF Nikon D200, NIKKOR 18–70mm, 1/60 at f/16, 70mm, NEF
085
Nikon D300, NIKKOR 14–24mm, 5 min. 1 sec. at f/18, 22mm, NEF
Nikon D300, NIKKOR 17–55mm, 1/100 at f/2.8, 40mm, NEF Nikon D300, NIKKOR 17–55mm, 1/50 at f/5.6, 45mm, NEF
Lightroom users, if you’d like to be considered for the “Featured Photographer,” email letters@photoshopuser.com.
086
Reviews by Rob Sylvan
LIGHTROOM
Book Reviews
The Adobe Photoshop The Adobe Photoshop Lightroom 2
Lightroom 2 Book Book for Digital Photographers
BY MARTIN EVENING BY SCOTT KELBY
If you’re looking for a single in-depth reference book on This is a fun book! If you learn by doing and enjoy following
Lightroom 2, then look no further. This is a beautiful book full a step-by-step approach from an expert who not only knows
of large color images that not only illustrate the inner workings the application but understands the needs and concerns of
of Lightroom, but also the author’s skill as a talented working photographers, then this is your book. If you’re starting out,
photographer. While complete newcomers to Lightroom may then its start-to-finish approach will help move you toward
be a little intimidated by the heft of this book (it has the highest creating an efficient Lightroom workflow. If you’re an intermedi-
page count of any Lightroom book on the market), it would also ate-to-advanced Lightroom user, then the tutorial-based layout
make an excellent companion to a more introductory-level text. makes it easy to jump around and learn the specific feature you
The author covers topics ranging from the most basic Lightroom need without going through the whole book. The book is well
operations to selecting and calibrating your display to working illustrated with excellent examples. Scott Kelby has an acces-
with GPS metadata. I have no doubt that anyone owning this sible writing style that’s sure to keep you engaged as you move
book will turn to it over and over as their experience with Light- through each step. Don’t skip the Introduction and be sure to
room increases and their desire to dig deeper grows. download the example photos so you can follow along.
Publisher: Adobe Press Pages: 624 Publisher: Peachpit Press Pages: 448
Website: www.adobepress.com Website: www.peachpit.com
Price: $49.99 Rating: ◆ ◆ ◆ ◆ ◆ Price: $44.99 Rating: ◆ ◆ ◆ ◆ ◆
090
Adobe Photoshop Lightroom 2: Adobe Photoshop Lightroom 2

A Digital Photographer’s Guide For Digital Photographers Only
BY DAVE HUSS AND DAVID PLOTKIN BY ROB SHEPPARD
Living up to its name, this book serves a worthy guide to keep at The emphasis in this book—for digital photographers only—
your side while learning to use Lightroom 2. It’s well-organized, may seem a little odd when you wonder who else would use
filled with good example images, and does a nice job of explain- Lightroom but after reading, I understood it to mean that
ing features clearly. All the essentials of Lightroom operation are this book is primarily aimed at people who are earning their
covered, including an excellent in-depth focus on making local living from photography, who are shooting RAW, and who
adjustments using the Adjustment Brush and Graduated Filter. want to learn how to integrate Lightroom into their existing
While this book is targeted at all user levels of Lightroom experi- digital workflow. This is clearly a book written by a photogra-
ence, I do think the beginner-to-intermediate user will be the pher for photographers. This is not to say a semi-pro or even a
most satisfied. Some Mac users may be confused in the chapters hobbyist photographer wouldn’t find this book useful, but it
that lack Mac-specific keyboard shortcuts and neglect some of may not resonate as strongly. Whatever your background may
the nuanced differences found in the Mac version of Lightroom be, you’ll find a solid introduction into using Lightroom in
(such as the location of the Preferences and Catalog Settings these pages. And don’t skip any of the Pro Tips highlighted
menus and the integration of iTunes in the Slideshow). in bright green.
Publisher: Focal Press, Inc. Pages: 384 Publisher: John Wiley & Sons, Inc. Pages: 368
Website: www.focalpress.com Website: www.wiley.com
Price: $39.95 Rating: ◆ ◆ ◆ Price: $34.99 Rating: ◆ ◆ ◆ ◆
091
UNDER THE HOOD
Using the New Camera Calibration Profiles
Matt Kloskowski X Y
This issue, we’ll delve into an area of Lightroom that was rarely mentioned until a few
months ago—the Camera Calibration panel. I admit that the only time I touched this
panel for the first two years of my Lightroom experience was to click the triangle to
collapse the panel so I didn’t have to see it.
. . . .
T
hen Adobe released one of the most clever additions Note: One important point to mention is that these
to Lightroom—camera profiles. If you’ve ever looked camera profiles work only for RAW or DNG files, not JPEGs,
at the back of your camera and thought your photo TIFFs, or PSDs.
looked great and then opened the same photo on your
computer and been disappointed at how flat and lifeless it STEP THREE: To use a camera profile, simply choose one
was, then you’re gonna love ’em. from the Profile drop-down menu to apply it to your photo.
In this example, we’re using Camera Vivid, which makes the
STEP ONE: The first thing you need to do is download the sky bluer and gives more saturation to the reds.
Lightroom 2.2 update if you haven’t already. (The camera
profiles are part of the update.) The best way to do this is
to go to the Lightroom Help menu and choose Check for
Updates. The update addresses a few bug fixes but it also
automatically installs these new camera profiles, so it’s
definitely worthwhile to upgrade.
INTERMISSION
So what are these profile things anyway? Here’s the eas-

iest way to explain them: Lightroom applies a profile to
STEP TWO: Once the update is installed, select a photo that the photo that reads the colors and tones in that photo
you’d like to edit (preferably something you’ve never edited and displays them a certain way. The problem is there
before). Press the letter D to enter the Develop module and really isn’t an official rule for profiles. For example, if you
scroll down the right-side panels area until you get to the look at your photo using your camera manufacturer’s
software (say Capture NX if you’re shooting with Nikon),

Camera Calibration panel. The profiles are located in the Pro-
you may like the way that the photo looks better in the
file drop-down menu at the top.
manufacturer’s software than you do in Lightroom. But
why? Because Nikon is applying a different profile that
reads the photo (and its color and tones) in a different
way. Maybe it’s more saturated. Maybe the skin tones
look better, or maybe it has more contrast. In a nutshell,
these new Lightroom camera profiles match the appear-
ance given by the camera vendors’ software. After all,
they’re applying a profile to it too, just like Lightroom,
only theirs looks better somehow—until now that is.
092
STEP FOUR: You should choose Copy Settings. This opens the Copy Settings dialog.
immediately see a change Because you don’t want to copy anything but the calibra-
in the photo. In this case, tion settings, click the Check None button at the bottom.
the colors look much Now check the Calibration checkbox to turn it on, and click
more vibrant and vivid Copy to close the dialog.
(hence the name of the
profile). What’s really
neat is that this profile
hasn’t changed any of
the settings for this file in
Lightroom yet. If you look
through your panels, all
of the settings (Exposure,
Blacks, Clarity, Vibrance,
Saturation, etc.) are all at
their default settings, as
if nothing were touched.
It’s basically giving you a
better starting point.
STEP FIVE: You’ll notice that these profiles are camera specific,
but this is seamless to you. Lightroom automatically recognizes
the camera you used and shows you the correct profiles for
that camera, so you’ll never see the others that are available.
If you’ve ever used your camera vendor’s software, you’ll
notice that these profiles are named the same as in the
manufacturer’s software. Again, using Nikon as an example,
Capture NX (shown in the
screen capture here) has
something called Picture STEP SEVEN: Now select all of the photos you want to apply
Controls—they’re the the camera profile to (I usually select them down in the
same thing as camera Filmstrip area at the bottom of the interface). Then choose
profiles. One is called Settings>Paste Settings and your camera profile setting will
Vivid, another is called be applied to all of the photos selected.
Neutral, and so on.
STEP SIX: Make sure you experiment with the different pro-
files and you’ll see some fairly drastic results. Some are defi-
nitely more punchy than others. The inevitable response
when people see these profiles in action is, “I love ’em. Now Pretty cool stuff, huh? So before you consider getting really
how do I apply them to a bunch of a photos without having mad at your camera (or your software) because you like the
to do each one individually?” photos on that tiny LCD screen better, check out these pro-
The first step is to copy the Camera Calibration settings files. I think you’ll find you can get the same great look with
from this photo. To do that, go to the Settings menu and very little effort. ■
ALL IMAGES BY MATT KLOSKOWSKI
093
Chris Orwig X
X Y
Y
LIGHTROOM Tips & Tricks

Clipping warnings or press Shift-Command-U (PC: Shift-Ctrl-U). While these auto
To prevent unnecessary clipping or loss of image detail, turn options won’t always provide the best results, they’re handy
on the clipping indicators before you make tonal adjustments. when you’re in a hurry or need a starting point.
To do this, click on the triangle icons located at the top of
the Histogram, or press the J key to Show Clipping. With this Copy settings
turned on, colored clipping indicators on the image mean To speed up the process of copying Develop module settings from
one or two channels are clipped. You can make corrections to one image to others, click on the image in the Filmstrip from where
prevent clipping of important details in the image. If the clip- you’d like to copy the settings. Press Command-C (PC: Ctrl-C)
ping indicators on the image become distracting, press J again to copy the settings, open the Copy Settings dialog, and choose
to turn off Show Clipping. For an even less-obtrusive view of what you’d like to copy. You can also press Command-Option-C
clipping, press-and-hold the Option (PC: Alt) key as you modify (PC: Ctrl-Alt-C) to copy settings without opening the Copy Settings
the Exposure, Recovery, or Blacks sliders to temporarily view dialog. Next, select one or more images in the Filmstrip and press
the clipping indicators. Command-V (PC: Ctrl-V) to paste the settings.
Faster retouching
The Adjustment Brush tool works incred-
ibly well for making corrections, enhance-
ments, and basic retouching. But one of
the problems with this tool is that every
time you want to create a new adjustment
effect, you need to click on the word New.
This can really slow down your progress.
To speed things up, try making an adjust-
ment and then press K twice—once to
exit the tool and a second time to access
it again and create a new adjustment.
Now you can use your shortcut keys:
To make the brush smaller or larger,
press the Left or Right Bracket ([ ]) keys,
respectively. To change the brush Feather,
press Shift-[ or Shift-]. To change the Flow
amount, press 1–0. Next, you’ll notice that
it’s possible to have two different Adjust-
ment Brushes: Brush A and Brush B. To
toggle between these two brushes, press
the Forward Slash (/) key. If you’d like to
quickly access and use the Erase brush,
CHRIS ORWIG
press-and-hold the Option (PC: Alt) key

and paint away the adjustment.

Blue indicates the shadows are clipped
Auto corrections Faster gradient adjustments

Select one or more images, then click the word Auto in the Tone The Graduated Filter allows you to make gradual adjustments to
section of the Basic panel, or press Command-U (PC: Ctrl-U) to localized areas of your photo but sometimes when you use this tool,
automatically correct the tone. Lightroom will set the sliders you’ll discover that you’ve accidentally added an effect that’s in the
to maximize the range of tones while minimizing highlight and wrong direction. If only you could change this on the fly. Well, you
shadow clipping. To automatically correct the white balance, click can! While you’re dragging out a Graduated Filter gradient, press the
on As Shot in the WB: section of the Basic panel and choose Auto, Apostrophe (’) key to quickly change the direction of the gradient. ■
096
Rafael “RC” Concepcion X Y
LIGHTROOM Q & A
Q. What’s the difference between the Grayscale mode in the will take all of the entries and sort them by name. Sort by
Basic panel and the Grayscale mode located in the HSL/Color/ Kind will also alphabetize by name, but it will place your
Grayscale panel? collections first.
Choosing Grayscale from either location does the same
thing to your image: It attempts to make the best grayscale
conversion based on the image data. Click Grayscale in the
RAFAEL “RC” CONCEPCION

Basic panel and note how the sliders move, then look in the
HSL/Color/Grayscale panel and notice how those sliders have
changed. Now click Color to set the image back to color, then
click Grayscale in the Grayscale panel. The sliders move to the
same position, and the settings in the Basic panel are the same
as well. Clicking Grayscale in the Basic panel gives you easier
access to the tonal adjustments, while choosing Grayscale in
Q. Every time I try to export pictures from Lightroom 2, my
the HSL/Color/Grayscale panel gives you quick access to the
CD/DVD burner opens as if I’m trying to write a DVD. Is
powerful grayscale mixer and Target Adjustment tool.
there a way to avoid this?
It seems like you haven’t changed the setting at the top of
Q. I made a lot of adjustments to an image. Is there a way to see
the Export dialog. Don’t worry, I couldn’t figure this one out
what the image looked like before to make a comparison?
for the longest time until Scott Kelby pointed it out to me. At
Press the Backslash key (\) or choose View>Before/After>
the top of the Export dialog, you’ll see a drop-down called
Before Only to see a Before view of the image. Press the Y key
Files on CD/DVD. This is causing your problem. If you switch
to see a side-by-side Before and After view.
this to Files on Disk, the CD-burner program won’t launch.
You can also change the way Lightroom displays the before-
Yes, I thought that was a really weird place to put a drop-
and-after view. In the Toolbar below the image preview area,
down, as well.
click the down-facing triangle next to the Cycles between
Before and After views icon (second icon) and make your selec-
tion from the drop-down menu.
Q. Would you explain how to import images from another

catalog into my current catalog?
Sure. Choose File>Import from Catalog and navigate to the
desired catalog. When you select the catalog (it will have
a .lrcat extension), a list of images will appear in the Import
from Catalog dialog for you to move into your current catalog.
Q. How can I mark more than one photo as rejected?

MIKE MACKENZIE
Click on the first image in the group you’d like to reject, then
Shift-click on the last image in the group to select all of the

images in between (or Command-click [PC: Ctrl-click] to
choose noncontiguous images). Press the letter X and those
images will be marked as rejected. ■
Q. I have a bunch of collections that aren’t in alphabetical order. If you have a Lightroom question you’d like to see published
How can I sort them by letter? in this column, please send it to letters@photoshopuser.com.
Click on the plus icon (+) in the Collections panel header, If, however, you’d like your question answered immediately,
and you’ll see that there are two sort options. Sort by Name go to the Help Desk at www.photoshopuser.com.
097
GET THE SCOOP ON THE LATEST GEAR
Nikon D700 ▼
SMALLER, LIGHTER, FULL-FRAME DIGITAL SLR CAMERA
Review by Steve Baczewski
Positioned between Nikon’s D300 and D3 is the Nikon

D700. It uses the same 12.1-megapixel full-frame
sensor as the D3 but the D700 is smaller, lighter,
has a dust-removal system, and is less expensive.
It lacks the D3’s shutter life, dual memory card slots,
and continuous burst speed; however, the D700
has a pop-up flash, which is very practical to use
as a fill light or to wirelessly trigger remote Nikon
Speedlights. The D700 can shoot up to 5 frames
per second (fps) RAW or 8 fps with a battery grip.
Although packed with features and buttons, it’s
designed to appease the professional photog-
rapher’s need for simplicity and allow for quick
adjustments in changing light. Instead of searching
the menus, pressing the new Info button brings up
a comprehensive list on the LCD of frequently used
features that can be highlighted and adjusted. All this
attention to ease of use adds up to less fumbling with
Underneath these buttons is a rotating wheel that lets
buttons, labyrinthian menus, and flipping pages of the
you simply dial in single, continuous, continuous high-
included 444-page manual.
speed shooting, Live View, self-timer, and mirror lock-up.
First, what counts: The image quality is excellent. The
It’s not new to Nikon users but it’s brilliant, efficient, and
D700 produces smooth-toned, 14-bit RAW files. The sen-
deserves mentioning.
sor is capable of capturing a wide dynamic range with
The D700 performs quickly whether focusing, firing
lots of highlight and shadow detail, and it’s especially
the shutter, or writing to a memory card; however, Live
amazing in low light. It has an ISO range of 100–25,600
View is still too slow to focus to make it meaningful in
and its ability to produce quality usable files even at
situations other than on a tripod in a studio. The D700’s
ISO 25,600 (with some postproduction work) is simply
Live View now has handheld and tripod modes—the
miraculous—I’ve never seen anything like it.
distinction is in focusing. In tripod mode, it’s achieved
The D700 has a solid, heavy (2.3 lbs) but balanced,
by using a contrast-based autofocus. This avoids inter-
magnesium alloy body, with a comfortable rubberized
rupting the image on the LCD when pressing the AF On
handgrip. Its compartments are sealed for moisture and
button and necessitating flipping up the mirror, as in the
dust. The control layout will look familiar to Nikon cam-
handheld mode. Still focusing in either mode is too slow.
era owners. Near the shutter release is the Mode button
For precision focusing, Live View’s focusing rectangle
for changing between the standard Program, Manual,
can be moved and magnified to zoom in on an area.
Aperture, and Shutter priority. There’s a slide door,

Pressing the new Info button alternately displays shoot-
single-slot CF memory card compartment that can use
ing data, a grid, and a wonderful virtual horizon feature
the faster UDMA cards and can record RAW, JPEG, and
for leveling your shots. Of all things to omit in Live View,
TIFF formats. Right below the depth-of-field preview
Nikon left out a live histogram for precision exposure!
button on the front right is a programmable function
Bottom line: In a hot, digital SLR market, the D700 sizzles.
button. The 3" LCD’s 920,000-pixel resolution sharply
It’s a well-thought-out, top-end, professional camera. ■
displays type and images in Live View, even in bright
light. One annoyance is Nikon’s design that requires you
to simultaneously press a button to release and rotate a Company: Nikon U.S.A. Price: $2,999.95 (Body only)
dial to make an adjustment. Having said that, left of the
Web: www.nikonusa.com Phone: 800-645-6689
viewfinder is a convenient arrangement of three but-
tons for changing image quality, ISO, and white balance. Platform: Rating: ◆ ◆ ◆ ◆
098
0 to 60 in 1/1000 of a SECOND
ContrastMaster ▼
PLUG-IN FOR CONTRAST ENHANCEMENT
Review by Dave Huss
ContrastMaster is a plug-in for creating complex contrast

enhancement of images. The potential results range from
enhanced contrast to visual effects that border on the surreal.
ContrastMaster isn’t limited to Photoshop; it works with almost
any photo editor that supports Photoshop plug-ins. The latest
release works with Mac OS X as well as Windows, and supports
8-bit and 16-bit (per channel) RGB images.
What is ContrastMaster? It’s four methods of contrast con-
trol—S/H-Contrast, Stretch, Equalize, and Polarize—controlled
from a single dialog with more sliders than my old graphic
equalizer. To help those of us with slider phobia, ContrastMaster
offers six modes ranging from Novice to Expert. The first
time I opened ContrastMaster, a message advised me that,
because this was my first time, I was starting in Novice mode—
a wise choice. Fortunately, there are multiple presets that can
be applied to an image to see what this tool can do.
So what can it do? It can provide selective and global con-
trast adjustments to an image to a degree not possible using
standard Photoshop tools. What it’s really good at is pushing
the contrast settings beyond reason, thereby creating some
pretty cool photorealistic effects.
Understanding how to use ContrastMaster is easier to grasp
than quantum physics but not by much. There are no tutorials
and only a brief online user guide, but those brave souls willing
to invest the time to comprehend the interactions of the myriad
controls will enjoy the endless combinations of effects that can
be produced. While I enjoyed experimenting, from a professional
standpoint I don’t usually encounter clients looking for such
effects. Still, ContrastMaster might be just the creative tool you’re
looking for. So download the trial version and take it for a spin. ■
Company: The Plugin Site Price: $69.95

Web: www.thepluginsite.com Phone:
Platform: Mac and Windows Rating: ◆ ◆ ◆
WWW.BLACKRAPID.COM
Reviews
(50mm f/2 plastic lens that produces a hazy blur); and The Pin-
hole/Zone plate. This last one has an aperture hole (equivalent
f-stop of 177) for pinhole photography. Now that’s truly retro
when you can use a camera costing several thousand dollars
to create the same image quality that I made back in the ’60s
using a cardboard box!
Why three SLR lenses? The Muse and Composer are similar
in their operation but different in design. Muse (similar to the
original Lensbaby) uses a flexible body that you squeeze and
Lensbaby ▼
THREE NEW LENSBABY SLR LENSES Review by Dave Huss
hold in place while taking the photo. On the other hand, the
Composer is based on a ball-and-socket arrangement that
allows you to move the lens until you get the desired com-
position, and then it holds the lens in that position while you
Everything you knew about the selective-focus lens system fiddle with the camera settings. Composer has a locking ring
known as Lensbabies has changed—including the name of the that makes sure the lens doesn’t move and I had to overcome
company. Lensbaby, LLC (new name) offers three separate SLR the habit of trying to adjust it like an aperture ring. At the time
lenses named Muse, Composer, and Control Freak. All three of this review, the Control Freak wasn’t available; but it looks
lenses have an Optic Swap System that allows quick switching exactly like the Lensbaby 3G and it seems appropriately named,
of optics without removing the lens from the camera—for those as it allows precision adjustments of the sweet spot.
who do outdoors location shooting, this is a godsend. Basically, The real test came at a wedding: I mounted the Composer
the selective-focus lens system is a manual lens that replaces on my backup camera, dusted off my trusty old light meter,
your regular lens. This lens provides a creative tool that can and took as many shots (mostly under low-light conditions) as
isolate the focused area of the frame to a single spot—a sweet the assignment allowed. When I reviewed the photos after the
spot—with the rest of the frame out of focus. wedding, I had to admit that some of the Composer shots of the
The first time I used the Composer I had a flashback to the bride looked really fantastic. In some cases, I had set the sweet
time I used my first 35mm camera, which was manual every- spot wrong, but the resulting photo looked better than I had
thing. On top of that, you control the aperture of the Composer envisioned (the client thought I was an artist). I also tried the
by replacing metal discs (each one marked with a different Plastic optic on “Grandma” and it was an instant glamour shot!
f-stop). The device that holds all the different discs is also part Overall, the Composer and the additional optics are pretty
of the tool used to interchange them. Years of shooting with a impressive. It will take some time to get the hang of it, but
highly automated system meant it took a little time to get accus- I consider it time well spent. ■
tomed to this system. But within 30 minutes, it felt comfortable
and using the camera’s LCD, I was soon shooting some pretty
artsy photos. Company: Lensbaby, LLC
Once I had the exposure settings correct, it was time to Price: Composer $270; Muse $150; Control Freak $270; Optic Kit $94.95
explore the Optic Swap System, which has four interchangeable
Web: www.lensbaby.com Phone: 877-536-7222
lens options: Double Glass (50mm multicoated optical glass
Platform: Rating: ◆ ◆ ◆ ◆ ◆
lens); Single Glass (50mm uncoated optical glass lens); Plastic
100
Autodesk Stitcher
Unlimited 2009 ▼
PHOTO-STITCHING SOFTWARE Review by Dave Huss
Autodesk Stitcher Unlimited 2009 is photo-stitching software for

producing panoramas and more. I’ve made hundreds of panora-
mas using the Photoshop Photomerge feature and have been happy
with the results, so my main questions are: Will Stitcher Unlimited
“play well” with Photoshop, and is it worth the extra money?
Stitcher uses a photo-stitching engine that stitches, aligns, and
color-corrects automatically, and it’s easy to use their five-step
process to create a panorama. The acid test of their alignment
feature (where most stitching programs fail) was some handheld
photos I took of the Golden Gate Bridge with all its suspension
cables. The resulting panorama was seamless; every cable
between the individual photos matched.
Another Stitcher feature I like is Double Shot, where you can
stitch together two fish-eye lens shots into a single panorama.
And Stitcher Unlimited even allows you to make panoramas using
HDR images. (I didn’t test this last feature…I will as soon as I suc-
cessfully make my first HDR image. Hope springs eternal!)
So how does it work with Photoshop? You can import and
export an image from Photoshop (it supports PSD files, images,
and masks), and Stitcher can create a panorama in PSD format
that contains separate layers for each individual image.
All of the professional tools are also included, allowing you to cre-
ate environment maps for 3D rendering and Web-based virtual tours
using the Apple QuickTime, Adobe Flash, or Java-based viewers.
The Autodesk Stitcher Unlimited 2009 is a lot cheaper than the
cost of a digital panoramic camera and you can download a fully
functional 15-day trial version from their website. Stitcher is a profes-
sional tool that produces stunning panoramas. If you’re serious about
making panoramas, try Stitcher Unlimited. You’ll be impressed. ■
Company: Autodesk, Inc. Price: $350

Web: http://usa.autodesk.com Phone: 800-964-6432
Platform: Mac and Windows Rating: ◆ ◆ ◆ ◆ ◆
Reviews
Casio Exilim
EX-Z300 ▼
COMPACT POINT-AND-SHOOT WITH
EZcube Light Box ▼

TOP-ACCESS LIGHT TENT Review by Laurie Excell
4X OPTICAL ZOOM Review by Steve Baczewski
The Casio Exilim EX-Z300 is a 10.1-megapixel point-and-shoot

with a zoom range of 28–112mm (35mm equivalent). The thin
Diffused light is great for photographing so many subjects. I love metal body easily slips into a shirt pocket, but getting a good
the soft light of an overcast day, and I wanted that same soft grip can be an issue. The new image processor enables you to
light when photographing products. I could invest in a lighting shoot at higher ISOs (range is 64–3200) with relatively low noise
kit with softboxes or wait for an overcast day but neither of those levels. I shot at night and indoors at ISO 1600 and, although
options suited my particular needs. So, I went investigating and there was noise and loss of detail, I was impressed with overall
that’s when I found the EZcube Light Box. dynamic range and image quality. Camera movement is mini-
The EZcube is a diffusion tent in which you can place items mized by mechanically shifting the sensor or raising the ISO
and get that wonderful diffused light—softening hard light and to allow faster shutter speeds. Also new is shooting 720p HD
shadows, and removing unwanted glare from shiny objects. It movies with a dedicated Movie button for added spontaneity.
can be used with natural or artificial lighting and it collapses to Sadly, the zoom becomes disabled in movie mode.
an easy-to-store and -transport package. Face recognition stores up to six faces as references for future
I found the EZcube easy to set up and use right out of the shots. Press the dedicated Make-up Shot button before taking
gate and have been using this light box for all my product a shot, and the EX-Z300 applies 12 degrees of airbrushing to
shots. There’s a zipper flap for easy access to the product or smooth blemishes, wrinkles, and remove harsh shadows with-
you can place the EZcube over stationary objects that cannot out oversoftening.
be moved. Replaceable sweeps allow me to change the back- The EX-Z300 uses SD cards and records JPEG, MOV, and
ground, as desired, to a variety of colors. Risers are available on WAV formats. The 3", 230,400-pixel LCD screen holds up well
which to place products, giving a beautiful reflection. It even in bright outdoor light. To the right of the LCD is an intuitive
has grommets strategically placed in the EZcube, along with five-button control panel and a four-way navigational pad
a suspension system to hang products from, for a completely whose right- and left-navigational arrows can be programmed
shadowless image. to adjust ISO, EV compensation, etc. Pressing the Set button
The EZcube is available in five sizes: 12", 20", 30", 40", and 55" to brings up a panel of frequently used features on the LCD that
accommodate products from jewelry to large items. Included with can be adjusted quickly, sparing a trip through the menus.
every EZcube is a handy guide, as well as a DVD tutorial to help This is a totally automatic camera with no aperture or shutter
you get started. ■ priority modes. There are 38 Best Shot preset scene modes that
can be used as a workaround: Landscape gives you maximum
depth of field; Sports gives you a fast shutter speed; etc. Image
Company: TableTop Studio LLC Price: $55–149.95 quality is very good up to ISO 400, but general performance
Web: www.ezcube.com Phone: 805-566-0315 suffers with a 3-sec. lag between shots. ■
Platform: Rating: ◆ ◆ ◆ ◆
Company: Casio America, Inc. Price: $299.99

Web: www.exilim.casio.com Phone: 800-836-8580
Platform: Rating: ◆ ◆ ◆
102
Reviews
Nik Sharpener Pro 3 ▼

PHOTOSHOP IMAGE-SHARPENING PLUG-IN
Review by Daniel M. East
Getting that razor-sharp look can make all the difference for those presets and “dialing in”
who earn their living as photographers. Some plug-ins fall short for your own style hap-
of this task because they create something too edgy and harsh, or pens easily and quickly.
simply apply a global effect to your entire image, but Nik Sharp- This is an excellent
ener Pro 3 is a huge leap forward in image enhancement. bit of progress for an
With your image open on your display, the process is fairly already fine product.
easy without any need for a manual or tutorial to get started. Nik Software contin-
Select either the RAW (presharpening) or Output (printing) ues to improve their
option under the Filter menu, and you’re presented with a products for both
stunningly simple window. In Aperture, go to Images>Edit usability and function-
with and select your choice of Sharpener use. ality, while also making
One of my favorite features is the Selective tool, which allows them easier to use and more intuitive. Nik Sharpener Pro 3 is my
you to “brush in” the effect. I found this excellent for adding a favorite sharpening plug-in to date and the results prove my
bit of sparkle to the eyes or for certain product photography. point—and theirs. ■
The effects can be fine-tuned with the control features of the
Selective tool, so you won’t overprocess your image. Making
use of the different preview modes allows you to see what kind Company: Nik Software, Inc. Price: $199.95
of results you can expect. The Soft Proof preview is a reason- Web: www.niksoftware.com Phone: 619-725-3150
able way to see what your final output might look like. With that
Platform: Mac and Windows Rating: ◆ ◆ ◆ ◆ ◆
said, and after some time with Nik Sharpener Pro 3, saving user
SANYO PLV-Z700 ▼
1080P HOME ENTERTAINMENT PROJECTOR
Review by Issac Stolzenbach
Back in the September 2008 issue of Photoshop User, John

Paul Caponigro asked us to consider scale when contemplat-
ing our images’ intended impact. This prompted me to find living room lights on). Finally, with the Xbox 360 hooked up to the
a way to see shots as big as they could possibly be—on the second HDMI port, Halo 3 astonished the pizza-delivery guy (so
cheap. This might sound oxymoronic but bear with me. much so that he flashed his Halo 3 tattoo and refused a tip). Even
This full HD, 16:9-aspect-ratio projector is rated at 1,200 with all this stuff hooked up, there’s still room to grow the enter-
lumens with a 10,000:1 contrast ratio and is, at a glance, impres- tainment center with remaining component, S-Video, and analog
sive; however, if you look closer and take into account that it RGB and video inputs; thus, you can get by without upgrading to
was the first 1080p projector to clock in under two grand, it’s an HDMI-compatible receiver.
extraordinary. I could spew all the numbers in the world but Alas, I couldn’t find a single flaw to complain about other than
what really counts is how it performs. the usual fine-tuning for whatever room it’s in; meaning, for the
I tested SANYO’s projector extensively: hooked up to a Sony price, this projector has reached a mythical ideal and comes highly
PS3 via HDMI with CF card installed, it wowed the family with recommended. Just keep in mind that at this price, it’s to be
photos from a Nikon D700 using the onboard 3D color man- expected that the contrast levels are a bit lower than your boss’s
agement system (then I popped in a Blu-ray of Ironman and projector that costs three times as much. ■
really knocked their socks off ). In preparation for the national
analog-to-high-definition switch, the cable guy came out to
upgrade our service to HD by linking directly with the projector Company: SANYO North America Corporation Price: $1,995
using one of the two component cable inputs and he couldn’t
Web: www.sanyoprojectors.com Phone: 888-337-1215
believe it was a projector and was “dumbfounded” by how
crisp the picture looked at 100+ inches (and this was with all the Platform: Rating: ◆ ◆ ◆ ◆ ◆
103
Book Reviews by Peter Bauer
Photoshop CS4 Photoshop CS4 Workflow:

All-in-One for Dummies The Digital Photographer's Guide
BY BARBARA OBERMEIER BY TIM GREY
The question I regularly hear about Photoshop CS4 All-in- If the word “workflow” conjures up images of “Do this,
One for Dummies is “Other than price, what’s the difference then do this, then do this, then do that,” the title of this
between this book and your Photoshop CS4 for Dummies?” book might scare you off, but there’s far more here than
My answer? Length. With almost 300 more pages than simply cookbook-style procedures for processing images.
mine, this book has room for numerous step-by-step You’ll find a wealth of information on how to work in
instructions and “Putting it Together” exercises that don’t Photoshop. Note the subtitle, however: This is a book
fit in a more streamlined reference book. You’ll find thor- for digital photographers. No mention here of the Type
ough coverage of all of the major features in Photoshop or Pen tools (not that digital photographers never need
CS4 (but nothing on the additional features of Photoshop those tools), and the only reference to CMYK you’ll see
CS4 Extended). Easy-to-read, suitably illustrated, and com- is in a discussion of how to use Selective Color with RGB
prehensive in what’s covered, this is an excellent choice for images. The coverage of Adobe Camera Raw is a bit lim-
someone self-teaching Photoshop who isn’t interested in ited and the author seems to prefer adjusting composi-
a lesson-based book. It’s also great for someone who occa- tion (cropping and straightening) in Photoshop rather
sionally has to delve into parts of Photoshop with which than taking advantage of the nondestructive capabilities
he or she is generally unfamiliar. Have a new task looming in Camera Raw. But, whether they shoot RAW or JPEG,
on the horizon? Pull out the book, look it up, read about it, this book has lots of great Photoshop information for
confidently fulfill your assignment. digital photographers.
Publisher: John Wiley & Sons, Inc. Pages: 696 Publisher: Sybex Pages: 382
Website: www.wiley.com Website: www.sybex.com
Price: $39.99 Rating: ◆ ◆ ◆ ◆ Price: $39.99 Rating: ◆ ◆ ◆ ◆
104
Rafael “RC” Concepcion
Photoshop Q & A
Q I want to show my photos on the Internet. Someone told me

that she can open the file and see all of my camera settings.
I design my webpages at 1024x768 (because anyone
looking for my work couldn’t possibly be looking at it with a
Is there a way to delete that information? smaller screen!). But it’s important to note that this doesn’t
A When you take pictures, data about each photo is recorded

into something called EXIF data. In Photoshop, you can see
mean you should also place buttons and banners throughout
all that real estate. When you think of a 1024x768 screen, keep
this information when you choose File>File Info and click on in mind that the browser window, status bars, application
Camera Data, or in the Metadata panel in Bridge. Normally, bars, and scroll components will also occupy that space, so it’s
this is good, but some photographers are a little protective actually a lot smaller.
of this information because it’s technically the “recipe” for If you go to www.webdesignerstoolkit.com, you can down-
the shot. load screenshots of browsers at various resolutions to get an
When you use File>Save for Web & Devices, this informa- idea of just how small that main window is. If you design to
tion is stripped from the file. I recommend that you create an this, you generally won’t have a problem. Remember that this
action that includes File>Open, File>Save for Web & Devices, smaller space will also contain some of the copy and images
and File>Close steps. Once that’s completed, make a droplet for the website, so you’ll have to take that into consideration
of the action and have the droplet save the files in the already as well. If you keep your navigation elements within 175 pixels
existing folder. When you want to remove this information horizontally and vertically, you’ll ensure that the important
from the files, just drag the files onto the droplet. portions of your page will be seen.
RAFAEL “RC” CONCEPCION
Q
How can you change where Adobe Camera Raw makes its
changes to the RAW file?
A
If you choose Photoshop (PC: Edit)>Camera Raw Preferences,
you’ll see a dialog that allows you to change where you want
to save image settings. If you select Sidecar “.xmp” Files, then
Q What are the correct dimensions for designing a webpage?

I’ve heard many conflicting answers!
all changes are saved to the XMP sidecar file and you’ll need
to copy that file with the image to any new location where
A The reason that there are so many answers is because there

are so many different preferences for computer screens
you want to see the changes. If you select Camera Raw Data-
base, the file’s image settings will be saved on your computer.
these days. Not too long ago, we counted on computer-
screen resolutions being 640x480, 800x600, or 1024x768.
As technology advanced, screen resolution improved, and Q
Q. Photoshop CS3 Extended allows you to work with video.
Does this mean that I can add layer styles and masks to it?
we started seeing sizes such as 1280x800 (widescreen moni- How does this differ in Photoshop CS4?
tors) and 1440x900. So…you need to think of your design and
how to make it appeal to the largest audience possible, then A
Absolutely, you can add layer styles and masks. One of the
coolest things that you can do with Photoshop CS3 Extended is
plan toward that. play around with video; however, there are a couple of caveats.
106
Photoshop Q & A
If you want to apply a specific mask to a video in Photoshop Add to Shape Area, Subtract from Shape Area, Intersect
CS3 Extended, you’ll need to convert the video to a smart Shape Areas, and Exclude Overlapping Shape Areas tools in
object and from there, you can apply your styles and masks. the Options Bar. One of my favorite options is Subtract, where
Photoshop CS4 Extended allows you to mask the video you take a new shape and use it to cut out (or subtract) from
and apply styles without first making a smart object of the the original shape. Select the second shape you want to use,
video layer. and when you draw on the shape, it will cut out that shape
from the original.
©ISTOCKPHOTO/OLGA GROMOVA
Q
How do you duplicate a layer group?
If you have the shapes on separate layers, use the Path
A
There’s a couple of ways to do this. You can either Control-click
(PC: Right-click) on the group and select Duplicate Group, or
Selection tool (A) to select a given shape. Press Command-C
(PC: Ctrl-C) then Command-V (PC: Ctrl-V) to copy-and-paste
drag the group onto the Create a New Layer icon at the bot-
that shape into the second shape layer. Highlighting each of
tom of the Layers panel.
the paths, select one of the shape options in the Options Bar.
This gets a little complicated when you try to copy groups
Finally, select both shapes and click the Combine button in
to other files. It’s easy in Photoshop CS3: Simply grab the group
the Options Bar, and your new shape will be created. ■
folder and drag it into the window of the second file. To make
this work in Photoshop CS4, use the Move tool (V) to move the
object from the document onto the tab of the other file. The
other window will appear and you can drop the layer group in
that window.
Q
What’s the difference between Vibrance and Saturation in
Adobe Camera Raw?
A
Saturation uniformly decreases or increases the colors in an
image, from monochrome (desaturated) to twice the color
intensity that the image would normally have, respectively.
Vibrance is very selective about what it saturates, however.
With Vibrance, colors that aren’t very saturated become more

saturated; colors that are already very saturated are left alone.
Any color that appears to be skin-related is left untouched,
because who wants orange skin?
Q
How do I create new shapes with already existing shapes
in Photoshop?
If you have a Photoshop question you’d like to see published in
this column, please send it to letters@photoshopuser.com.
A
If, however, you’d like your question answered immediately, go
You have two ways to go about this. First, with a shape tool
to the Help Desk at www.photoshopuser.com.
selected in the Toolbox, use the Create New Shape Layer,
107
NAPP Photoshop Design Showcase
Where NAPP members get to exhibit their artwork
If you’d like to have your work considered for

publication in the NAPP Photoshop Design
Showcase, submit samples of your artwork
to fnelson@kelbymediagroup.com.
Isabelle Green
Isabelle lives in rural Vermont where each summer some of the most
beautiful horses enter dressage and hunter-jumper competitions. She
photographs them in their dusty warm-up arenas and then, “shows
off their power and grace in her own landscape photos, using Photo-
shop to paint the skies and foregrounds.” Isabelle agrees with Arthur
C. Clarke that, Any sufficiently advanced technology is indistinguishable
from magic, and says, “Photoshop is magic at our fingertips.”
www.flickr.com/photos/isabelle_ann
▲ ▼
Brian Bastinelli Andie Styner
Brian is an emerging photographer in the York, Pennsylvania Having attended the School of Visual Arts in NYC, Andie became a free-
area. At present, he’s a career firefighter, transitioning to full-time lance illustrator/graphic designer, opening Roobiblue Studios in 1986.
photographer. One of his passions is shooting images of firefight- Recently, she returned to her two loves—painting and photography—
ers in action. According to Brian, “My close relationship with area creating unique imagery with more depth and texture than the original
departments and knowledge of the job allow me close access photograph. She remarks, “I’m enthusiastic about experimenting with
to dramatic emergency scenes where I can create these unique layers, opacities, and filters in Photoshop to accomplish my goal of a more
images.” Check out his website to see more of his work. painterly style of photography, that keeps folks guessing…Is it a photo?”
www.brianbastinelli.com www.roobiblue.com
109
Sherry London
Photoshop Quick Tips
Save custom settings drag-and-drop. If your two images are the same size, you’ll register
In Photoshop, you really them so they fit together perfectly.
need to be observant,
especially with regard to Add a quick sepia tone
its interface buttons and You can give an old image a quick sepia tone via the Black and
icons. Recently, I wanted White adjustment dialog. Just check the Tint box and drag the
to create a preset to Hue and Saturation sliders to find the color you like. Adjust the
apply the same black- various sliders to bring out the best in the image.
and-white adjustment For my example, I cropped this 1973 image of my son and added
(Image>Adjustments> a slight vignette (Filter>Distort>Lens Correction) at the edges.
Black & White) to several
different images, but I saw
no obvious way to do so.
I finally noticed the tiny “I’m a menu” Preset Options icon to the
right of the Preset drop-down list in the Black and White dialog
and bingo! One click and you can Save or Load any custom preset
you want. Once you’ve saved your preset in its default location,
the Presets folder, your new setting will then appear in the drop-
down menu of available Presets.
The default location for a Black and White adjustment preset is
as follows:
Macintosh—Hard Drive/Applications/Adobe Photoshop
CS(version)/Presets/Black and White
Windows—C:\Program Files\Adobe\Adobe Photoshop
CS(version)\Presets\Black and White
SHERRY LONDON
Reinstalling presets
You can reinstall your presets (Brushes, Gradients, Shapes, etc.)
when you upgrade to a new version of Photoshop. If you don’t
mind that the presets won’t appear in the various menus, you can Before After
always browse for them in the older Photoshop version when you
go to apply or load them again. To get your presets to appear in
the various menus, however, just drag a copy of each preset to QUICK KEYSTROKES
the same location/folder (see above tip for default location) in
your new version of Photoshop. This issue, I’m rounding up the keystrokes I use most often.
I also keep a duplicate (read: “safety net”) Presets folder out-
side the Adobe folder on my hard drive and keep it updated. It’s a 1. Command-J (PC: Ctrl-J) copies the active layer into a
good idea to periodically save your presets to an external drive or new layer. If you have an active selection, it only copies
CD as well. (But then again, you do back up your system regularly, the selection into the new layer.
don’t you?) 2. Command-L (PC: Ctrl-L) activates the Levels command.
One of the more useful variations of this command,
Moving multiple layers Command-Option-L (PC: Ctrl-Alt-L) shows you the last
To drag multiple layers from one document to another at the same settings used with the command. You can recall your
time, select each layer you want in the Layers panel. They don’t Curves settings the same way—Command-Option-M
need to be contiguous; for example, you can click on the top layer, (PC: Ctrl-Alt-M).
then press Command (PC: Ctrl) and click on the bottom layer of a 3. Shift-Command-E (PC: Shift-Ctrl-E) is the Layer>Merge Vis-
five-layer document to choose just those two layers. Then use the ible command and copies all visible layers in a selection.
Move tool (V) and drag the layers from their image directly into the 4. Command-F (PC: Ctrl-F) repeats the last filter you used at
new image. So long as the multiple layers are highlighted in the its most recent setting. If you want the last filter you used
Layers panel, they’ll all follow the Move tool. but need to change the settings, use Command-Option-F
(PC: Ctrl-Alt-F), which will open that filter’s dialog.
Make it fit 5. Command-W (PC: Ctrl-W) closes the current file and
If you drag a layer into a different image, the new layer appears gives you a chance to save it, if necessary—instead of
wherever you release the mouse. If you want to center the dragged first saving then closing the file. ■
layer in the new image, however, simply hold the Shift key as you
110
Photoshop
I N D E X
March 2009
O F
user
A D V E R T I S E R S
For advertising information, please contact Melinda Gotelli, Advertising Director, at 916-929-8200.
email: mgotelli@photoshopuser.com
4 Over, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112–113

www.4over.com [G] [O]
[A] Graphic Authority . . . . . . . . . . . . . . . . . . . . . . . . . . 114–115 onOne Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
www.graphicauthority.com www.ononesoftware.com
Adobe Photoshop CS4 Book for Digital
Photographers, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 [H] [P]
www.kelbytraining.com
Hewlett-Packard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Peachpit Publishing Group . . . . . . . . . . . . . . . . . . . . . . . 87
Adobe Photoshop Seminar Tours. . . . . . . . . . . . . . . . . 20
www.hp.com www.peachpit.com
Adorama Camera, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Hill & Usher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Photos.com/JupiterImages . . . . . . . . . . . . . . . . . . . . . . . 73

www.adorama.com www.hillusher.com www.photos.com
Airbrush Action. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

www.airbrushaction.com
[I] PhotoshopCAFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
www.photoshopcafe.com
iStockphoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC–3
Alien Skin Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 www.istockphoto.com
www.alienskin.com Photoshop World Conference & Expo . . . . . . . . .41–46
www.photoshopworld.com
AMC Colorgrafix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 I.T. Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
www.amc-color.com www.itsupplies.com Professional Photographers of America (PPA) . . . 126
www.ppa.com
Axiotron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 [J]
www.axiotron.com Print Factory, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
[B] Jane’s Digital Art School . . . . . . . . . . . . . . . . . . . . . . . . . 123

www.janesdigitalart.com
www.GoPrintFactory.com
PrintRunner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
B&H Photo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
www.bhphotovideo.com [K] www.printrunner.com
BlackRapid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Kelby Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76, 95, 105

[R]
www.blackrapid.com
BOSS LOGO Print & Graphics Inc. . . . . . . . . . . . 116–117 [L] Really Right Stuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
www.reallyrightstuff.com
www.5000cards.com
[C] Layers Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

www.layersmagazine.com
[S]
CDW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Shutterstock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
www.cdw.com Layers TV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
www.shutterstock.com
www.layersmagazine.com
Copy Craft Printers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
LC Technology, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Smith Micro Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
www.copycraft.com
www.lc-tech.com www.mysmithmicro.com
Corel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
www.corel.com Lens Pro To Go. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 [U]
www.lensprotogo.com
Creative Juices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 UPrinting.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
www.bigposters.com [M] www.uprinting.com
[D] MacMall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BC [W]

www.macmall.com
Dahle North America . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
www.dahle.com Westcott. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Media Lab, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 www.fjwestcott.com
[E] www.medialab.com
www.RawWorkflow.com . . . . . . . . . . . . . . . . . . . . . . . . 123
eStudioLighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Mpix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
www.RawWorkflow.com
www.estudiolighting.com www.mpix.com
[F] [N] [Z]

Fotolia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IBC Nik Software, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Zoo Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
www.fotolia.com www.niksoftware.com www.zooprinting.com
While every attempt has been made to make this listing as complete as possible, its accuracy cannot be guaranteed. 111
Colin Smith
Photoshop Beginners’ Tips

Too big to see and choose Duplicate Layer from the list. In the Duplicate Layer
Have you ever copied a layer into a document then noticed it’s dialog that appears, in the Destination section, set the Docu-
way too big to see? You want to resize it but you can’t see the ment menu to New, Name it (if you wish), and click OK. Your
corner handles either. There are several ways to address the layer will now appear in a new document.
problem, but here’s a new way to resize the layer: Press Command-T
(PC: Ctrl-T) to enter Free Transform; click the Maintain Aspect Scrubby slider speed control
Ratio icon (the chain) in the Options Bar to constrain the propor- You’ve probably noticed that if you move your cursor over the
tions; and click-and-drag over the W or H to resize. That was easy! name of most settings in dialogs and panels, you see a double
arrow, called a scrubby slider. Click-and-drag in either direc-
tion to adjust the setting. How about some real control? Press
the Command (PC: Ctrl) key while hovering over a field (not the
name) to invoke the scrubby sliders. Hold down the Option
Drag and select (PC: Alt) key to slow down the adjustment speed to 1/10 of its
Many people don’t know you can click-and-drag to select normal sensitivity or hold down Shift to speed up the sliders to
layers from the document window. Choose the Move tool (V), 10 times their normal speed.
Command-click (PC: Ctrl-click), and drag the cursor from the sur-
rounding pasteboard into the canvas. (Note: If you don’t see the Adjust kerning
pasteboard, click-and-drag the corner of the document window Kerning is the technical term for the space between letters. You’ll
until you do.) You’ll notice that a marquee selection will appear often need to adjust this, especially when using uppercase letters.
around the area where you’re dragging. Whenever you touch The easy way to adjust the kerning when using the Type tool (T) is
the pixels of a layer while the key is pressed, it will be selected to insert the cursor between two letters. Then hold down Option
in the Layers panel. Command-click (PC: Ctrl-click) on the paste- (PC: Alt) and tap the Left or Right Arrow keys to decrease or increase
board to deselect. the spacing, respectively. Extra Tip: To help visualize kerning, look at
three letters at a time and adjust them as you go.
Add or remove layers from the selection

You can select multiple layers from the Layers panel: Just
click the top layer, hold down the Shift key, and then click
a lower layer or the bottom layer to select all contiguous
layers between. To add or remove a layer from the selection,
Command-click (PC: Ctrl-click) on the layer’s name.
Grouping layers
When you have several layers selected, you can group them
together into a subfolder in the Layers panel. Click the Layers
panel’s flyout menu, choose New Group from Layers, make your
necessary adjustments from the ensuing dialog, and click OK.
New document from layer All the selected layers will be moved into a group folder. This
Have you ever wanted to move a single layer to a brand-new group can be expanded or collapsed by clicking the triangle to
document? Select the layer, click the Layers panel’s flyout menu, the left of the Group folder icon in the Layers panel. ■
Colin Smith, an award-winning designer, lecturer, and writer, has authored or co-authored several books on Photoshop, and has created a series
130 of Photoshop training videos available from PhotoshopCD.com. Colin is also the founder of PhotoshopCAFE.com. ALL IMAGES BY COLIN SMITH

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Design with Silhouettes

STEP ONE: If you already have a silhouetted image, go ahead

STEP TWO: Open the Channels

click on each channel to view

STEP SIX: In the new

STEP SEVEN: Drag Layer 1

hold down the Shift key

STEP ELEVEN: Now let’s do a quick step-and-repeat process.

STEP TWELVE: Create a second row of lights below the first by

STEP FOURTEEN: Click the Create a New Layer icon to create a

Finally, add some text to complete the design. Enjoy! ■

Hot, Textured, Melting Brand

STEP ONE: Press D then X to set the Foreground color to white.

STEP TWO: Duplicate the text

STEP EIGHT: Duplicate your copied

(PC: Ctrl-I) to invert the image. Click