Академический Документы
Профессиональный Документы
Культура Документы
SELECTIONS
& MASKING
Once you master
selections in
Photoshop, your
imagination will
be set free
Photo Tip Friday: Larry Becker Photo Tip Friday: Moose Peterson
Image Stabilization Protecting Your Camera Lens
shop, as its often the first step in working with layers, making masks, etc. In this article, well look
at effective methods for making selections and working with masks. Along the way, well explore
some very important secrets that can make things easier.
Adobe Stock/ykumsri
Kirk Nelson
[022] [032]
HOW TO
DEPARTMENTS
[007]
A NOTE FROM SCOTT
[022] DOWN & DIRTY TRICKS
Create New Worlds with Hyper-Realistic 3D Reflections
[009]
CONTRIBUTORS
[032] DOWN & DIRTY TRICKS
Creative Self-Portrait
[010]
BENEFIT SPOTLIGHT
[042] BEGINNERS WORKSHOP
Using the Pen Tool to Create Selections
[012]
KELBYONE COMMUNITY
[046] RETOUCHING MAGIC
Say Goodbye to Painting Masks by Hand
[018]
HEARD ON THE TWEET
[070] DESIGNING WITH PHOTOSHOP
Working with Artboards in Photoshop
[020]
NEW ONLINE TRAINING
[094]
FROM THE HELP DESK
COLUMNS
[052] PHOTOSHOP PROVING GROUND
Displacement Map for Particle Effects, Part 2
Click this symbol in the nav bar at the top [092] BOOK REVIEWS
of the online reader to access the Contents. Reviews of Photoshop and Photography Books
Kristina Sherk
Adobe Stock/Alexander Y
[046] [052]
KelbyOne Members
Receive Exclusive Discounts
The
Professionals
Source
TM
877-885-1911
Speak to a Sales Associate
or consult with Live Chat online
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FROM THE EDITOR
COMMUNITY
Well, once again, theres a lot going on, so here we go. amazing work with you, and I hope you can join us at
Last issue, I mentioned we were about ready to put the 8 p.m. on Friday, July 21, 2017 (well share the link directly
new KelbyOne course app into beta testing using mem- with you via email).
bers from our online Community forums. Im happy to My new course on using Macphuns Luminar plug-in
announce that the beta is up and running, and were is out, and the feedback has been just tremendous. Lumi-
getting some great feedback. The app is pretty stable, nar is what Im using in place of Color Efex Pro 4 now that
so it should be available to everyone shortly on both iOS Google has announced theyre no longer issuing bug fixes
and Android. I know a lot of you have been waiting to be for their Nik Collection of plug-ins, which is slowly dying for
able to take courses offline for travel, or when you dont many users out there. I hope youll give the course a look
have an awesome Internet connection, and this app will let now that its been released. Plus, we got Macphun to give
you do just that, so were excited to get it to you as soon our members a 15% discount, so check that out in the
as the beta testers give it the thumbs up. Perks section of your Dashboard.
Were starting a new interview column here in the We have more live Members-Only Webcasts coming
magazine designed to help you get to know your KelbyOne up, including one with Paris-based Lightroom expert (and
instructorsespecially some of the exciting new instructors Photoshop World 2017 instructor) Serge Ramelli. For those
that weve brought on board, such our first instructor in of you who caught Serge during his recent appearance on
this series, Budapest-based high-end retoucher Viktor Fejes. The Grid (my weekly photography show that airs live every
He was absolutely wonderful during his private Members- Wednesday at 4 p.m. EST), you know how valuable Serges
Only Webcast a few weeks ago, and he gained a whole insights are, so youll want to be sure to catch this private
bunch of new fans; but we want you to learn more about Members-Only Webcast on Tuesday, July 18 (keep an eye
the man behind the retouching, so make sure you check on your inbox for the link and times).
out his interview in this issue, starting on page 16. Lastly, it was Serge who was telling me that he saved
If youre not already interacting with other mem- nearly $400 using his Apple discount just for KelbyOne
bers and the instructors, such as Viktor, in the KelbyOne members when he bought his new Macintosh computer.
Community, I cant urge you enough to stop in there. Its Apple doesnt really take much (if anything) off the price
an incredibly friendly, helpful, generous place, and very of an iPhone or iPad, but if you need a new laptop or com-
different from some of the public forums youve experi- puter, the discounts they give our members are pretty amaz-
enced out there. I promise that youll find this a very warm, ing. Look for the link to their special KelbyOne store Apple
welcoming environment. Plus, each time we release a created just for KelbyOne members on the Discounts page
course, we have a Discuss this Course button where you (again, under Perks in your member Dashboard).
can jump in and talk with other members whove watched There will be lots more to share next issue, as we have a
the course, and in most cases, you can address the instruc- bunch of new projects were working on behind the scenes,
tors themselves. Youll find more and more instructors and lots more amazing courses on the way. Thanks for
in there, especially when a new course comes outtheyre taking a couple of minutes to catch up on all this stuff with
right in there answering questions and chatting with me, and well see you online in the Community forums. :)
members from all over the world. You can find the commu-
nity in your member Dashboard: under Community, click All my best,
Discussion. While youre there, theres a link where you
can order KelbyOne swag (T-shirts, ball caps, cups, etc.).
Were just a few days away from honoring the work
> K ELBY ON E . CO M
[7 ]
J U LY 2 0 17 V O L 2 0 N O 6
AN OFFICIAL PUBLICATION OF
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
CONTRIBUTING WRITERS:
Corey Barker Steve Baczewski Peter Bauer Dave Clayton
Michael Corsentino Dave Cross Kirk Nelson Kristina Sherk
Colin Smith Lesa Snider Scott Valentine Erik Vlietinck
Jake Widman
GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Senior Web/Graphic Designer
MARKETING:
Adam Blinzler Jacque Johnson Rachel Scott Kleber Stephenson
Melissa White
WEB:
Adam Frick Curt Husting Yojance Rabelo Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152
COREYBARKER KRISTINASHERK
is an award-winning designer and illustrator. A featured instructor is a high-end retoucher based in D.C. and has worked for clients
at the Photoshop World Conference and an Adobe MAX Master such as Time Inc. and Hasselblad. She loves translating Photoshop
Instructor, he has produced numerous training titles for KelbyOne. for people and has written for Shutter Magazine, as well as authored
Look for his latest book Photoshop Tricks for Designers. KelbyOne courses and PhotoshopCAFEs Fashion Retouching DVD.
STEVEBACZEWSKI COLINSMITH
is a freelance writer, professional photographer, graphic designer, is an award-winning digital artist, photographer, and lecturer
and consultant. He also teaches classes in traditional and digital who has authored 19 books and has created a series of training
fine arts photo graphy. His company, Sore Tooth Productions, videos. Colin is also the founder of the online resource
is based in Albany, California. PhotoshopCAFE.com and president of Software-Cinema.com.
PETERBAUER LESASNIDER
is an Adobe Certified Expert that does computer graphics con- is the author of Adobe Lightroom CC and Photoshop CC for
sulting for a select group of corporate clients. His latest book is Photographers: Classroom in a Book (2016), Photoshop CC: The
Photoshop CC for Dummies. He was inducted into the Photoshop Missing Manual, TheSkinnyBooks.com, more than 40 video
Hall of Fame in 2010. courses, and the Creaticity column for Macworld.
DAVECLAYTON SCOTTVALENTINE
is a KelbyOne instructor, designer, and creative specialist with is a member of Adobes prerelease team, an Adobe Community
more than 30 years experience. He specializes in creating brand- Professional, and Photoshop author. His books include The
ing projects and logos and has been published by Peachpit and Hidden Power of Adjustment Layers and The Hidden Power of Blend
KelbyOne. Hes also an Adobe Influencer and ACA in InDesign. Modes (both by Adobe Press). Keep up with him at scoxel.com.
MICHAELCORSENTINO ERIKVLIETNICK
is an award-winning wedding and portrait photographer, founded IT Enquirer in 1999. A J.D. by education, Erik has been
Photoshop and Lightroom expert, author, columnist for Shutter a freelance technology editor for more than 22 years. He has
Magazine and Resource Magazine, and speaker and international written for Macworld, Computer Arts, and many others. He also
workshop leader. Learn more at www.michaelcorsentino.com. contributes to UK-based Red Shark News and Red Shark Sound.
KIRKNELSON JAKEWIDMAN
is a professional graphics artist in the Washington, D.C., area. He is a writer and editor who lives in San Francisco. Hes been
has a B.A. from George Mason University and is an Adobe Certified covering the intersection of computers and graphic design for
Expert in Photoshop. Kirks career has touched on a broad range of about 25 years nowsince back when it was called desktop
> K ELBY ON E . CO M
subjects from logo design to animation. He can be reached here. publishing and Photoshop was just a piece of scanning software.
[09]
> Benefit Spotlight
We recently released KelbyOne Mags for both iOS and suggestions about the magazines, online courses, or any-
Android devices. This new app is perfect for reading Photo- thing to do with photography, Photoshop, or Lightroom?
shop User and Lightroom Magazine on the go. And the library Visit the Community and start interacting with other mem-
is stocked with back issues. Photoshop User goes all the way bers, instructors, and writers. There are tons of people there
back to January 2014, and the entire collection of Lightroom ready to help. Plus, you can access the new KelbyOne
Magazine is available in the app. Thats more than 60 issues. Insider. This blog is for members only and will keep you up
If youre on a Wi-Fi or cellular network, just tap the cover to date on everything going on at KelbyOne.
> P H O T O S H O P U S E R > J U LY 2 0 1 7
of the issue you want to read and start reading. If you know And finally, you can access our Facebook and Twitter
youre going to be somewhere without an Internet connec- feeds directly in the app to give you even more ways to
tion, download a few issues directly in the app, and then interact with KelbyOne. You can find out more about the
you can read them offline! (We highly recommend that you app right here on the Insider. We also have a dedicated
download issues over Wi-Fi, unless you have unlimited data.) topic for the app on the Community. So go ahead and
But thats not all. The app also gives you instant access download KelbyOne Mags today and visit the Community
to the KelbyOne Community. Have questions, comments, or to let us know what you think.
[10]
MetalPrints
Leading the Industry in Sizes, Options, & Quality
Double Float Framed Prints Acrylic Creative Edge Clusters & Splits
Order a sample Pack to see our 5 MetalPrint surfaces! Learn more at bayphoto.com/metalprints
Images by: Sal Cincotta, Jim Garner, Steve Harrington, Annie K Rowland
RACHELSCOTT & DAVECLAYTON
> KelbyOne Community
Inspiration, information, and member musings to fuel your creativity
Congratulations, Kaylee Greer! Meet our Newest Instructors
For those of you who havent heard the news, professional Weve introduced you to a few new instructors this year
dog photographer and KelbyOne instructor, Kaylee Greer, three to be exact! And we have more on the way! But lets
has earned not one, but two awards in the Kennel Club Dog not get ahead of ourselves. In case youve been busy taking
Photographer of the Year competition. Kaylee took third other KelbyOne classes from names you recognize, wed like
place in the Rescue Dogs (Charity Category) with a picture to take the time to introduce you to the latest members of
of Joshua, a Pit Bull Terrier. And she took home first place the KelbyOne instructor gang and give you an idea of what
in the Dogs at Play category with the image below of Petey, you can expect from them. Starting with the most recent new
a Wheaten Terrier. Lets have a round of applause for her instructor, here we go:
accomplishments. Way to go, Kaylee! Kalebra KelbyYou Shot That with Your iPhone?: For those
If youd like to see more of the winning images in of you who are avid watchers of The Grid or Scott Kelbys
the Kennel Club Dog Photographer of the Year, visit the classes, or have been to Photoshop World, youve prob-
website and view the 2017 Winners Gallery. But if you ably seen Kalebra a time or two or threeshes one of the
havent seen any of Kaylees classes yet, nows the per- KelbyOne partners, Scotts wife, and a really incredible iPhone
fect time to sit down and catch up! She has two you can photographer. Shes always snapping photos and sharing her
choose from: Dog Photography: Overcoming Challenging adventures, which you can read about on her blog, Kalebra.
Situations and The Secrets to Capturing the Best. Dog. Kalebra doesnt just show you how to take a photo on
Photos. Ever. Taken. your iPhone. She helps you familiarize yourself with all the
little technicalities of the device so that when you take the
image, you get a DSLR-quality photograph.
Rob FoldySports Photography: Make Your Pee Wees Look
Like Pros: Based outside of Miami, Rob Foldy is a professional
sports and portrait photographer. His clients include, Nike,
Beats by Dre, and more. Hes also had work featured by The
New York Times, ESPNs Sports Center, and many more. So to
say he can teach you a thing or two about sports photography
is an understatement!
In his class, Rob shows you how you can use the gear you
already have, whether its a phone, a point-and-shoot, or a
DSLR, to take the photos your subjects will be proud to show
off to friends and family.
Announcing the Next Featured Tracy SweeneyFamily Photography: The Art of Storytelling:
Artist of The Gallery at KelbyOne Owner and photographer of Elan Studio, Tracy Sweeney, is
based in Bristol, Rhode Island. Tracy is known for her newborn
Were beyond excited to announce the next featured artist
and child photography and has won awards internationally
with a solo show at The Gallery at KelbyOne. Congratulations
for her work and been featured in Click Magazine, Digital SLR
to Melanie Kern-Favilla! Located in Long Island, Melanie is
Photography Magazine, Rangefinder, and more.
the proud owner of MFK Photography. She photographs a
> P H O T O S H O P U S E R > J U LY 2 0 1 7
As a longtime graphic designer, illustrator, and I purchased a camera to capture textures and simple images,
photographer, what still excites and inspires you? and of course, I got hooked on the camera.
Light and shadow inspire me, especially chiaroscuro, back light- Im not great at any one skill, but when I combined my illus-
ing, and atmospheric perspective. Ive been playing with color tration, Photoshop, concepting, and design skills with photog-
grading and also turning day photos into night images. Its all very raphy, suddenly the whole became greater than the sum of its
exciting. You can see examples of the color grading and night parts. At that point, my engraving style developed quickly and it
images in my websites Conceptual Gallery. all came together for me.
Microstock suddenly appeared on the scene and I became
You were once an advertising art director in a buyer, than I started submitting to iStock and quickly
Manhattan. How did that career path come about? became an exclusive vector and photo contributor. Ive been
I studied Illustration with a minor in graphic design and worked doing that full time ever since, along with freelance illustra-
part time at a type shop where I developed strong typography tion work. I began attending iStock events around the world,
skills. Once I finished school, I moved to Manhattan and inter- hanging with the most talented, fun, and interesting group of
viewed with an award-winning advertising creative director. people Ive ever been associated with. Eventually, I was hired
He loved great type but didnt like the tedious work that good as a Vector Inspector.
type requires, so he hired me to be his hands. I was promoted
to art director and worked with some wonderfully talented Do you shoot with the illustration side in mind, or do
photographers, illustrators, and retouchers. the images inspire you when youre editing them?
As an art director, I worked with photos and illustrations every I shoot for both, which is a real advantage. In southern Utah,
day. I learned to concept them, evaluate, and crop them. I also I can shoot outside all day. Ill shoot for photographs in the
art-directed photo shoots, so by the time I bought my first cam- early and late light, and Ill shoot for illustrations in the harshest
era many years later, I was already comfortable with the entire midday light. I absolutely love the way those hard shadows fall
process of creating imagery. across peoples faces and on their bodies. It really adds drama
and brings out texture detail in trees and rock formations. You
What is your history with KelbyOne? can see some great illustration examples of people with hard
In the late 1980s, Minneapolis was one of the most creative shadows in my websites Mezzotint Gallery, especially the
advertising and design cities in the country. I moved there and Panama street scenes.
made the transition to graphic design, which I really enjoyed.
Photoshop and Illustrator hit the scene, so I took classes at a When creating images for stock, how do you decide
community college and read everything I could get my hands what to submit, and as a Vector Inspector what
on. Thats when I discovered Photoshop User magazine and types of images get selected?
joined the National Association of Photoshop Professionals I choose subjects that everybody deals with: The economy, fam-
(NAPP). I attended my first Photoshop World Conference in ily, finances, work, travel, relationships, health, exercising, sports,
South Beachan incredible experience! I attended every NAPP etc. Pick a few subjects and go for it!
seminar that came to Minneapolis and purchased their great For artists interested in submitting stock, theres an excellent
training materials. In fact, I still see some of the same faces section on the iStock website called Work with Us. Youll find
working the booth. (Especially the friendly woman with the FAQs and videos. It will answer questions much better than I can.
long black hair. I dont remember her name, but we always
say hello.)
What advice would you give to anyone looking to
improve his or her skills?
You create striking and unique images of people Learn to use adversity to your advantage. For example, if youre
combined with illustration techniques. When did planning a day shooting the streets of Paris and it starts raining
> K ELBY ON E . CO M
you first discover your style? use it. Get down on your knees and shoot the buildings in the
It evolved over time. I went on my own as a freelance graphic puddle reflections. Shoot through the rain-drenched windows.
designer and started winning clients based on the Photoshop Ill learn more from a day of adversity than I will in a week of
montages I was creating. Buying photos was expensive, so smooth sailing. n
[15]
WHOS WHO ON THE KELBYONE INSTRUCTOR TEAM >> VIKTOR FEJES
INSTRUCTOR SINCE 2017
K E L BYO N E C O M M U N I TY
[10]
really consider myself a Hungarian, as I spent a lot of time abroad, espe-
cially in England.
Now, the kind of work I do involves loads of sitting around while
staring at computer screens: I am a retoucher. I work in the adver- RAPID-FIRE
tising and fashion fields with my company, GILD Studios, trying to QUESTIONS
make everything look better so people stop to stare for a few more
microseconds in our extremely busy world. Sometimes I create fantasy
worlds and sometimes I just make people look the way they look in
VIKTORFEJES
real life: beautiful.
1. Favorite movie
Inglourious Basterds
Who do you look to for inspiration?
Most of the times its not really a who, as I like to be inspired by movies 2. Is there anything you cant
and real life. When it comes to movies, the people involved really have live without?
to work hard to make you look where they want you to look. They really I used to have no money at all, so Im not
have to create a seamless experience that makes their work beautiful that big on possessions; however, I cant
and precise, while not really giving too much away from their magic. imagine a life without my wife.
And real life is also extremely important, as thats the aim: to stay
believable. So, I constantly try to learn what beauty is, how we perceive
3. Favorite type of music
Anything Im in the mood for from
perfection, and how far I can take an image before it screams fakeand
Ed Sheeran to Eminem.
to me all of this is fascinating.
4. What do you like to do in your
[18]
HEARD ON THE TWEET
> K ELBY ON E . CO M
[19]
Here Are Your Late
Every week, we publish at least one new training c
Join Larry Becker for a class designed to give you a firm understanding of lens characteristics, capabilities,
technologies, and key terms. Larry takes you through the variety of lens mounts, aperture settings, focusing
concerns, image stabilization, and cutting-edge lens technologies that will make you a better lens consumer.
Larry wraps up the class with a closer look at a few popular lens configurations currently available. [2 1 ]
COREYBARKER
[2 2 ]
DOWN & DIRTY TRICKS
Adobe Stock/ykumsri
image by following the instructions below, or you
can use one of your own images thats similar.
Using the stock image will help you better under-
stand the procedure as we move through the
technique, and then when were done, I guaran-
tee youll want to try this on all kinds of photos.
> K ELBY ON E . CO M
[2 5 ]
HOW TO
Step 10
[3 0 ]
DOWN & DIRTY TRICKS
> K ELBY ON E . CO M
[31]
KIRKNELSON
CREATIVE
SELF-PORTRAIT
The self-portrait is a time-honored exercise that allows artists
to hone their craft. For a fun twist, imagine if a person was actu-
ally able to draw himself! Not an image of themselves, but their
real presence, as if what theyre drawing is actually coming to
life. In this project, well use Photoshop to accomplish just that.
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[3 2 ]
DOWN & DIRTY TRICKS
Kirk Nelson
approximate the appearance of a sketch, but
frequently those look very mechanical and
filtered. If you have the skill to actually draw
a self-portrait, you might not even need the
filters. The suggested approach is to use the
filter to generate the basic set of lines and use
that as a guide to aid the hand sketching. The
use of a pressure-sensitive drawing tablet will
make projects like this considerably easier,
because they can translate pen pressure into
line width or opacity, and this feature alone
gives a much more realistic result.
So grab a self-portrait image (or use the
model photo provided) and join us on this
adventure of creating a fun and creative
self-portrait!
Step Nine: With the top layer active in the Layers panel, hold
down the Shift key and click on the bottom layer to select
all the layers. Then go to Layer>Group Layers, and name
the group Photo Group. Hold down the Option key (PC:
Alt) and go to Layer>Merge Visible to create a merged layer.
Drag this merged layer below the Photo Group in the Layers
panel, and create a duplicate of it by pressing Command-J
(PC: Ctrl-J).
Step 10: Click the Eye icons next to the Photo Group and the
duplicate layer to hide them so only the bottommost layer
is visible. Rename this layer to White BG. Use the Lasso
tool (L) to create a rough selection around the model. Then
go to Edit>Fill and change the Contents drop-down menu
to Content-Aware. The Mode should be set to Normal.
When you click OK, Photoshop will attempt to remove the
model from the background. If the process doesnt remove
him completely, make a new selection of the problem area
and try again. Press Command-D (PC: Ctrl-D) to deselect.
Unhide the duplicate layer and name it Drawn Effect. Go
to Filter>Convert for Smart Filters to turn the layer into a
smart object.
Step 11: Tap the D key to set the colors to the default black
and white and then go to Filter>Filter Gallery. Expand the
Sketch folder and select the Photocopy filter. Set the Detail to
5 and the Darkness to 13. Dont close the Filter Gallery just yet.
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[3 6 ]
DOWN & DIRTY TRICKS
[3 8 ]
DOWN & DIRTY TRICKS
> K ELBY ON E . CO M
[3 9 ]
LESASNIDER
> BEGINNERS WORKSHOP
USING THE PEN TOOL
TO CREATE SELECTIONS
The Pen tool is the most precise of all the tools you can use to create a selection, though its difficult
to learn because of how it worksit uses anchor points and control handles, which are collectively
referred to as vector paths. Once you have a perfect path, you can convert it into the smoothest
selection youll ever see.
Adobe Stock/fullempty
around a gemstone destined for use in a catalog.
Choose File>Open and navigate to an image that
youd like to use. If youd like to use the amethyst
photo from Adobe Stock that were using here,
follow the instructions below. (If youre starting
in Lightroom, select the photo and then choose
Photo>Edit In>Adobe Photoshop CC.) In Photo-
shop, activate the Pen tool by pressing P or by
clicking it in the Toolbar. In the Options Bar,
choose Path from the mode drop-down menu on
the left (circled).
To obtain the stock image used in this exercise
so you can follow along, download the water-
marked preview from Adobe Stock, or add it
directly to your Libraries panel (Window>Libraries)
by clicking on the link for the image below. When
the Adobe Stock webpage opens, make sure
youre logged in to your Adobe account, then to
the right of the image, youll see the option to Save
Preview to My Library (you can click on My Library
to select a different library or download option).
Click on the cloud-with-an-arrow icon, and the
preview image will automatically be downloaded
to your Libraries panel in Photoshop. Simply dou-
ble-click the image in the Libraries panel to open
it in Photoshop.
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[4 4 ]
BEGINNERS WORKSHOP
you get really good at it, you can use the Pen
tool to draw complicated shapes and make
art from scratch! Until next time, may the
creative force be with you all. n
[45]
KRISTINASHERK
> Retouching Magic
A. The Select drop-down menu: This allows you to chosen, so you really need to play around with this slider
choose from a wide variety of options as to how to make to see what it does.
your selection.
1. G
enerate a selection by using the Eyedropper E. Invert: Once youre happy with the selection that Color
to click on the color you want to select. Range has created for you, youll need to click OK. This will
2. G
enerate a selection by specific colors: Reds, create a bunch of marching ants around the area that Photo
Yellows, Greens, Cyans, Blues, or Magentas. shop has automatically selected for you. When you create a
mask, the selected areas will be white in the mask and the
3. G
enerate a selection by tonal value (i.e., Highlights,
non-selected areas will be black. Anything thats white in a
Midtones, or Shadows).
mask will reveal that area of the layer, and anything black
4. Generate a selection by the Skin Tones in the image.
hides areas. There will be some instances when you want to
5. Or select the colors that are Out of Gamut. have the opposite pixels selected in order to turn them white
in the mask youre working on. In that case, make sure the
Invert checkbox is turned on.
D. Range: This slider isnt always active. If you choose to I want to make the sky slightly bluer, so Ill start by
> K ELBY ON E . CO M
use Sampled Colors with Localized Color Clusters turned on choosing the Color Range option from the Select menu.
to make your selection, or you choose to select the High- Once inside the dialog, Ill choose Cyans from the Select
lights/Midtones/Shadows, this slider will become active. It drop-down menu, and click OK. This gives me a bunch of
does different things depending on which option youve marching ants around the sky area.
[47]
HOW TO
[4 8 ]
RETOUCHING MAGIC
> K ELBY ON E . CO M
[49]
HOW TO
SKIN TONES
Lets talk about my favorite way to use this tool.
As I mentioned previously, Color Range has the
option to isolate only skin tones in an image.
Heres one of my signature shots that Ill use for
this example. Id like to increase the lightness of
the skin tones just slightly.
Lets see how easily Photoshop can create a
mask of the skin tones in this photo. Well start
again by selecting Color Range from the Select
menu, and then Ill choose Skin Tones from the
Select drop-down menu.
Before
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[5 0 ]
RETOUCHING MAGIC
After
Once we click OK, the marching ants will appear on the image
showing us where Photoshop has made its selection. All we have left
to do is save it to a mask by clicking the Curves adjustment icon in the
Adjustments panel. Then, we can very slightly increase the lightness of
the skin tones by modifying the curve in the Properties panel. Above is
what the final image looks like.
rated tool. I guarantee it will save you loads of time on your future
retouching projects! n
[51]
SCOTTVALENTINE
> Photoshop Proving Ground
Adobe Stock/Alexander Y
> P H O T O S H O P U S E R > J U LY 2 0 1 7
We can get around these limitations with varying degrees LAYER MASKS
of success, and we can do some cool extra tricks by Prior to applying your D-map, create a mask for your subject,
adding masks and smart objects to our toolbox. The first then duplicate your Background layer. The mask doesnt
thing I wanted to fix is the problem with hard, pixelated have to be perfect, but make it reasonably good.
edges, so heres a technique that gives you some addi- When you apply the D-map, the displacement will also
tional flexibility. be applied to the mask, which is a really handy feature. After
you apply the D-map, you can make an edge selection and
blur away those pesky pixels using the following steps.
[5 2 ]
PHOTOSHOP PROVING GROUND
Step Two: Hold Command (PC: Ctrl) and click on the dupli-
cate layers mask thumbnail to load it as a selection.
Step Six: Now that you have the edges selected, you can Step Five: After Step Three, you can immediately launch
apply a slight blur of your choosing. I used Blur Gallery>Path the Blur Gallery and apply your blurs or other effects to the
Blur to get some movement, but you could easily use Motion, selected area. But if you created a new layer in Step Four,
Gaussian, or other blurs (you could even delete the selection you can blur the displaced bits on a layer by themselves. You
if you like). When you apply the blur to a masked layer, the can also filter and blend them, apply Liquify effects, or any-
blur applies to the mask as well. In this case, youre actually thing else you like. You can then grab a few pieces indi-
blurring the entire layer, but you can only see the amount vidually and duplicate/transform them to fill in or shape the
of the selection thats revealed by the blurred edges of the dispersion effect.
mask. If you turn off the mask (Shift-click its thumbnail in
the Layers panel to turn the mask on and off), youll see
that everything on the layer has been blurred, except your SMART OBJECTS
subject and the main chunks of the displaced bits. As youve seen, working on a duplicate layer is one method,
but smart objects are another a great solution. Smart objects
Step Seven: This process will remove the smallest details, give you the added benefit of letting you adjust the D-map
so if you want to keep those, be sure to deselect those areas and add other filters.
with your favorite method (holding Option [PC: Alt] and Tip: There are two ways to approach using masks with
using either the Lasso or Marquee tools to exclude some smart objects: you can apply them before or after conversion
regions, or switch to Quick Mask mode [Q] and paint those from a regular layer to a smart object layer. I tend to prefer
areas out with the Brush tool [B] set to white). applying the mask first, just because I generally create my
Creating your mask before duplicating means youve mask on the original Background layer, then duplicate it so
saved the original subject layer mask, and that gives you the the mask is already there. The advantage to creating or add-
chance to isolate the displacement results. Way back in the ing the mask after conversion is that you have access to the
December 2014 column, I showed you a few tricks for modi- Mask Properties panel, including feathering and refining.
fying selections. In this case,
you can subtract the main
subject from the displaced
copy like this (everything
happens in the Layers panel):
Adobe Stock/iiievgeniy
Before
After
For this example, Ive applied the layer mask prior to con- When you apply the same D-map multiple times, it takes
version to a smart object, so the subject is isolated on the the results of the prior application as input, so you tend to
layer. I can stack up several filters and keep the ability to start getting motion style effects with this dispersion tech-
adjust each one individually, including changing opacity or nique. You can also fill in some areas or create different
blend mode of just the effect. I can also apply several differ- effects by stacking D-map applications with different Scale
ent D-maps, or apply the same one several times. And you values in the Displace dialog. If you do this, I recommend
have the ability to modify the D-map and reapply it with- starting with smaller scales, then working upward, but try
out having to undo it or create a new copy of the original going the other direction just to see the resultsyoull get
> K ELBY ON E . CO M
layeran excellent way to refine your work. To do this, sim- something very different!
ply make your edits to the D-map itself, save it again, then Of course, there are other ways to get this look. One of the
double-click the Displacement smart filter in the Layers panel most popular is to duplicate the subject layer and use the Liquify
and apply the edited map. filter to distort it, then apply a mask and selectively reveal the
[5 5 ]
COLUMNS
Adobe Stock/akamaraqu
Original D-map
[5 6 ]
#KelbyOneBooks
Making selections
quickly and accurately
is one of the most important
skills to master in Photoshop,
as its often the first step
in working with layers,
making masks, etc.
[5 8 ]
The Selection Tools & Commands MY TOP 10
Although were not going to cover all of the Here are my top techniques when working with selections
following in detail, Photoshop has many and masks.
selection tools and commands, each with their
own advantages, and each designed for dif- 1. End up with a Great Selection
ferent selection situations. Although you may sometimes be able to make a great selection
with one tool, chances are its going to take several steps and tools.
SHAPE SELECTION TOOLS As we know, there are many options for making selections both in
ectangular Marqueefor selecting
R tools and under menus, and its very likely that youll end up using
rectangles and squares
multiple functions together.
Elliptical Marqueefor selecting ovals
and circles For me, its always made better sense to think, End up with a
Single Column Marqueefor a one- great selection, rather than Select something.
pixel column selection If youve made an initial selection and its not quite right, you can
Single Row Marqueefor a one-pixel use the same selection tool (or a different one) to tweak the selection.
row selection Think about fine-tuning your selection using keyboard modifiers and
Polygonal Lassofor selecting straight- the Transform Selection command, in this way:
edged shapes
Lassofor selecting free-form shapes old down Shift and click-and-drag to add to
H
Penselecting using anchor points the existing selection.
and paths
old down Option (PC: Alt) and click-and-drag
H
to remove from an existing selection
AUTOMATED SELECTION TOOLS & COMMANDS
agic Wandautomatic selection based
M As an example, start with a selection made with the Quick Selection
on a range of colors tool (W) and then switch to the Lasso tool (L) to add the missing areas
Magnetic Lassosenses edges to help (with the Shift key held down).
make a selection
You can also use Select>Transform Selection to click-and-drag
Color Rangeselects by ranges of
colors, with options to adjust on handles to resize a selection to fit the shape you need. Use the
Quick Selectionthe edge detection same techniques as you would with Free Transform (Command-T
tool (click-and-drag) [PC: Ctrl-T]), such as Shift to constrain and Command (PC: Ctrl) to
Focus Areamakes a selection based edit the individual corners.
on depth of field
Adobe Stock/asafeliason
[6 0 ]
HINT 1: If you use the Brush tool, the size and edge By adding an adjustment layer such as Levels using
of the brush will have an influence on the selection. Use the Layer>New Adjustment Layer menu (not the Image>
smaller brushes for detailed areas; hard-edged brushes to Adjustments menu), we can temporarily over-adjust to
create non-feathered selections; and soft-edged brushes to help make the selection. Dont worry about ruining the
create feathered edges. photo; all we care about is temporarily making it easier to
HINT 2: Use a series of short brushstrokes, rather than see the edge.
one long brushstroke. That way if you make a mistake, its
easy to undo the last short stroke rather than all of the
painting youve done.
When I think a selection is good enough to move on to
the next step, its become a habit for me to always tap Q
for Quick Mask to make sure I didnt miss anything.
TIP: If the item you selected is red and the red overlay
is too confusing to work with, you can double-click on
the Quick Mask icon to change the color in the Quick
Mask Options. Next, click on the photo layer in the Layers panel to
make it active and make the selection.
> K ELBY ON E . CO M
[61]
You can use a similar process with RAW
files, thanks to Camera Raw smart objects. To
set this up, you have to open a RAW file in Cam-
era Raw and click on the link at the bottom
of the window to open the Workflow Options
Dave Cross
[6 2 ]
Woman: Dave Cross; Gym: Adobe Stock/.shock
5. Work in Context
If the reason for your selection/mask is to put
your subject on a different background image,
this is perhaps the most important tip: Drag the
subject onto the new background before mak-
ing a selection. That way, every decision you 6. Select in Pieces
make is in the context of the background, and This technique has saved me so much time! When I used to use Refine
youll avoid spending too much time making a Edge (now Select and Mask), I tried to select both hard and soft edges
selection and mask, only to find out that on the at the same time and it never really worked very well. Now I make my
new background some of the selection work selection in pieces.
you did wasnt necessary. After placing a Camera Raw smart object, I duplicate the layer,
giving me two exact copies of the same photo.
Then I hide one of the layers by clicking on its Eye icon in the Layers
panel and make a selection of areas with hard edgesin this case,
Dave Cross
[6 3 ]
Youll end up with two layers,
each with a layer mask to reveal the
background below. Since the layers
are linked Camera Raw smart objects,
you can edit the settings of both lay-
ers at the same time: Double-click on
one of the smart object thumbnails,
make your changes, and both layers
will update. Just remember than youll
have to select both layers if you want
to reposition your subject.
Once a layer mask has been created, you have a second chance to access the
same controls to fine-tune the mask. To access these controls, double-click
on the layer mask. The first time you do this, youll be asked whether you
want to view the Properties panel or enter the Select and Mask workspace
> P H O T O S H O P U S E R > J U LY 2 0 1 7
(whatever you select is the way it will behave moving forward). Select Proper-
ties. This way, youll have access to both the Properties panel and Select and
Mask to tweak your layer mask (it will update the existing mask rather than
create a new one).
[6 4 ]
7. The Select and Mask Workspace
Formerly known as Refine Edge, the Select and Mask
workspace takes it up a notch with the addition of
selection tools. This means that although you want to
start off with as accurate a selection as possible, you
can adjust your selection inside the Select and Mask
workspace using the Quick Selection and Lasso tools.
Once you have a selection, click on the Select and
Mask button in the Options Bar.
You can change the View Mode in the Proper-
ties panel to help you refine your selection. The three
views I think are most useful are:
[6 5 ]
8. The Magic of Overlay
When painting on a layer mask, chang-
ing your brush to Overlay mode can
save you a ton of time. Its particularly
useful when you have areas of a mask
that should be white but are light gray,
or areas that should be black but are
dark gray.
Let me remind you again of tip #2:
Something is better than nothing.
Rather than attempting to get a perfect
selection of hair directly from Select and
Mask, you can fix them by painting in
Overlay mode if you at least have some
areas of gray. Overlay mode changes
the behavior of the Brush tool (B) so
that white cant paint over black, and
black cant paint over white, making it
easier to adjust the gray areas.
To view the mask, hold down
Option (PC: Alt) and click on the mask
thumbnail in the Layers panel. Look for
light gray areas that should be white.
Change the settings of the Brush
tool to Overlay mode and 4060%
Opacity in the Options Bar. Press D to
set your Foreground color to white and
paint on the mask.
Once again, hold down Option (PC:
Alt) and click on the mask thumbnail
to return to the image view. This will
let you continue painting on the mask
while viewing the context of the sub-
ject on the new background. Paint over
areas where you want to see more
detail in those fine hairs. Dont paint
too much over the same area, as it can
quickly look artificial.
If you have areas that are dark gray
that should be black, switch the Fore-
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[6 6 ]
9. Automatic Masks
[6 7 ]
Dave Cross
10. Channels
For challenging selections, you can often
take the approach of starting in the Chan-
nels panel with the goal of creating the
equivalent of a mask. The ideal mask for
replacing the sky in a photo like this would
be a black silhouette of the trees with
a white sky. Go to the Channels panel
(Window>Channels) and look at the Red,
Green, and Blue channels. Pick the one that
gives you the best start toward the black-
and-white silhouette (often the best channel
will be the opposite of what you need).
Click on that channel (here its Blue) and
drag it down to the Create New Channel
icon to duplicate it.
Its vital to make sure that youre now
working on the channel with copy at the
end of its name of whichever channel you
chose. To make the dark-gray areas darker,
and the light-gray areas lighter, try using Lev-
> P H O T O S H O P U S E R > J U LY 2 0 1 7
(PC: Shift-Alt-N).
[6 9 ]
DAVECLAYTON
> Designing in Photoshop
Although we can use artboards for mobile and Web, we can Step Two: Youll see a blank square on the page, as if youd
also use them for other possibilities when creating content in set up a regular document. But if you click-and-drag out
Photoshop. Think of artboards as documents within a docu- the bottom right-hand corner of the document window to
ment. This feature is included in Illustrator (also as artboards) expand it so you can see the canvas around the white square,
and in InDesign (as pages), and in each of these, you can youll see the words Artboard 1 just above it on the left.
create multiple designs in one single document, making it If you click on that label with the Move tool (V), four small
easier to manage content and assets. circles with plus signs in them will appear around the docu-
So lets take a look at some tips on how to use and set ment (well cover these a little later). Youll also notice that the
up these versatile artboards. Well begin with a standard Move tool automatically changes to the Artboard tool.
Instagram-size artboard of 1080 px square at 300 ppi. Why
are we using such a high resolution for Web, you ask?
Because theres always the possibility that these assets will
be needed for print, as well, and its better to create high-
resolution files just in case you need them. At least I always
do! (Note: I also covered a little of this in my recent KelbyOne
course, Designing Graphics for Social Media in Photoshop.)
Step One: Start with File>New, and along the top of the
New Document dialog, pick your output destination (Print,
Web, etc.). In this case, we selected Print so the Resolution
defaulted to 300 ppi. Enter 1080 pixels for both Width and
Height, tick on the Artboards checkbox, and click Create.
bar (normally its nested with the Move tool). Since I use
artboards all the time, I customized my Toolbar to give me
easier access to the Artboard tool.
To do that, click-and-hold on the
three little dots near the bottom of
the Toolbar and select Edit Toolbar.
In the Customize Toolbar dialog,
drag the Artboard tool below the
[70] Move tool, and click Done.
DESIGNING IN PHOTOSHOP
Step Four: Its easy to change the size of an artboard Step Six: Were not going to create specific graphics in this
to various standard sizes for mobile and Web. Just make tutorial; this article is to show you how to set up and use
sure that both the artboards. In the Layers panel, youll see Artboard 1, which
artboard and Artboard appears as a layer group, with a Layer 1 nested in the group.
tool are active, and Anything you add to this artboard will sit in this nested layer.
then use the Size drop- Lets add a simple image to highlight this, so go to File>Place
down menu on the (either Linked or Embedded), navigate to your image, and
left side of the Options click Place. That image now shows in the layer stack.
Bar to select from the
Dave Clayton
list of presets.
> K ELBY ON E . CO M
[7 1 ]
HOW TO
Step Eight: Another way to create additional artboards is Step 10: We have two ways to export artboards. The first
to click on the artboards name with the Artboard tool to way is to go to File>Export>Artboards to Files. In the resulting
make it active, hold the Option (PC: Alt) key, click-and-drag dialog, you can choose the destination and File Type, and
away from the source artboard, and release. This creates then click Run. This will export all the artboards to this file
a duplicate artboard, but it will be labeled with the word type. Now you can check that theyve saved okay in your
copy at the end, such as Artboard 1 copy. You can still destination folder.
resize each artboard independently (more on resizing later).
[72]
DESIGNING IN PHOTOSHOP
> K ELBY ON E . CO M
[73]
HOW TO
[74]
DESIGNING IN PHOTOSHOP
Adobe Stock/Guuver
> K ELBY ON E . CO M
[7 5 ]
COLINSMITH
> Photoshop Tips
BOOST YOUR PRODUCTIVITY & CREATIVITY
Hey, everyone! Im very excited to bring you the latest roundup of juicy Photoshop tips. These are the
kinds of tips that you can either use to show off to your co-workers, or just use them to get home at
a reasonable hour. I prefer to get home at a reasonable hour.
your selection active around the area you want to fill with you type a lowercase character after an uppercase character
Content-Aware Fill, press Shift-Delete (PC: Shift-Backspace), in Photoshop, there will be too much space between the
and the Fill dialog opens. Choose Content-Aware from the two letters. An easy way to balance the kerning is to look at
Contents drop-down menu and click OK. Photoshop will three characters at a time. Make them nice and even, then
work its magic (Adobe Magic is now a thing). Its sticky, so visually move your eye one character to the right, and look
the next time you open Fill, it will already be on Content- at the next three letters. Keep doing that, and youll have
Aware, so you dont have to choose it each time. perfect kerning.
With the Type tool (T) active, put the cursor in between the tip to make those handles visible: When youre in Free Trans-
two characters that need to be kerned. To change the spac- form, press Command-0 (PC: Ctrl-0) (zero). This will cause the
ing, hold down the Option (PC: Alt) key and tap the Left document window to expand so that you can see the entire
or Right Arrow keys to change the kerning. Typically, when bounding box and handles. Yay, crisis averted. n
ALL IMAGES BY COLIN SMITH [7 7 ]
JAKEWIDMAN
> Design Makeover
CLIENT
Refundo
www.refundo.com
makeover submissions
Were looking for real-world makeovers for future installments of the Design Makeover, so let us know if you recently had a branding makeover or if you did
a branding makeover for a client that youd like us to consider. We cover everything from product packaging or labels, print advertisements, websites, logos, and
magazine covers that are currently in the marketplace. So if youd like to be considered, send us an email at letters@photoshopuser.com.
[78]
DESIGN MAKEOVER
CLIENT
Refundo
www.refundo.com
Refundo wants to reinvent the tax-related bank product industry; its mission is to help tax professionals serve underbanked individuals and families nationwide. The company offers
a bank product platform to tax preparers that they can use with their own software to help their clients get refunds quickly. The companys Web application offers an intuitive
interface that lets its customers be more productive and save time during tax season. That translates into a low-cost and convenient bank product for underserved communities.
The Refundo team represents more than 25 years of both tax preparation and financial expertise. Some were e-file pioneers, while others have sat behind the desk giving
expert tax advice for decades. This experience and know-how enables the company to offer the tax preparers exactly what they need to serve customers with the utmost integrity
and transparency. [79]
COLUMN
DESIGNER
Budi Harto Tanrim
http://buditanrim.co
[ the process ] Tanrim began his design process by putting himself in the
position of a new user trying to use the dashboard for the
first time. I took a lot of notes about which parts were
confusing, he says, and I can tell you that over 90%
of the existing dashboard didnt work. He then talked
to Refundos marketing team about the issues they faced
when trying to gain a new customer, and to the customer
service team about the most common complaints they got
during the tax season.
After that, he says, his strategy was simple: From all
the information I collected, I focused on the top problems
first: check printing and company profile setup.
The check printing section is where the Refundo user
can print out a check for their customer, which the cus-
tomer can then use to get their tax refund. Tanrim learned
that the users often printed checks in the wrong orienta-
tion, for example, or in the wrong order. Thats an incon-
venience for the customer and a bad look for the tax
professional. The way I solved it was by letting the user
make a dummy printing and save their setup accordingly,
Tanrim says.
To divide the page elements and establish their hier-
archy, Tanrim decided to use a card UI to group features
and information into individual boxes. The downside
about a card UI is that it requires a lot of spacing. Never-
theless, I chose it because most users arent tech-savvy, so
the division has to be obvious for them.
As for color, Chinchilla told Tanrim that he wanted to
keep green as the primary. I used a lot of grays for the
hierarchy, and to make the green stand out from the rest,
Tanrim says. In the final design, all the green buttons and
> P H O T O S H O P U S E R > J U LY 2 0 1 7
Pages from the design process actions are noticeable without a doubt from the user.
[8 0 ]
DESIGN MAKEOVER
DESIGNER
Budi Harto Tanrim
http://buditanrim.co
Budi Harto Tanrim, based in Surabaya, Indonesia, likes to consider himself a multidisciplinary designer. Though he studied accounting, he found himself interested in and drawn
to design. He discovered 99designs, the online graphic design marketplace, and started entering a lot of the design contests hosted on the site. He won some, which gave
him the opportunity to establish relationships with a couple of clients and maintain them while continuing to study.
After graduating from Universitas Kristen Petra, Tanrim decided to become a full-time freelancer. He connected with a tech startup in San Francisco, called Zerply, which
asked him to help them with a redesign. Hes been dealing with a lot of great companies ever since, he says.
Tanrim believes that in order to be a great designer, he has to understand design from multiple perspectives and draw on his own style and philosophy. With that in mind,
he continues to explore new fields in his spare time, such as realistic drawing and painting. n [81]
> Reviews
GET THE SCOOP ON THE LATEST GEAR
Epson
The new Epson A2, SureColor P5000 printer replaces the vener-
able Epson 4900 with a new print head design, a new ink formu-
lation, and overall ease of use. From the outside, the two printers
P5000
limited space. The P5000 is aimed at demanding photographers
who require reliable, high-quality prints, but are content with
print sizes limited to 8x10" through 17x22". I reviewed the P5000
Standard Edition, which includes Epsons Advanced B&W printing
Raising the Bar mode and is intended for photographers.
Review by Steve Baczewski
The P5000 has four paper feeds, three sheet feeds, and a
built-in roll paper feed with cutter. The roll feed, which is power-
driven, is ideal for panoramic prints. The front sheet feed is for
Company: Epson America, Inc. thick stock up to 1.5mm. The paper cassette has the benefit of
Price: $1,995
stacking multiple sheets of paper from 8x10" up to 17x22" and
the added convenience of automatically switching between it and
Rating
the roll feeder. The rear sheet feed is actually on top of the printer
Hot: Increased color gamut; reliability and has one annoying glitch: Its back paper support is flimsy and
only telescopes out a few inches, allowing 17x22" paper to flop
Not: No USB 3 connectivity
backwards. Despite that, I didnt have any paper-skewing issues;
however, I found that it was important to follow Epsons explicit
directions to avoid problems.
The SureColor P5000 seems to have fixed the issue of persistent
clogged nozzles that plagued the 4900 by using an ink repellent
coating on its print head; by using seals to prevent dust from enter-
ing; and instituting automatic inkless nozzle checks. In more than a
month, I havent experienced a single clogged nozzle.
Setup is straightforward, and connectivity is Ethernet or sur-
prisingly USB 2 instead of the faster USB 3. The P5000 isnt Wi-Fi
> P H O T O S H O P U S E R > J U LY 2 0 1 7
off the other colors. The increased color gamut is due in part to the
addition of orange and green inks, and in fact, green foliage has
an extraordinary vibrancy that I havent seen before. One caveat is
that occasionally I spotted some gloss differential on Luster paper.
The new ink formulation boasts a print permanence of 200 years
for color and 400 years for B&W. I used Bill Atkinsons test target
The deeper, richer black to compare the P5000 with the 4900. Atkinsons target is filled
provides increased contrast with relevant imagery in both color and B&W. Both printers use
the same color inks but the SureColor P5000s new formulation
and helps to set off the other with the denser black wins out. The improvements can be seen in
colors. The increased color smoother tonal gradation, impressive shadow and highlight detail,
and more accurate saturated colors, especially greens, reds, and
gamut is due in part to the yellows. Skin tones are beautiful. In general, theres a better match
between my calibrated display and prints. Printing with Epsons
addition of orange and green Advanced B&W mode shows neutral tones, distinct tonal separa-
inks, and in fact, green foliage tion, smoother gradations, more detail, and richer blacks.
To conserve ink when switching from PK to MK, or visa versa,
has an extraordinary vibrancy theres now a quick mode that uses less ink. The P5000 has a
that I havent seen before. maximum resolution of 2880x1440 dpi, a variable ink droplet size
as small as 3.5 picoliters, and uses 360 nozzles per channel.
> K ELBY ON E . CO M
Dmitry Sytnyk
Luminar
Luminar is Macphuns all-round image editor, and its Neptune
release (for Macs) updates the app with an AI-based filter and
features that will appeal to professional photographers.
Neptune The biggest news coming from the Luminar Neptune release
is that it has the artificial-intelligence-based Accent AI filter. Its
said to automatically improve images, replacing dozens of other
AI-Based Filter Automates controls in the process. Im a bit allergic to those automatic
Dozens of Adjustments improvement algorithms, because, usually, I can do better.
Review by Erik Vlietinck I expected the Accent AI filter to be in the same marketing-
first-quality-later league, but I was actually happily surprised.
This filter does seem to intelligently adjust your image. The
Company: Macphun
Accent AI filter will spare many photo editors a lot of time, while
Price: $69 it will enable the average iPhone amateur to create decent pho-
> P H O T O S H O P U S E R > J U LY 2 0 1 7
Rating: 5
tos with the use of one slider.
The new version is faster, has an improved crop tool and his-
Hot: Accent AI makes really intelligent choices;
tory, more UI improvements, and support for new RAW formats.
enhanced masking tools
The new Quick & Awesome workspace is ideal if your image is
Not: already sharp in focus and properly lighted. This new workspace
[8 4 ]
REVIEWS
Dmitry Sytnyk
Before After
Dmitry Sytnyk
Before After
The Accent AI filter will has been designed to get good results fast. It features three
filters, including the new Accent AI filter and the Saturation/
spare many photo editors a Vibrance and Clarity filters.
Luminars Vignette filter has been updated with two Styles.
lot of time, while it will enable You can choose from Paint Overlay and Highlights Priority. I found
the average iPhone amateur to their effects subtly different when cranking up the Amount, and
turning down the Feathering and Inner Brightness. Theres also
create decent photos with a very nice Place Center button and different Pre- and Post-Crop
the use of one slider. modes, giving you lots of creative freedom.
The masking tools have been enhanced as well, resulting in
buttery smooth editing. With the Neptune release, youll finally
also be able to round-trip images between Luminar and
Aurora HDR or other Creative Kit apps by Macphun. n
> K ELBY ON E . CO M
[8 5 ]
REVIEWS
X-Rite
Theres only one affordable option thats accurate enough to cali-
brate anything from cameras to displays to printers: the X-Rite i1Pro
2 spectrophotometer. I had the chance to test the Photo edition.
i1Photo Pro 2
The i1Pro 2 is very accurate and fast, and it switches between
UV-brightened and non-brightened media, as you need. The
i1Photo Pro 2 has an expanded feature set that offers photogra-
phers the ability to measure input and output, while correcting
for optical brighteners often found in photo papersall with the
Accurate, Affordable Spectrophotometer same device.
for Calibration and Profiling The device includes i1Profiler software, for which it acts as a soft-
Review by Erik Vlietinck ware dongle. The software features basic and advanced modes for
monitors, video-production workflows, projectors, scanners, and
RGB printers. If you output to a true CMYK printer (there are only
Company:
X-Rite Pantone a few affordable ones around) or if you need to create specialist
DeviceLink profiles, youre better off with the Publish version as
Price: $1,659 that one comes with the most complete feature set (at $2,499).
The nicely designed and ergonomic i1Photo Pro 2 device comes
Rating: 5
in its own semi-soft carrying case. It includes the ColorChecker
Hot: Speed; design; accuracy; usage scenarios;
Classic target mini, ColorChecker Proof target, an Ambient Light
software offering Measurement Head, Monitor Holder, Projector Holder, Scanning
Ruler, Backup Board, and a Spot Color Positioning Target. All the
Not: accessories are robust, more so than those of its predecessors,
> P H O T O S H O P U S E R > J U LY 2 0 1 7
CalDigit Tuff
Eight months after we reviewed the Tuff 2TB, the most rugged
of all portables is now also the fastest. Just like its sibling, the new
Tuff 1TB SSD complies with military standard MIL-STD-810G and
1TB SSD
has full IP57 certification.
The new Tuff is shipped with the familiar USB 3.1 Gen 2 Type-
C port thats also compatible with Thunderbolt 3. Robustness
matters less with SSDs, but theyre still somewhat vulnerable,
so its kind of reassuring that the SSD version doesnt skimp in
Fast, Rugged Mobile Drive this area.
Review by Erik Vlietinck Since our review of the Tuff 2TB, CalDigit has launched its
own cable range, and the Tuff 1TB SSD comes with one. The
included CalDigit USB-C cable has a coaxial design for durabil-
ity, is capable of charging devices at 12V/3A, and has built-in
Company: CalDigit, Inc. E-Marker technology. (E-Marker is used to communicate power
going from device to device and helps prevent overpowering.)
Price: $499.99 The USB-A adapter cable is non-branded, but it too is now a
50-cm cable.
Rating: 5
The Tuffs throughput only reaches its maximum when you
connect it to a USB 3.1 Gen 2 or a Thunderbolt port. For example,
Hot: Speed and ruggedness; capability to
edit 4K video directly off the drive I ran a Blackmagic Design Disk Speed Test with the commonly
found USB 3.1 Gen 1 connection and it resulted in a decent, but
Not: not spectacular, write speed of 244 MB/sec and read speed of
331 MB/sec; however, when I connected the Tuff to a Thunder-
bolt (Gen 1) port via an adapter, performance went through the
roof: 474.5 MB/sec write speed and 495 MB/sec read speed. The-
oretically, the Tuff is capable of a maximum throughput of 540
> K ELBY ON E . CO M
MB/sec; but in the real world the Tuff 1TB SSD still proved to be
faster than the bare SanDisk SSD I use as a system disk.
The Tuff 1TB SSD is only available with a poison-green
silicon jacket, but different colored jackets are available for $14.95
per jacket. n [8 7 ]
REVIEWS
Profoto B1X
Profoto had a smash hit on their hands three years ago with the
introduction of their much-lauded B1 Air 500-watts/second (Ws),
500 AirTTL
battery-operated strobe. (I own three; theyre feature-rich, tough-
as-nails portable strobes.) Never one to rest on their laurels, Pro-
foto is back with the new B1X 500 AirTTL; however, the B1X is far
from a simple updateits in a league of its own.
Battery-Powered Monolight is
Ideal for On-Location Photography Like its predecessor, the B1X is 500 Ws, ten times more
Review by Michael Corsentino powerful than the average speedlight; but thats where the
similarities end. The B1X sees improvements in three key power
Company: Profoto
areas: the battery, the modeling light, and the implementation
of High-Speed Sync (HSS), along with cosmetic improvements.
Price: $2,095
Profoto also introduced two new light modifiers specially designed
Rating: 4.5 for use with the B1/B1Xs flat-front diffusion glass: the OCF Zoom
Hot: 325 full-power flash pops; 70% brighter Reflector and the OCF Magnum Reflector. The OCF Zoom
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[8 8 ]
REVIEWS
power boost, going from an HSS also gets a major upgrade in the B1X by breaking the 4-stop
HSS barrier of the older B1. The B1X 500 AirTTL allows High-Speed
effective output of 75 Watts
Sync to be used across all 9 stops of its power range. Now, thats
with the B1 to 130 Watts cool! (Thanks to Profoto, B1 users have been gifted this feature via
[8 9 ]
REVIEWS
Cine Meter II
The nec plus ultra of iOS light meters for filmmakers and pho-
tographers is Cine Meter II by Adam Wilt. I tested Cine Meter II as
a reflective and an incident meter with an iPad Air 2.
for iOS
Cine Meter II has a waveform monitor, supports false-color
brightness levels, and uses shutter angles by default; but photogra-
phers will probably want to change these settings and show shut-
ter time in seconds and EV values.
Replacement for an Each of your iOS devices cameras has to be calibrated first.
Expensive Light Meter I used a Sekonic L-858d Speedmaster and my Sony A700s
Review by Erik Vlietinck built-in light meter to help with calibration and evaluate read-
outs. With a Luxi for All accessory from Extrasensory Devices
(a universal spring-loaded plastic dome priced at $22.45), you
Company: Adam J. Wilt can turn Cine Meter II into an incident light meter.
The app is very easy to use. By default, Cine Meter II floats expo-
Price: $24.99
surefloating values change with the light while you set the other
Rating: valuesbut you can easily change that and even lock exposure or
white balance to measure ND filters and ISO. The one thing Cine
Hot: Accurate; well-designed interface; very Meter II doesnt do is measure strobe light.
complete set of parameters to set color
values, waveform monitor When I actually started measuring light values, they were con-
sistent with the Sekonics, even with the iPads large, bright screen
> P H O T O S H O P U S E R > J U LY 2 0 1 7
Not: Inability to measure speedlight strobes glowing in a scarcely lit environment. Half an f-stop was the big-
gest difference I came across over the course of a week.
It takes some getting used to, however, when youre using the
bigger iPad with the Luxi for All dome. Cine Meter II with the Luxi
attached was quite sensitive to how I held the iPad. A few degrees
away or toward the light source made quite a difference. Its an
issue you probably wont experience if you use an iPhone or iPod
Touch, as theyre smaller and less awkward to hold. n
[9 0 ]
REVIEWS
Phottix Ares II
Things have come a long way for the industry and for Phottix
since they released their first 16-channel manual trigger for studio
strobes eight years ago. With the introduction of the Ares II Flash
Flash Trigger
Trigger, Photttix is getting back to their roots with a new budget-
friendly flexible set of manual flash triggers with plenty of bells
and whistles. (The Transmitters and Receivers are $54.95 each, or
you can purchase a kit that has both a Transmitter and Receiver
Wireless Flash Trigger System for $99.95.)
Review by Michael Corsentino Ares II Flash Transmitters and Receivers are perfectly suited for
manual triggering of studio strobes or hot-shoe flashes. Ares II
Triggers sport 16 radio channels from which to choose: the first
four channels are compatible with the Phottix Strato Protocol.
Company: Phottix This means Ares II Triggers can be used with any Phottix Strato
II Receiver or other Phottix products, such as Mitros+ speedlights
Price: Receivers & Transmitters $54.95 each;
Kit: $99.95 and the Indra series of studio lights. You also get four groups
to choose from. Pretty cool trickle-down technology in a new
Rating: affordable package!
Also new to the Ares II is the Digital ID feature that allows
Hot: Inexpensive; manual triggering;
16 channels; 4 groups users to assign their own discrete four-digit code to Ares II
Flash Transmitters and Receivers. This is particularly useful for
Not: No power control, but theyre manual avoiding potentially unwanted interference from other nearby
triggers and only $99
radio triggers when working around other photographers in
crowded situations.
Phottix is also taking care of handheld light meter users like
> K ELBY ON E . CO M
[91]
R E V I EWS
Publisher:
Amazon Digital Services
edit like a pro in no time is a bit overblown. A bit of practice
to edit like a pro sort of makes me think that the author defines
Pages: 36 pages (Kindle)
the word bit as years and years. Or perhaps he defines pro
Price: $8.95; $2.99 (Kindle) as someone who has basic skills and can handle simple tasks,
Rating: such as cropping and standard color correction. The book does
include a link to a free download of a book about Photoshop
> P H O T O S H O P U S E R > J U LY 2 0 1 7
[9 2 ]
R E V I EWS
Adobe Photoshop CC
Classroom in a Book
(2017 release)
This is a comprehensive guide to Photoshop CC 2017, minus,
By Andrew Faulkner and Conrad Chavez
of course, features added after the book was written. As is the
Review by Peter Bauer
standard for this series, the book is very well written and illus-
trated. It primarily uses a series of exercises to help you learn the
Rating: while working on the exercises rather than flipping back and
forth on a single computer screen.) If you consider yourself to be
an expert in certain areas of Photoshop and want to see what
else there is in the program, try this book. n
> K ELBY ON E . CO M
[9 3 ]
PETERBAUER
> From the Help Desk
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> P H O T O S H O P U S E R > J U LY 2 0 1 7
[9 4 ]
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