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TABLE

OF

CONTENTS}

APRIL

MAY

2011

FEATURE

48

ROCKIN' PHO I OGRAPHY


This issue our feature is jam-packed with information regarding concert photography. It's important to have the right camera and lens combination, to know your camera well, and to use the correct camera settings. Here you'll learn how to showcase musicians and their instruments in the best light possible. Turn to page 48 to start your journey into becoming a rockin' concert photographer. Alan Hess

DEPARTMENTS
From the Editor About Photoshop User Magazine Contributing Writers NAPP Member Community NAPP Member Gallery From the Help Desk Photoshop Tips Photoshop Q&A

REVIEWS
Canon EOS600 NEC MultiSync PA301W GadgetTrak Nikon COOLPIX P7000 Graslon Dome Flash Diffuser 41000 NIKKOR AF-S 24-120mm f/4G ED VR II Cotton Carry-Lite M-ROCK673 Nikon 03100 Guardian MAXimus mini fotonO! Kingston CompactFlash Ultimate 600x Photoshop Book Reviews Smoky Mountains

10 119 16 120 18 121 124 1:1) 125 142 126 127


T

6 118

24 122 94

COLUMNS
DESIGN MAKEOVER

:I)

Minority Report

58

Branding Type on aT exture


CLASSIC EFFECTS

DEKESPACE

DOWN & DIRTY TRICKS

Aged Illustrated Photo Effect Namia Snow Poster Less Is More Photo Effect

34 m 40 62 44

Mosaic Layer Mask Effect

How to Spice Up Backgrounds


PHOTOSHOP

GRAPHIC SECRETS

FROM BERT'S STUDIO

A Link in the Chain

56 64

Refining the Results of the Refine Edge Command

MASTERY

COLUMNS
BEGINNERS'

,..
m
92 74 96 78 100 82

WWW.PHOTOSHOPUSER.COM

Making a Custom Picture Package Derivatives and What If-it is


ZONE

WORKSHOP

Link Lightroom, FIckr, and Your Website for Max Exposure i Paint with Images
INDESIGN ILLUSTRATOR TUTORIAL TUTORIAL

PHOTOSHOP&THEWEB

THE COPYRIGHT

THE SMALL BUSINESS AND FREELANCE COACH CREATIVE POINT OFVIEW

Businesspeople Should Be Seen and Heard Graduated Filter: The Ober Brush! Facial Symmetry

,..

Creating Gallery Print Templates

LIGHTROOM COLUMNS
Shawn Welling
FEATURED PHOTOGRAPHER

DIGITAL PHOTOGRAPHER'S NOTEBOOK THE FINE ART OF PRINTING

Choosing Photoshop Color Management Policies Making the Leap from Mouse to Tablet
BEYOND

84 1m iii 112
88 114

Camera Profiles: One of the Best Features in Lightroom Saving Your Print Layouts As a JPEG Image
LlGHTROOM TIPS & TRICKS UNDER THE LOUPE

UNDER THE HOOD

TABLET TALK
PHOTOSHOP

Animating Vector Masks on Video

116

LlGHTROOM FEATURE

DEFEATING DIS I OR liON


The Lens Corrections panel has a profile for everyone, no matter what type of camera you use. You can use the automated lens correction option, create your own profile with the Lens Profile Creator, download a profile created by another user with the Lens Profile Downloader, or if all else fails, you can use the Lightroom manual presets.

104

Victoria Bampton

BUT WAIT- THERE'S MORE ,..


KEY CONCEPTS
These icons at the beginning of columns indicate there's a short video on a tool or function used in that tutorial at the new Key Concepts NAPP rrerter webpage at www.photoshopuser.com/keyconcepts.

CD DOWNLOADABLE

Actions

Lasso tool

(@)
Layer masks Type tool

Whenever you see this symbol at the end of an article, it means there are either downloadable practice files or additional content for NAPP members at www.photoshopuser.com/ members/magazine.

CONTENT

@
Pen tool

@
Smart objects

DIGIMARC

DISCOVER

Download the Digimarc Discover app directly to your iPhone or Android-based smartphones, and then look for this symbol in selected articles and ads for additional online content, special offers, or to play videos right on your phone. See page 14 for more info.

FEW

WORDS

FROM)

SCOTT

KELBY

FROM THE EDITOR


One Rockin' Show
Photoshop World inspires NAPP members and Photoshop User

By the time you read this, we'll be in the middle of the East Coast edition of NAPP's annual convention, Photoshop World Conference & Expo. I hope you're there to be a part of this amazing event, because spending three days totally immersed in Photoshop fun can do wonders for you and your career. I'm the Conference Technical Chair for the event, and part of my job is to make sure that each year we bring new techniques, new trainers, and new opportunities for learning to the conference. A couple of years ago we added something really unique as a preconference workshop-a live concert shoot (complete with a live band

on a concert stage). To pull off something like that, we had to get some of the best concert photographers and instructors we knew, but it all paid off. The workshop was a huge hit with our attendees. What's even cooler is that you guys get to benefit from its success as our cover story this issue is from one of the workshop instructors, pro concert photographer Alan Hess. Of course, he's going to talk about his shooting techniques, but he's not stopping there-he's sharing his Photoshop techniques, as he shows how he processes his concert shots, as well. It all starts on page 48.

Also in this issue, we have a feature in our Lightroom section from Victoria Bampton on not only how to use the built-in lens profiles in Lightroom 3, but also how to build and share your own custom profiles. It starts on page 104. I know you guys are always up for something new (we are, too), and last issue we started using some very cool new Digimarc technology, where iPhone and Android users can interact with the magazine (wherever you see a Digimarc icon) to get access to additional material. If you have an iPhone or Android-based phone, give it a try (see page 14 for more details). If you don't have one, you can still access the additional content at www.photoshopuser.com/category/digitalextra. Next issue, we'll have our wrap-up from Photoshop World, but I hope instead of just reading about the show, you had the chance to experience it in person and that I got to meet you at the conference If you didn't make it this time, I hope I'll see you in Vegas this fall. to Photoshop

I do have some sad news to report. Dave Huss, a man whose name many of you will recognize from his contributions

User magazine over the years, passed away in February. Dave was very well known in our industry, an incredibly nice guy (with a great
sense of humor), and a talented writer. He will be missed.

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Kelby Editor & Publisher

All my best,

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APRll/MAY 2011 •Volume 14· Number 3· Printed in USA The official publication of The National Association of Photoshop Professionals

EDITORIAL: Scott Kelby, Editor-in-Chief Chris Main, Managing Editor Trisha Van Koughnett, Associate Editor Kim Gabriel, Traffic Director Felix Nelson, Creative Director Dave Damstra, Production Manager Taffy Clifford, Senior Associate Designer Dave Karma n, Production Desiqner

Contributing Writers
Kevin Ames. Victoria Bampton • Corey Barker- Peter Bauer Larry Becker· Bruce Bicknell John Paul Caponigro "RC" Concepcion' Dave Cross Daniel East Katrln Eismann Laurie Excello Jeff Gamet· Ed Greenberg. Alan Hess - Matt Kloskowski Deke McClelland Bert Monroy Scott Onstott Chris Orwig Jack Reznlckl Colin Smith Lesa Snider Rob Sylvan. Shawn Welling. Terry White Jake Widman. Ben Willmore
0 0 0 0 0 0 0 0 0 0 0 0

Marketing Team
Mary Laurinaitis, ManagerofMar#<eting Tom Castaneda· Eduardo Lowe- Nancy Masse· Margie Rosenstein

Web Team
Tommy Maloney, DirecrorofWeb Development Justin Finley· Jay Fortner· Karey Johnson. Fred Maya Leslie Montenegro Kris Olds Aaron Westgate
0 0

PUBLISHING: Scott Kelby, Publisher David Moser, Executive Publisher Mike Mackenzie, Associare Publisher Kalebra Kelby, Executive v.P. Jean A. Kendra, Business Manager Larry Becker, Execurive Direaor oithe NAPP Paul Parry, Chief Financial Officer ADVERTISING: Kevin Agren, v.P., Sales813-433-2370 Jeanne Jilleba,Advertising Coordinator 800-738-8513 ext. 215 Veronica (Ronni) O'Neil, DirecrorofCirculationlDisrriburion 800-738-8513 ext. 235 HOW TO CONTACT THE NAPP:

U.S.Mail: 333 Douglas Road East· Oldsmar, FL34677-2922 Voice: 813-433-5005· Fax: 813-433-5014 Customer Service: feedback@photoshopuser.com Letters to the Editor: letters@photoshopuser.com Letters to the lightroom Editor: lightroom@photoshopuser.com Membership Info: info@photoshopuser.com Membership Suggestions: Ibecker@photoshopuser.com World Wide Web Including the Photos hop Help Desk, Photo Gear Desk, and Advice Desk: www.photoshopuser.com COLOPHON: Photoshop User was produced using Adobe Photos hop C55, Adobe InDesign C55,and Adobe Illustrator C55.Blair ITCwas used for headlines, Adobe Myriad Pro for subheads, and Frutiger IT Std for text.
This seal lodlcates that all content prOvided herein is procuced by Kelby Me(!ia, Inc. and follows the most stringent standards for ecoceucoet resources. Kelby Media is the premier source for instructional books, DVDs, online cesses, and live

seminars for creative professionals. All contents CCOFl'YRIGHT 2011 National Association of Phctcshcp ~rolesslonals. AU rights reserved. Any use of the contents of this publication without tha written parmissian of the publisher is strictly prohibited. aftiliated in anywaywith Adobe Systems, PfJotoshop Inc. Adobe, User is an independent journal, not the Adobe logo, Acrobat, Illustrator,

InDesign, Ughlroom, and Photos hop are registered trademarkS or trademarks of Adobe Systems. Inc. in me United Statesand/orothercountries. All other trademarks mentioned
beJong to their respective owners. Some of the views expressed by contributors may not

be the representative views of the publisher. ISSN 1535·4667

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PHO IOSHOP USER MAG,AZINE


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 public by subscription. fts a NAPP member, you automatically receive Photoshop User delivered right to your door (or digitally) ten times a year. Each issue features in-depth Photoshop tutorials written by the most talented designers, photographers, and leading authors in the industry.

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Joel Grimes, advertising photographer and lighting expert, will show you how he transforms subjects and backgrounds to create maximum drama and visual tension. Learn how Joel configures his Wacom Intuo~4 professional pen tablet and AdobePhotoshop= CS5 to quickly and precisely realize his creative vision. Then download his Intuos4 settings and try them for yourself at www.wacom.com/JoeIGrimes

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CONTRIBUTING WRITERS

KEVIN AMES
creates evocative photographs for clients such as Westin Hotels, AT&T, and CocaCola. His fourth book, published by P~hpit Press, is The Digital Photoglc(Jher's Notebook: A Pro's Guide to Photoshop CS3, Ughtroom and Bridge.

BERT MONROY ~
is considered one of the pioneers of digital art. His work has been seen in countless magazines and books. He has served on the faculty of many welt-known ins~tutions, written dozens of books, and appeared on hundreds of TV shows around the world.

STEVE BACZEWSKI
is a freelance writer, professional photographer, graphic designer, and consultant. He also teaches classes in traditional and digital fine arts photography. His oompany, Sore Tooth Produc~ons, is based in Albany, Caiffomia.

SCOTT ONSTOTT
author of Enhancing Architectural Drawings and Models wilh Photoshap, has written and edited dozens of books and videos on Photoshop, Sketch Up, 3ds Max, and AutoCAD. Check out his website at lWIW.scotlonstott.com.

PETER BAUER
is an adobe Certified Expert tmt does computer graphics consulting for a select group of oorporate cl ients. His latest book is Pholoshop CSS for Dummies. He was inducted into the Photoshop Hall of Fame in 201 o.

CHRIS ORWIG
a photographer, and book and video author, is on the photography faculty at the Brooks Institute in Santa BarOOra.His publications include video training tiUes on Photoshop CSS and Lighlroom 3.

.JOHN PAUL CAPONIGRO


is an intemationally respected fine artist, a member of the Photoshop Hall of Fame, and author of Adore Photoshop Master Class and the DVD series R/Evolution.

COLIN SMITH
is an award-winning designer, I~lurer, and VlTiterwho has authored or co-authored 12 books on Photoshop and has also created a series of Photoshop traini ng videos. Colin is also the founder of the online resource PhotoshopCAFE.com.

SEAN DUGGAN
is the CCt-authorof Real Worfd Digital Photograrh;and The Creative Digital Darkroom. He te<dles at San Francisco's Academy of Art University and leads workshops on digital photography, Photoshop, and Ughtroom.

LESASNIDER
is the chief evangelist for iStockphoto.oom, the author of Photoshop CSS: The Missing Manual, and several video training tiUes on KelbyTraining,oom. She's also a member of the Photoshop World Dream Team and founder of GraphicReporter.com.

is an author, freelance writer, presenter/trainer, and oonsultant wilh more than 20 years' experience in photography, pro-audio, and marketing Daniel is also founder and president of The Apple Groups Team support network for user groups.

ROB SYLVAN
is the author of Taking Stock and Phatoshop Ughtraam 2 for Dummies, a Help Desk Specialist for the NAPP, and an instructor for the Perfect Picture School of Photography.

KATRIN EISMANN
is the author of Photoshop Restoration & Re/oudling and Photoshop Masking & Compositingand co-author of The Creative Digital Darkroom. Katrin is Chair of the MPS in Digital Photography department at the School of Visual Arts in NYC.

TERRY WHITE
is the Worldwide Creative Suite Design Evangelist for Adobe Systems, Inc., author of Secrets of Adobe Bridge, and co-author of InDesign CS/CS2 Killer Tt~and Ite iPhone Book 4th Edition. Check out his tech blog at http)i1err)wflite.cOOl.

LAURIE EXCELL
has 28 years of photography aid photographic equipment sales experience. Her images have been showcased in galleries, Audubon calendars, Camping Ufe Magazine, Amtrak publications, and BT Journal

.JAKE WIDMAN
is a writer and editor who lives in San Francisco. He's been covering the intersection of computers and graphic design for about 25 years now-sines back Vvflenit was called "desktop publishing" and Photoshop was just a piece of scanning software.

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has authored more than 40 books on digital photo editing, including several books on Lightroom. He is a popular conference speaker and has taught workshops in the U.S. and Europe. He has called Austin, Texas, home for the past 30 years.

BEN WILLMORE
is a Photoshop Hall 01 Famer and a modem-day nomad exploring America via motorcoach. Catch his latest adventure at IWNI.whereisben.cOOl and find out about all his books, seminars, DVDs, at WM'I.digitalmasierycom.

DEKE McCLELLAND
is author of Adobe Photoshop CSS One-an-One and the three-part video series Phatoshop CSS One-an-One. To read Deke's blog and view his podcasts, go to \!Ilwl.deke.com/dekepod.

a.
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a.

& .JACK REZNICKI


have a new blog at II'.WI.lhecopyrighlzone.oom where you can read about their new book, Photographer's SUrvival Manua( published by Lark Books.

ED GREENBERG

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Revolutionize the way you learn Photosnop: and Liqhtroom:

LEARN BYV DEO


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Scan here to watch video trailer!

Adobe Press

Check out the trailer and free sample clips now! www.learnbyvideo.com

INDUSTRY NEWS TRAINING AND INFORMATION


) )

NAPP MEMBER COMMUNITY


BY NANCY MASSE AND CHRIS MAIN

Where you'll find common Help Desk questions; notable member achievements;quotes from Facebook, Twitter, and the forums; and inspirational work from your fellow members
NIKSOFTWARE

SILVEREFEX PRO 2

RELEASES
photography has been overshadowed by HDR lately? If so, you're probably not about black-and-white images. Scott Kelby

Do you feel like black-and-white photography Lightroom, to be good.

alone, but the good folks at Nik Software want you to know that they haven't forgotten and Apple Aperture is designed to help you create amazing black-and-white

as they just updated their popular Silver Efex Pro software to version 2. This plug-in for Photoshop,

included the first version of Silver Efex Pro in his "Gonzo Holiday Gear Guide" back in 2008, so you know it's got The new version comes with a host of new features including the History Browser, Dynamic Brightness, Amplify Blacks and Whites, Soft Contrast, technology U Point technology and Fine Structure. As with all of Nik's applications, and tonality without Silver Efex uses U Point that allows precise editing of detail, contrast, selections. You can also use the

to selectively add color elements back into an image. And with the new Natural Image Borders edges, finishing your images in grand elegance. or you can upgrade from the original version for $99.95. For more

feature, you can add organic image elements to create unique and random borders that will give a modern look to classic darkroom-style information, Silver Efex Pro 2 is available for $199.95,

visit www.niksoftware.com/silverefexpro.

EPSON STYLUS

PHOTOR3000ANNOUNCED
Texas, Epson introduced the Stylus and fine K3 with and from Epson's high-end Stylus

ANIMOTOGETS

BEITER AN 0 FASTER

At Imaging USA in San Antonio,

Animoto recently launched an enhanced version of its online video oeauon servce, If you're not familiar with Animoto, it allows you to upload your own photos, videos, and music; choose from various styles; and add text. It then analyzes all the elements and automatically creates a totally unique, professional-looking video using your assets. In fact, upload the same assets again, and it will create another completely unique version of the video. Animoto now features 360p Web-quality video and 720p HD-quality video. The updated Animoto render engine now leverages the GPU (graphics processing unit) so it renders videos 1Oxfaster. And with the redesign of their website and video creation interface it will be easier then ever for users to create their videos. There are three plans available for Animoto: lite, plus, and pro. The plans range from free to $39 a month (or $249 a year) for commercial use. For more information, visit www .animoto.com.

Photo R3000. This new 13" printer aimed at photographers artists incorporates advanced technology Vivid Magenta ink set. According Pro-series of printers. The R3000 uses the Epson UltraChrome

to Epson, the Vivid Magenta

Vivid Light Magenta inks provide more dramatic blues and violets for an expanded color gamut. The inks for the R3000 come in individual highcapacity cartridges (25.9 ml) that will run you around $30 a cartridge. Using AccuPhoto precise placement transitions resolution o HD2 image technology, of ink droplets for grain-free and better shadow the R3000 promises images with smooth and highlight detail.

and gradations,

The MicroPiezo AMC print head delivers eight channels of ink at a max of 5,670x1 ,440. With advanced media handling, the R300 can print on fine art media up to 1.3 mm thick, roll paper up to 44" long, and CDs and DVDs. To top it off, Epson also included support for wireless 802.11 n printing. The Epson Stylus R3000 should be available by the time you read this for
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an MSRP of $849. Visit www .epson.comlR3000 more information. for

:J Q.

From @zasyl: I love the new issue of Photoshop User. Jam-packed with great information. Thanks!

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018

SONY BRINGS THE BIG SCREEN TO YOUR DSLR


Do you find yourself shooting a lot of HD video on your brand-new CLM-V55, a 5· high-resolution DSLR only to be frustrated by the size of the LCD on the back of your camera? Well, Sony has the solution for you: the VWGA (800x480) LCD panel that you can attach directly to the hot shoe on your DSLR or camcorder. Just plug it into the HDMI port on your camera and you can monitor your HD footage in glorious style. Features include a control wheel for quickly adjusting aspect ratio (16:9 or 4:3), volume, brightness, contrast, and color. It also includes a mono speaker along with a headphone jack for listening to the audio during shooting, a detachable hood for shielding the screen in bright sunlight, and the ability to swivel in just about any direction for your shooting needs. The CLM-V55 should be available by the time you read this for an MSRP of $399.99. Visit www.sonystyle.com for more info.

pOOtoohopuser.cofll/rTffilbers

go to the Discounts section at

For the latest list of disrounts

> PORTRAIT PROFESSIONALNAPP members save 10% on the long-awaited Portrait Professional vio. Enhance any portrait photo in minutes with little effort.

TREY RATCLIFF HDR TRAINING DVDS-NAPP members get 10% off several hours of a step-by-step guided process for creating HDR images. Trey's style isn't for everyone, but if you like the look of the images from www.stuckincustoms.com. then it might just be for you.
>

> CODI-CODi is a leading manufacturer and supplier of laptop bags and cases, mobile accessories, and security. NAPP members receive special negotiated pricing on CODi products.

DIGITAL ANARCHY: BEAUTY BOX-Buy Beauty Box Video, Digital Anarchy's award-winning skin retouching plug-in for video and film, and get 25 % off and Beauty Box Photo for free! NAPP members also get 25% off any
>

other Digital Anarchy product.

FREEPHOTOsHOPEFFECTs
FROMTHE PLUGIN

srrr

>

ANIMOTO

PRO-Animoto

Pro now has

lOx faster render speeds, a slick new site layout,


and sharper high-definition videos. Sign up for a year and get two free months.

Version 4 of Harry's Filters is now available from The Plugin Site. This free plug-in features 69 image effects in 9 effect groups. All the effects are accessible from a single dialog, which is resizable in the new version so you can make the preview as large as you want. The suite of effects includes color adjustments, artistic effects, gradients and patterns, warping, tornado, and many more. It also contains natural effects such as lightning, presets. A Play button creates an animation the Jump button. Harry's Filters 4 includes a 64-bit version that works in Photoshop CS4 and CS5. Currently, version 4 only works with Windows, but a Mac version is planned. The commercial version of this free set of filters is Plugin Galaxy. For more information, visit www.thepluginsite.com. and polar lights.

The filter comes with more than 120 presets and users can create and save their own using random settings-a great way to explore just click the different effects. If you want to create random effects without the animation,

> PRO COLOR GRAPHICS-Pro Color Graphics is a full-service graphic design, sign, and large-format printing shop. All NAPP members receive 20% off any product.

> PHOTOMATIX-The folks at HDRsoft are pleased to offer NAPP members a 25% discount.

> PHOTODU DS-photoDUDS is offering a special 20% discount to all NAPPmembers.

>

SHUTTERSTOCK-NewShutterstock

subscribers that are NAPP members are eligible for a 10% rebates.

CALL TO ACTION FORTHE"DESIGN


Layers to the pages of Photoshop

MAKEOVER"
from our sister publication User. It was always our most popular column in Layers in the "Make-

As you may have noticed, we've moved the "Design Makeover"

\',_---..."

CORRECTION

".--==-",,"

because designers love peeking into the minds of other designers. But that's not what we're here to talk about. We're always looking for talented designers to participate over." So if you think you have the skills (and we know you dol) and you'd like the chance to display those skills on a national stage, then drop us a line at letters@photoshopuser.com with a subject of "Design Makeover." future "Makeover," Just tell us you're interested in being considered for a to display their existing work in section. If you an email that easy. provide a link to your portfolio, and we'll take care of the rest.

NAPP member Elliott G, pointed out an error in the January/February 2011 issue of Photoshop User. In the "Photoshop & the Web" column on page 86, we listed the following incorrect example of the <BR> tag using the clear attribute: <BR clear=:"all">. There shouldn't be a colon in the code. The correct code is: <BR clear="aU">. Our apologies to Rafael "RC" Concepcion, as the code was correct when he originally submitted the article for publication. Thanks, Elliott, for letting us know.

And don't forget, all NAPP members have the opportunity want to be considered for publication,

the "NAPP Member Gallery" right here in the "NAPP Member Community" just send fnelson@kelbymediagroup.com titled "NAPP Member Gallery" along with a few examples of your work-it's

II you have any id<2S for things you'd like to see in your "Community," drop us a line at letters@photoshopuser.com.

NEWTUTORIALS
:.t:

NEWTOURFROM

KELBYTRAlNING

UVE!

Recently, a special event took place at NAPP headquarters. Scott Kelby invited 30 HERE'S USTOFSOMEOFTHELATEST A TUTORIAlS: local NAPP members to come to our studio and sit in on a dress rehearsal of his Aew "Light It, Shoot It, Retouch It LIVE" tour; inspired by his wildly popular DVD and KelbyTraining.com classes. Now Scott's new tour is ready to hit the road. Attendees can expect to learn the entire shooting process from the ground up, go through different lighting setups for different looks, then move on to full portrait retouches. Each segment ends with finishing off the photos, adding portrait effects, and learning some fun Photoshop tricks (including a whole segment on compositing). This tour is an excellent opportunity to see exactly how it's done in real time and have your questions answered on the spot. To see if Scott's corning to your neck of the woods, go to http}/ kelbytraininglive.com.

3D TUNNEL
-Corey Barker

DESIGN

ENHANCING LIGHT SOURCES


-Matt Kloskowski

SELECTIVE SHARPENING
-Lesa Snider

TOTAL CONTROL
GLOWING
-Mark S.Johnson

MONTAGE

STAR PHOTO
-Larry

Becker

FILTER SHAPES

TRACING
-Dave Cross

THE PLANETS HAVEAUGNED


In recent issues of the NAPP Newswire, we've hinted at some pretty great news coming your way. Now, we can finally tell you. NAPP is super pleased to announce that it's joining forces with Kelby Training to bring you the ultimate training membership package! Yup, that's right. Now NAPP members can combine their memberships with Kelby Training online for one low price. Details can be found at KelbyTraining.comlUniverse, and be sure to check out our foldout advertisement in this issue (p. 67).

SINGLE AND FULL TONE MIXER BRUSH DYNAMICS


-Darrell Heath

DIVA LIGHTING EFFECTS


-Mark S. Johnson

PARTICLE EFFECT
-Darrell Heath

EXPLOSION

BORN TO

REBEL

CREATING THE ILLUSION OF PASSING TIME


-Mark S. Johnson

Canon recently announced two new DSLRs,the Rebel Bi and B. A first for the Rebel lineup, the 18-megapixel Rebel Bi features a Vari-Angle LCD screen to help photographers compose low-angle or overhead shots. Another fi rst for this line is a built-in Speedlite Transmitter so you can use the onboard flash to control off-camera flash. Aimed at first-time DSLRusers, the new EOS Feature Guide helps beginners understand settings and guides them to taking the best shots. In addition to setting exposure, focus, and white balance, the new A+ auto mode also analyzes faces, colors, brightness, movement, and contrast to produce more natural skin tones and more vivid colors. The Bi also supports full 1080p HD video, and with the new Movie Digital Zoom feature you can zoom into the action at magnifications of 3-1 Ox independent of the current lens. The lower-end B features a 12.2-megapixel sensor and supports 720 HD video. The Bi retails for $799.99 for the body only and $899.99 with the new EF-S18-55mm f/3.5-5.6 IS II zoom lens. The B retails for $599.99, which includes the new 18-55mm lens. Canon also introduced two new Speedlites, the 320EX ($249.99) and the 270EX II ($169.99), and two new super-telephoto lenses, the EF500mm f/4 IS II USM ($9,499) and optical lens elements for better minimizing

GRUNGY EFFECT
-Dave Cross

TYPE

KALEIDOSCOPE EFFECT
-Corey Barker

From @mfeenstra: Spending another day with Kelby Training videos. Worth the price for the Jeremy Cowart location videos alone. From @HiBabs: Thanks NAPP for making this Layers magazine gal feel welcomed, with InOesign and Illustrator info within. Enjoying my first Photoshop User issue!

the EF600mm f/4 IS II USM ($11,999). The new lenses are lighter and more durable than their predecessors and contain two fluorite chromatic aberration and eliminating color blurring around edges. For more information on !WET" the EOSRebels, Speedlites, and lenses, visit www.usa.canon.com .

~NOTABL.E ~

) ) NAPP COMMUNITY

From @epicmotion: Seriously pumped! Just saved $50 on shipping with B&H because I'm a NAPP member. So worth the $99!

FOUND

ONFACEBOOK

NAPP has a very healthy presence on Facebook, including some localized pages for Sweden, Chicago, Arizona, the UK, and Canada (with more to come). Just search for "NAPP" and you'll find us. You'll also find fan pages for Scott Kelby, Dave Cross, Matt Kloskowski, and "RC" Concepcion. Now, if we could just get Corey Barker to take the plunge.

NOTABM&
COOLCOOLPIXES
FROMNIKON
Not to be outdone The 12.1-megapixel

1V«•

by other camera manufacturers,

Nikon recently announced

eight new cameras in their COOLPIX line.

Here are the highlights for two of those cameras: COOLPIX P500 includes a 36x optical Zoom-NIKKOR ED glass lens (that's shooting, exceptional low-light f/l.8 22.5mm to an amazing 810mm); backside illuminated (BSI) CMOS sensor and EXPEED C2 dual image processors for high-speed continuous quality, and advanced performance; The 12.1-megapixel and Full HD (1 080p) recording.

COOLPIX P300 comes with a 4.2x wide-angle,

maximum aperture NIKKOR glass lens (the fastest lens ever on a COOLPIX), and features Aperture Priority (A), Shutter Priority (S) and Full Manual (M) controls. The backside illuminated (BSI) CMOS sensor, high ISO sensitivity, and fast wideconditions. in black and red, and the P300 will retail on these cameras and the other angle f/1.8 lens result in superior image quality in low-light The P500 will retail for $399.95 for $329.95 in black. For more information

new COOLPIX cameras, visit www.nikonusa.com.

NEWDVD

PRICING
In a time when everything from gasoline to groceries is costing more, wouldn't nice if the prices of certain items would out. If you want to try something Visit www.kelbytraining.com/dvds actually drop? We thought it be so too, and

that's why we've lowered the prices on all our new training DVDs from here on new or different, for more info. like photo painting or HDR, you can. Plus, the NAPP member discount is still in effect, so you save even more.

NOTABLENAPPMEMBERS
Janine also writes about restoration Departed digital magazine. and preservation for the Fort Worth Star-Telegram,

Showcasing the accomplishments of our members


work. The Handley Herald, and Shades Of The

This issue's NAPP member of note is Janine Smith (a.k.a. @Landailyn on Twitter) from Forth Worth, Texas. Janine is a professional photo restoration artist and genealogist who won the Photo Restoration Photoshop User Award in 2009 for her outstanding

If you're a fan of @TipSquirrel on Twitter or follow his blog, you know that Janine's tutorials are a regular

feature. Plus, in November, she released Photoshop Elements 9: Scanning and Restoring Photos on Lynda.com and has a lot more things planned for the upcoming year. We asked Janine how NAPP helped her in these endeavors: "NAPP gave me the resources to improve my skills and to hone my craft to a level that garnered notice ... my NAPP membership confidence has not only gotten me a great magazine, but classes, tutorials, contacts, and builders, all for $99 a year. It doesn't get any better than that!"

Thanks, Janine. We're glad we could be a part of your great achievements and thank you for being a part of NAPP. If you have any news you'd like to share, please send it to FB@KelbyMediaGroup.com for consideration.

NAPP COMMUNITY)

HELPDESK QUESTIONS OFTHEMONTH


) )

Answers to Photoshop, Lightroom, and gear-related questions


Now it's time to look at the actual flash bracket. If you want
FLASH BRACKETS

FROM: KARL
SUBJECT: EXTERNAL

a bracket that allows you to handhold or shoot from a tripod, something like the B87 -QR Perfect Portrait Package (Medium) provides you with the medium flash bracket and the mounting rail to put it all together: httpllbit.lyIhVxye1.-Laurie
FROM: KENNETH SUBJECT: SORTING

I was given a great Christmas gift-a

Nikon 0700. I'm looking into

the Nikon SB-900 external flash. In Scott Kelby's book (The Digital Photography Book, Volume 2], he says a flash bracket is the best way to go with the external flash. I'm confused, however, as to what flash bracket would be best for me. I have a Manfrotto tripod and would like to

Excell

use the

bracket on the tripod, as well as on the camera when

PHOTOS

IN UGHTROOM

handheld. Scott recommends the Really Right Stuff WPF-l, but their site mentions an L-bracket and other accessories that I don't understand. I also have the MB-OlO multipower battery pack. HI KARL, There are a bunch of options for flash brackets, L-brackets, accessories, etc. Based on Scott's recommendation good one), I'll try to make it easier ... First off, your ball head needs to be the Arca Swiss-type of quick release for all these things to fit together. head that uses its own proprietary need to upgrade http://bit.ly/g1cuoa. Next, you'll want an L-bracket http://bit.ly/ieIQCz. that fits your MB-01 0: If you have a quick release system, you'll (which I think is a

I have 12 photos that I want to re-sort. I cannot find any way to do that. Am I missing something?
HI KENNETH,

You can only do a manual sort when you're working within either a single folder or a single collection. So, if you want to sort images manually that are across a range of folders (or collections), you first need to put them into a single collection, then sort. Lightroom refers to this sort order as "User Order." Once you're in either a subfolder or a collection, then be sure to grab the image itself, not the border, and drag-anddrop in the order you desire. You can do this from the Grid view (G) of the Library module or the Filmstrip in any module. Note, you can't manually sort photos in a smart collection. -Rob Sylvan

your head or add a quick release clamp:

MORE COMMUNITY INTERACTION


Here are more ways to interact with us and other NAPP members
) )

NAPPNEWS
Every_ Larry Becker, lhe Exirulive Director ollhe NAPP, reports on the laest industry nev,().Gach his report on the NAPP member homepage or at IWIW.kelbytv.oom.

SOCIALLY SPEAKING
Friend us on Facebook, follow us on Twitter, and ched< out informative blogs by industry leaders.

:1:

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11 www.facebOO<.com/PhotoshopUser
t
@NAPP_news

MEMBERS
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ONLY

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NAPP members, show off your talent by uploading your artwork to the Portfolios mion. You could 00 the next Edbs' Choice: Image of the Week winner (see ~e 26 lor recentlmage ollhe Week vAnners). Visit WWN.photoshopuser.oom/members/portfolios for inspiration. We also have the best oommunity around. Visit the Forums section and become part of the oonversation. Have a look atw.vw.photoshopuser.com/memOOrs/forum.

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WWN.sooitkelby.com WIWI.dcross.com WIWI.lightroomkilleltips.com WWN.planetphotoshop.oom WWN.photoshopu~.oom wwN.kelbytv.com

@soottkelby @davocross @mattkloskal\~ki @plalldphotoshop @aboutrc

WWN.lareIJook.comiSKelby WWN.lareIJook.comiPSGuyDaveCross WWN.facebook.colT\lThlPhotoshopGuy WWN.facOOook.coll\lV>wrc

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WHERE MEMBERS EXHIBIT

NAPP MEMBER J,~~~ GALLERY


MAURICIO CANDELA
Mauricio started his career in advertising in the '90s working as an art director for some of the most important agencies in Colombia. In 1999 he moved to the U.S. where he became a creative director. At the same time he developed his passion for photography, improving his skills and applying his creative knowledge to this discipline. "As an advertising creative, I learned to live off of my ideas. Today, my best idea was to live off of photography," he says. www.mauriciocandela.com;candela@mauriciocandela.com

MICHAEL CROMWELL
Michael's fine art combines design, photography, and digital imaging-using elements from the Hawaiian environment. After more than 30 years as a graphic designer and a design instructor at the College for Creative Studies in Detroit, he moved to the Big Island of Hawaii. "Mother Nature is truly vast, powertul, and mesmerizing. My artwork is a visual forum and tribute, allowing viewers to get up close and personal, witness the sheer beauty, and feel an attachment to nature," he says. www.michaelcromwell.com;mtc@michaelcromwell.com

STEVE SOMEN
Steve is a self-taught artist from Chicago. As an army photographer, he studied Ansel Adams' Zone System. Recently, he made the conversion to the digital world. His approach is a little offbeat; even though it appears straightforward, his work entertains the abstract. He has made great strides using Kelby Training and attending NAPP seminars. "I only wished we could have realized our imaginations back in the wet darkroom days. Now with Photoshop, we can," he says. www.stevesomen.com;ssjoat@yahoo.com

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If you'd like 10have your work considered lor publication in the "NAPP Member Gallery," submit samples 01your artwork to Inelson@kelbymediagroup.com.

STEVE

SOMEN

MAURICIO MAURICIO CANDELA MICHAEL

CANDELA

CROMWELL

STEVE

SOMEN

IMAGES

OF THE

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JR.

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SHOOT IT. IT.UVE!


with Scott Kelby Scott Kelby, awarding winning author of The Digital Photography Book and Editor of Photoshop User magazine, brings one of his all-time most popular Online classes to fife in this amazing day where you learn it all; the lighting, the shooting, and the retouching, all live as it happens. You'll see everything unfofd from scratch in each session, with different Iighting set-ups and looks, as Scott starts with an empty stage, and then puts together the lighting for a live portrait shoot. You're right there as he takes you through the entire shoot. then he takes those very same images into Photoshop where he shares his very latest portrait retouching techniques, so you can see exactly how it's all done from start to finish.

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April 4, 2010

Indiana Convention Center & RCADome


April 6, 2010 with Ben Willmore The Photography & Photoshop CS5: From Focus to Finished Tour is for the photographer who is serious about laking their skills to a whole new level! Ben's created five cutti~ocIgesessions pacsed with nothing but his most sought-after advanced tips, tricks, and professional techniques.

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.... ::! IX a
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April 7, 2010

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wih Scott Kelby

or Malt KloskrJwski

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Get ready for the best Photoshop@ Lightroom® training on the planet! You'll be taught by Scott Kelby or Mall Kloskowski, two of the world's top Ughtroom experts. Sit tight as Ihey show you an Insider's view of Ughtroom. From

Ben's tour features two full sessions on advanced shooting techniques and methods. Two that are guaranteed to dramatically improve your Photoshop skills, and one that shows you how to put it all together, givi~

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CLIENT

minority report

I BEFORE I

~ The Western community

Quebec School Board serves the English-speaking in a region the size of Nova Scotia, Canada. In Quebec,

English speakers are a minority in a province that's politically committed to its French identity. So while there are sixty French school boards in Quebec, there are only nine English boards; the Western Quebec School Board's region has seven French boards. The board is what Webmaster it's a nonprofit and Microsoft Office Specialist, organization: but it's still Johanne Poirier O'Shea, calls a "paragovernmental" subsidized by the provincial government,

something of a political stepchild. Before 2005, the board's website was all in English, but in that year they were told they had to have a French version, as well. So O'Shea had to launch a whole new bilingual site in a matter of just a few weeks. In addition with a common to the short time frame, O'Shea also had to deal Web design issue: the desire of stakeholders The result, down the left side that

to have their own project or link on the homepage. among other things, is a row of buttons per, and other sites. "It's crowded,"

link to teachers' resources, the online version of the local newspasays O'Shea. She asked if we could give the site a fresher, cleaner appearance. One big restriction: no Flash. Since the board is a paragovernmental organization, the site has to be accessible from government com-

"IN

ADDITION TO THE SHORT

puters, and those often have Flash blocked for security reasons. We asked three designers to take on the challenge of providing access to the board's vast array of information in a cleaner, easier manner.

TIME FRAME, O'SHEA ALSO HAD TO DEAL WITH A COMMON WEB DESIGN ISSUE: THE DESIRE OF STAKEHOLDERS TO HAVE THEIR OWN PROJECT OR LINK ON THE HOMEPAGE_"

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..JAKE WID M AN is a writer and editor who lives in San Francisco. He's been covering the intersection of computers and graphic design for about 25 years now-since back when it was all called -desktop publishing" and Photoshop was just a piece of scanning software.

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WE'RE LOOKING FOR PRODUCT PACKAGING OR LABELS. PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MARKETPLACE FOR FUTURE "DESIGN MAKEOVERS." SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOU'D LIKE US TO CONSIDER MAKING OVER, OR IF YOU'RE A DESIGNER AND YOU'D LIKE TO BE CONSIDERED FOR A FUTURE "DESIGN MAKEOVER," SEND US AN EMAIL ATLffiERS@PHOTOSHOPUSER.COM.

030

I AFTER I
--._ ..., ---------------------------------~&-. •. ,,~....... ,.. ~... ~

~ When I started the project, I really had to fight the urge to create a whiz-bang website that would showcase my skills but have little to website. do with a highly regulated, practical govemment

My first thought was that the original site seemed cluttered. I felt

there were no benefits in putting everything the site has to offer onto
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the opening page and there were more advantages in having a cleaner, more welcoming homepage. I decided that if there were clearly defined links to well-organized groups of information, visitors could easily locate what they want and stay longer at the site. The original organization site doesn't make it clear whether it's an official or a site with reliable, regularly updated information

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set up by an enthusiastic parent, student, or teacher. To create the feeling of an official site, I added an opening Welcome message, and I incorporated a government updated the logo. Once the character of the site was defined, I turned to the layout. Following the principle that "design follows function," I wanted to I created move away from the original's vertical portrait layout to reduce the amount of scrolling a visitor had to do to find information. with consistent type elements. menus that are meant to be intuitive and organized for efficiency, Limiting the number of typefaces but provides an easy-flowing, clean look to the layout. the fleur-de-Iys that takes I chose seal into the background imagery. I also

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WANTED TO MOVE

AWAY FROM THE ORIGINAt..:S VERTICAL PORTRAIT REDUCE LAYOUT TO

I chose the Arno Pro font family because it's decorative still easy to read, and it complements

the place of the "t" in the updated logo. It also shows up in other display areas, such as the "W" of the word "Welcome." the common sans serif Arial for the body type.

THE AMOUNT A

OF SCROLLING

VISITOR

HAD TO DO TO

FIND INFORMATION."

ABOUTTHE DESIGNER
ROBERT ROBINSON After taking commercial art and architectural drafting classes in high school, Robert was hooked on the creative and detail-oriented aspects of the design arts. He followed that interest into an associate degree in commercial art and graphic design, which led to a brief government defense graphic design contract abroad. The BA program in computer graphics and advertising design at the Academy of Art University in San Francisco put him on the path to a permanent federal government visual information position and into a masters program at Syracuse University, which allowed small classes to visit leading national and international advertising agencies. Robert moved from California to the Washington area to continue a federal government visual communication career. Now a visual cornrnunications analyst at the U.S. Government Accountability Office, Robert has more than 15 years of visual media and visual information development for the federal government, including infographics, print and publication, and Web design; exhibit and display art; and technical illustration. APPLICATION USED: Adobe Photoshop C53

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My initial impression of the Western Quebec School Board site was that it was informational tion and important yet overwhelming. The content layout buried, came across as very busy and disorganized, areas-such while relevant informa-

as the navigation-were

making it extremely difficult for users to find the content they were looking for quickly or easily. I chose to condense and clarify some of the important Webmail, consistent areas, beginning with the addition of a sub-naviversion of the site. I kept the navigation was the used or gation bar at the top of the screen. That bar houses links to Home, Search, and the French-language with the previous Since the site serves many audiences,

design. The only addition

Resources section, which allows for easy access to frequently for those users who may be accustomed show that can easily be maintained movement adds an additional

referenced links. I also included that same section on the homepage to accessing it from there. a text file. The resulting Since the site serves many purposes, I added a jQuery photo slide through element of interest to the page.

As for the colors, I started by choosing a soft, calming blue within the same hue that they previously used. The lighter shade gives the site a relaxing feel, and it complements Quick Links and information on Upcoming the teal used for the body Events. copy and main headlines. On the far right side, I added a sidebar for The main headlines and navigation elements are in Century Gothic, with the welcome text in Pristina. Both typefaces convey a clean, crisp, and professional look that can be used throughout the site. By making these changes, I feel the site is clean, more organized, and maintains a professional look that will serve them for years to come.

"THE

LIGHTER SHADE

GIVES THE SITE A RELAXING FEEL, AND IT COMPLEMENTS THE TEAL USED FOR

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ABOUTTHE DESIGNER
ALAN LAICK Alan Laick is the creative director and founder of Laick Design, a comprehensive visual communications company located in southwestern Pennsylvania. He's an alumnus of Waynesburg College, as well as of Westmoreland County Community College. Immediately upon graduation, Alan started Laick Design. He currently maintains a client base within the southwestern Pennsylvania region, along with national and international accounts. With a strong background in all aspects of graphic design and Web development, Alan's work has been recognized with numerous awards and has been featured in magazines and newspapers across the U.S. Alan can also be heard discussing his latest projects as a guest speaker on a local radio show. A passionate Pittsburgh Steelers fan all his life, Alan can be found rooting for his beloved team each and every weekend. When he isn't watching his team play, Alan can be found reading, researching, and relaxing. APPLICATION USED: Adobe Photoshop C55

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~ The original site was really badly organized, and that was the first problem I encountered. Navigation was fragmented through the site and wasn't emphasized. Deconstructing the site, I noticed three distinct groups of people that use the site-parents, the homepage. cluttered students, and staff-so I created the place on feature that placed those areas of interest in a prominent The site was overcrowded

with widgets that really

the space, so I tried to relocate them for a better user

experience. I introduced a new section in the middle of the bottom of the page called Active Projects to feature more of them. I positioned the email link at the top of the page, next to the Contact Us link, as part of making the navigation more useful. And figuring that all three groups of users are interested in what's going on and when, I put the events calendar in the focal point of the homepage, where it will be more accessible and easily noticed. With the content reorganized, the second problem was the outdated graphics. The branding wasn't particularly memorable, so I created a new logo. I thought the original's use of a mortarboard and diploma was something of a cliche, so I tried to use a different approach, one that would emphasize the school board's administrative role. The dog-eared page element in the new logo also carries through to graphical elements elsewhere on the page.

" ... 1

PUT TH E EVENTS IN THE

The layout is based on a 16-column white space than before. The typography

grid and provides more is based on Typemade's The sans

CALENDAR

FOCAL POINT OF THE HOMEPAGE, WHERE IT WILL BE MORE ACCESSIBLE AND

beautiful Josefin font family (free from fontsquirrel.com).

serif version was used for the titles and links, while the slab serif was used for the body text. This font is licensed to use freely and is easy to implement various browsers. as a @font-face, which should work across

EASILY NOTICED."

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ABOUTTHE DESIGNER
BRANKO SABARIC Raised as an artist's kid, Branko always showed interest in creating stuff. In the fourth grade, he published his own magazine, hand drawn and run off on a photocopier. In 2003, he completed the certified course at the Macromedia training center in Zagreb, Croatia, for graphic design. At the end of 2004, he completed advanced courses in desktop publishing and prepress. He fell into his career as a Web designer completely by chance when he joined the Web team at the HRT (Hrvatska radiotelevizija, Croatian Radiotelevision, a Croatian public broadcasting company). There he quickly mastered HTML and C55 skills and was eventually asked to produce a few microsites for TV shows. After some time, he started to work together with design studios, which offered him the opportunity to prove himself on the market. Today he is a full-time employee at a design firm and continues to do freelance work. APPLICATIONS USED: Adobe Photoshop CS5 and Adobe Illustrator CS5.0

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Aged Illustrated Photo Effect

COREY BARKER

There may be times when you want to take a photograph beyond the norm and make it into something unique. Here,we'll explore a cool technique for turning a photo into an antique-looking drawing on a piece of aged parchment paper. We'll also explore a clever use of some new blend modes in CS5that I learned from Calvin Hollywood.

STEP ONE: Go to File>Open and locate the texture file that

you would like to use for the background. This can be almost any texture, so feel free to try different types of paper textures. In this case, we have a nice aged parchment texture from iStockphoto .com, which we'll enhance by converting a photo into a drawing and making it look aged on the paper texture. !NAPP members may download the files used in this tutorial from www.photoshopuser.com/memberslaprmayll-downloads .html. All files are for personal use on~.l

Step One

STEP TWO: Open the photo that you want to convert into

the illustrated effect. Here we have a simple stock image from Fotolia.com of a young model. The positioning and lighting of the subject in this image will lend itself well to this effect. The cool thing about this effect is that with just a little tweaking of the following settings, you can do this to almost any photo.

STEP TH REE: With the file open, switch to the Move tool (V),

hold down the Shift key, and drag-and-drop the model onto the
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paper texture background file (the Shift key will place it in the center). The model will appear on a new layer (Layer 1). If necessary, press Command-T (PC: Ctrl-T) to put the layer in Free Transform mode and scale it to best fit the composition. Hold the Shift key as you click-and-drag the control handles of the Free Transform bounding box to maintain proportion. Press Return (PC: Enter) when finished to commit the transformation. Step Two

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STEP FOUR: Go to lrnaqec-Acjustrnentsc-Oesaturate.

as we

don't need the color information

for this effect. Next, make a

duplicate of this layer by pressing Command-J (PC: Ctrl-J). Then, turn off the visibility of this duplicate layer (Layer 1 copy) by clicking the Eye icon to the left of it in the Layers panel. Click on the original layer (Layer 1) to make it active.

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STEP FIVE: To make the image look less like a photo and

more like a shaded sketch, we need to lessen the amount of detail in the image by blurring it. To blur the image but keep the edge detail, we need to use the 5urface Blur filter. Go to FilteroBluc-Surtace Blur. Set the Radius to 5 pixels and the Threshold to 5 levels. These settings will vary on different images and may require some experimenting to get the look you want. Once done, click OK. Go ahead and turn off the visibility of this layer (Layer 1) for the moment.
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Step Five
STEP SIX: Here's where the Calvin Hollywood

blend mode Click on the

trick comes into play. We're going to use one of the new blend modes that's only available in Photoshop (55. duplicate layer (Layer 1 copy) to make it active, and then click where its Eye icon used to be to make it visible again. Make another duplicate from this layer (Layer 1 copy 2) by pressing Command-J (PC: Ctrl-J). Go to the layer blend mode drop-down menu at the top left of the Layers panel and select the Divide blend mode. The image will appear to go completely white. Note: If you don't have C55, you can try an older method by going to Filter>5tylize>Find Edges. This will apply a sketch effect but you won't have the flexibility of modifying the effect as you do with the blend mode method. Step Six

STEP SEVEN: Go to the Filter menu again and choose Blur>

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Gaussian Blur. The amount of the Blur depends on the image that you're working with. As you move the Radius slider to the right and increase the blur, you'll see the sketch effect start to emerge. Try pushing the Radiusto the max and then back it off until you get the look you want for the sketch effect. For this image, we set the Radiusto 8 pixels. Click OK. Step Seven
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STEP EIGHT: Merge this layer (Layer 1 copy 2) with the layer

just below (Layer 1 copy) by pressing Command-E

(PC: Ctrl-E),

Change the layer blend mode of the resulting merged layer (Layer 1 copy) to Color Burn in the Layers panel. Create a duplicate of this layer and change the layer blend mode of the duplicate layer (Layer 1 copy 2) to Linear Burn. This will build the effect up by stacking and blending the layers with the paper texture we started with.

STEP N IN E: While these blend modes work

really well for this

image, it may be necessary to try other blend modes if the image isn't looking exactly the way you want. This can be done quickly by holding down the Shih key while pressing the + (plus) key repeatedly to cycle down through the blend mode list.

Step Eight

STEP TEN: Reactivate the original

image layer we applied the

Surface Blur to in Step Five and make it visible. Change its blend mode to Color Burn, as well. This will provide the shading to add more contrast to the overall sketch effect. If the result seems a bit too intense, however, you can lessen the effect through the use of a layer mask. Hold down the Option (PC: Alt) key while clicking the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. This will hide the layer by creating a layer mask filled with black.

Step Ten

STEP ELEVEN:

Select the Brush tool (B), click the brush thumbbrush in the Brush

nail in the Options Bar, and select a soh-edged into the Brush panel (Window>Brush)

Preset Picker. If you're using a pressure-sensitive tablet, you can go and activate the Transfer opmenus tion in the list on the left. Then, set the Control drop-down

for both Opacity Jitter and Flow Jitter to Pen Pressure. If you're not using a tablet, then you can simply drop the Opacity of the brush in ~
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continued on p. 38

"Creating a jine art black and white photograph starts with an artistic idea. The my end result matche all the drama, tones, and nuances that I originally had ill mind. Quite simply, Silver Efex Pro 2 gives me complete artistic freedom."

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Bergen op Zoom, Holland

challenging part is the conversion to black and white. Silver Efex Pro 2 ensures that

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STEP TWELVE: Finally, set the Foreground color to white by

pressing the D key. Then, paint in the areas of the layer where you want to bring in shading and detail to the illustrated image. Make sure you're painting on the layer mask and not the layer itself (there should be thin black lines around the layer mask thumbnail in the Layers panel; if not, click on the layer mask thumbnail to make it active). If the effect is still too intense, you can always drop the Opacity of the layer itself in the Layers panel to lessen the effect.

Step Twelve Here you can see the final result. When combined with the image of the paper texture that we started with, the sketch we created from the photo now looks like an aged drawing. Here's another example of this same technique using a different image. Once you have the basic technique down, you can try it on other images with other textures, and as I mentioned earlier, with just a little tweaking of the settings you can achieve this effect with almost any photo .• 01

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"In my studio we do ellery thing with Elinchrom's BXRi compacts. In fact, all my strobes are Elinchrom lights - but I don't just use them in the studio - they're with me for location shoots and when I'm on the road doing my live training sessions around the country. I need light I can count on ellery time, and the BXRi's are ultra consistent and Incredibly dependable, and that's really important to me. I especially love the BXRi's built-in Skyport wireless control and triggering system, because it lets me change power and lighting ratios right from the top of my camera (no more climbing up ladders, or pulling down booms, or getting out of "the zone" lust to make a simple adjustment). I do all right from my camera position, and it saves a ton of time, frustration, and money. Skyport has sailed my butt on more than one occasion and honestly, now that I have this type of control I just couldn't go back just being able to pop the lights.The BXRi's with the built-in Skyports have changed everything, and that's why I tell all my friends who are photographers - you gotea go Elinchrom. I love my BXRi's, they ?J.ust flat out rock! /...

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Photoshop was not ( used to place any elements in this image. Learn more about cameras, photography, Photoshop, Ughtroom and many other photography related topics at www.scottkelby.com infoOelinchrom.us www.elinchrom.us

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~DOWN & DIRTYTRICKS Narnia Snow Poster


The promotional surrounded nocuous. It's a lion's head in a snowy scene but there's something by contradictory,

FELIX NELSON

poster for The Chronicles of Narnia: The Voyage of the Dawn Treader seems fairly inabout the warm color of the eyes blustery, blue tones that gives the image a very dramatic visual appeal.

STEP ONE: Open an im-

age of an animal or person (a lion in our example). Press Command-L (PC: Ctrl-L) to bring up the Levels dialog. When the dialog appears, move the Shadow Input Levels slider (the black one on the left) toward the center to slightly darken the image. Click OK. Now, press Command-U (PC: Ctrl-U) to bring up the Hue/Saturation dialog. Enter -3 for Hue, 31 for Saturation, and click OK.

[NAPPmembers may download the image used in this tutorial at www.photoshopuser.comlmemberslaprmay11-downloads.html. files are for personal use only.] All

STEP TWO: Choose the Dodge tool (0). In the Options Bar,

set the Range to Midtones and the Exposure to 30%. Using a soft-edged brush, lighten some of the highlight areas in the image, especially around the eyes, nose, chin, and the outer portions of the mane. Now, choose the Burn tool (nested under the Dodge tool). With the Range set to Midtones, use a soft-edged brush to burn (or darken) the areas under the chin, around the lion's left cheek, and along the mane (see example).

STEP TH REE: Drag the Back-

ground layer onto the Create a New Layer icon at the bottom of the
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Layers panel to create a duplicate (Background copy). Bring up the Hue/Saturation dialog again. Check the Colorize box, enter 204 for Hue, 55 for Saturation, 10 for Lightness, and click OK. Click the Add Layer Mask icon (the gray square with the white circle in it) at the bottom of the Layers panel. Choose the Brush tool (B), lower the Opacity to about 30% in the Options Bar, and press D then X to set the Foreground color to black. Use a soft-edged brush to paint away the areas around the eyes, nose, and muzzle. Focuson the highlight areas of the image (the left side in our example). Note: Make sure you completely reveal the eyes and tip of the nose of the original layer beneath the masked layer (Background copy).

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STEP FOUR: Click the Cre-

ate a New Layer icon to create a new layer (Layer 1). Press D then X to set the Foreground color to white. Choose the Brush tool and select a small, softedged brush (we're using a 9-pixel brush). Go to the Brush panel (Window>Brush) and turn off Shape Dynamics on the left below the Brush Tip Shape section. Next, click on the word Scattering below, check Both Axes, and enter 1000% for Scatter and 100% for Count Jitter. Now, click on the words Dual Brush and make sure Both Axes is checked, Scatter is 1000%, and Size is 30 px. Finally, click on the word Transfer and paint in some small, random snowflakes.

Note: If you're using a mouse, the Control setting in the Brush


panel will default to Off. If you're using a tablet, as we are, the default is Pen Pressure.

STEP FIVE: Create another

new layer (Layer 2). Increase your Brush size to about 25 pixels (press the Right Bracket key to increasethe Brush size by 5 pixels at a time). Click on the words Wet Edges in the Brush panel, and paint in some larger snowflakes on Layer 2.

STEP SIX: You'll want to

slightly blur the snowflakes you created on Layer 2, so choose Filteo-Bluc-Gaussian Blur, set the Radius to 2 pixels, and click OK.

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STEP SEVEN: Create another

layer

(Layer 3) and paint in more snowflakes using the same Brush size and settings. Press Command-F (PC: Ctrl-F) to apply the previous filter (Gaussian Blur), then change the layer blend mode to Overlay. Note: Repeat Steps Five through Seven as many times as you wish (we added five more layers), varying the size of the brush and the amounts of blur to create depth. Remember, keep some of the layers in blur out some of focus and completely

the other snowflake layers to add more depth and realism.

STEP EIGHT: Click on the Background

copy layer (the one with

the blue tint we created in Step Three) in the Layers panel to make it the active layer. Click the Add a Layer Style icon (fx) at the bottom of the Layers panel, and choose Inner Glow from the list. Click on the yellow color swatch, choose white as the color, and click OK. Choose Overlay for the Blend Mode and click OK to apply the style and complete the effect .• 0

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Less Is More Photo Effect
I've seen this technique a series of high-contrast used in several different types of promotional images by contributor VikaValter on iStockphoto.com.

FELIX NELSON

materials but most recently in Our version is a simple

technique that shows less of the original image while giving it more visual impact.

STEP ONE: Open an image of a face. Choose Filteo-Sharpero

Smart Sharpen. Enter 200% for Amount and click OK. Drag the Background layer onto the Create a New Layer icon at the bottom of the Layers panel to duplicate the layer (Background copy). Press Command-Shift-U (PC: Ctrl-Shift-U) to desaturate the layer (create a grayscale image). [NAPP members may download All files are for personal use only] the image used in this tutorial at www.photoshopuser.comlmemberslaprmayll-downJoads.htmJ.

STEP TWO: PressCommand-

L (PC: Ctrl-L) to bring up the Levels dialog. Click on the black Input Levels slider on the left and drag it toward the right, or enter 96 in the Shadow Input Level field. Click on the white slider on the right and move it toward the left, or enter 187 in the Highlight Input Level field. Finally, click on the gray slider in the center of the dialog and

move

it slightly toward the left, or enter

1.39 in the Midtone Input Level field. Click OK. PressD, then X to set the Foreground color to white. Choose the Brush tool (B) from the Toolbox. Using a soft-edged brush, paint away everything except the lips, eyes, right eyebrow, and nose. (Note: We'll add back the left eyebrow in the next step.)

STEP THREE:

Choose the

Lassotool (L) from the Toolbox and make a loose selection around the right eyebrow. Bring up the Levels dialog,

move

the

black Input Levels slider toward


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the right to 147, and click OK. PressCommand-Option-T (PC: Ctrl-Alt-T) to bring up the Free Transform bounding box. Right-click in the center of the bounding Horizontal. Reposition the "flipped" Command-D (PC: Ctrl-D) to deselect. box and choose Flip Press eyebrow over the left eye

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STEP FOUR: Press Com-

mand-U (PC: Ctrl-U) to bring up the Hue/Saturation dialog. Check the Colorize checkbox, enter 21 for Hue. 18 for Saturation, and click OK to apply a slight brownish tint to the grayscale image.

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STEP FIVE: Using the selec-

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tion tool of your choice (we used the Lasso tool). make a selection around the left iris and pupil. Bring up the Levels dialog. enter 60 in the Shadow Input Level field. 241 in the Highlight Input Levelfield. and click OK, Make a selection of the right iris and pupil and bring
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up the Levels dialog, Enter 79 in the Shadow Input Levelfield. 236 in the Highlight Input Level field. and click OK, [Ifyou would

like more information about how to use the Lasso tool to make selections,visit www.photoshopuser,comlkeyconcepts.]
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STEP SIX: Hold down the Shift

key, select the left eye (only the iris and pupil) so both eyes are selected. and press Command-J (PC: Ctrl-J) to put the selection on its own layer (Layer 1), Bring up the Hue/Saturation dialog. enable the Colorize checkbox. enter 75 for Hue. 25 for Saturation. and click OK. Choose Filteo-Sharperc-Smsrt Sharpen, Enter 75% for Amount and click OK,

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STEP SEVEN:

Click on the

Eye icon next to the Background copy layer in the Layers panel to hide it from view and reveal the Background layer undemeath it. Click on the Background layer in the Layers panel to make it active and make a selection of the lips. PressCommand-J (PC: Ctrl-J)

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to place the selection on its own layer (Layer 2). Move Layer 2 to the top of the layer stack in the Layers panel and click where the Eye icon of the Background copy layer used to be to make it visible again. Bring up the Levels dialog, enter 89 in the Shadow Input Level field, 212 in the Highlight Input Level field, and click OK.

STEP EIGHT: Duplicate

Layer 2 by dragging it onto the Create a New Layer icon (Layer 2 copy). Choose Filterc-Artisticc-Dry Brush. Enter 10 for Brush Size, 0 for Brush Detail, 1 for Texture, and click OK. Change the layer blend mode to Overlay in the Layers panel.

STEP NINE: Hide the Back-

ground copy layer and make the Background layer active in the Layerspanel. Make a selection of the teeth and press Command-J (PC: Ctrl-J) to place the selection on its own layer (Layer 3). Move Layer 3 to the top of the layer stack and make the Background copy layer visible again. PressCommandShift-U (PC: Ctrl-Shift-U) to desaturate the layer. Bring up the Levelsdialog, enter 32 in the Shadow Input Level field, 213 in the Highlight Input Level field, and click OK to complete the effect. _
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The LITILE TREEs® design is a registered trademark. It can only be used by the trademark owner and those who have our permission. To ask permission, e-maillegal@little-trees.com
www.little-trees.com
The Tree design, CAR-FRESHNERnd a

lrrne TREES are

trademarks.

© 2011 by Julius

Sarnann

Ltd.

cameras

and lenses because gear matters when it comes I'm not saying that having the latest and will make you a better or improve your composition or timing, but

to concert photography. concert photographer

greatest camera and lens combination

up my camera the same way every time. This makes it easy to adjust when shooting because the starting point is always the same. You'll want to do this before you pack your cameras into your bag, because you never know how much time YOlfil have at venue to get ready. My initial settings are:

I set

the right camera and lens will allow you to capture the action and get a proper exposure in the low-light environment. This in tarn allows you to concentrate more on the composition and timing. Concert photography needs "fast glass" lenses with a maximum aperture of 1/2.8 or wider. This allows the most light to travel through the lens and reach the sensor. The most commonly used lenses in my concert photography are the 70--200mm f/2.8 and the 24-70mm f/2.8. These offer a maximum apertere of 1/2.8 through the entire range of focal lengths and allow me to cover a huge range of focal lengths from 24mm to 200mm with just two lenses. For those shows that take place in clubs and bars, I also have a few prime lenses that can open up all the way to 1/1.4. These are lifesavers when it's really dark. My favorite is tJle 85mm 1/1.4 that I purchased many years ago when I first started shooting concerts seriously. This brings up an important point about lenses: if you take care of your glass, it can last a lifetime. The most important camera feature for concert and low-l ight shooting is the ability to shoot at a high ISO "nth low digital noise. To mimic the ISO ratings of him, camera manufacb.lrers amplify the signal from the camera's sensor, which makes it seem more sensitive to light. This amplification creates digital noise that shows up as random spots of color in your images, especially in the dark areas. The good news is that the high ISO, low-noise capability of cameras has improved vastly in the last few years.

the

as I set up my cameras tJle same way each time, I pack my camera bag the same way, as well. This allows me to hnd any~Ing I need In the dark without wasting time. The extra batteries go

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nto a front

pocket. so do the extra memory cards. I also make sure

th~t the earplugs and the extra earplugs are accessible and that the rrlln! flashlight is working.

The

first part of getting a great concert image is nailing It's no good getting that rock-and-roll

down the exposure.

moment and fJOdingout that the whole image was underexposed or even worse, underexposed and blurry. The basics are simple: use a shutter speed fast enough to freeze the action, an aperture that lets in enough light to support that shutter speed, and an ISO high enough that allows you to use a shutter speed fast enough to freeze the action. The biggest problem that most people have when starting out is blurry images because their gear just can't handle the low light. Musicians move around; some of them move around a lot. This means that you either have to wait for them to stop or use a pretty fast shutter speed. Once you have the aperture set at its widest 1/2.8 and the ISO at 1600, then you can start
049

using shutter speeds between 1/100 and 1/200 of a second. When the action ramps up, then the shutter speed needs to go along with it, meaning the ISO needs to increase or it's time for a prime lens or two. I needed to really push the shutter speed to catch all the head-banging action for this shot of Reginald "Fieldy"' Arvizu from Korn.

It's

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vital to understand and be able to operate your

camera without having to look at the dials, knobs, and buttons. When holding my camera to my eye I know that the rear dial controls the shutter speed and the front dial controls the aperture. Since I don't change the aperture much, my right thumb does most of tile work. If I rotate the dial left. I reduce the shutter speed; rotate it right, I increase the shutter speed. My right thumb also controls the focus point I use. I also know exactly where the ISO button is on my camera and can adjust that without taking the camera away from my face. This allows me to make adjustments really fast while at the same time concentrating on the composition instead of tile camera controls.

total control over the camera. The camera is an amazing piece of mechanical and computer engineering. It uses a built~n light meter to constantly read the light in the scene and adjusts the aperture or shutter speed based on your current shooting mode (auto, aperture priority, or shutter priority). In most situations this works just great. When it comes to shooting concerts, this is a big problem because the constantly changing lights can cause you to get wildly inconsistent results. For example, you're at a show and focused in on the guitar player's face and you take a shot, then suddenly the lights across the back of the stage sweep lip and the background becomes really bright but the light striking the subjecrs face doesn't change. If you're shooting in shutter priority mode, aperture priority mode, or full auto mode, the camera's light meter will read that bright background and change the exposure of the image, which results in underexposing the musician. When using manual mode, the exposure of the musician would have stayed the same and the background would have become brighter. This would have matched what actually

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all my concerts using manual mode because it gives me

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happened. In other words, you would have been able to capture the scene as it was on the stage. If you become confident trusting your eyes and brain, you'll be able to adjust the exposure by adjusting the shutter speed as you shoot, so when you see the light getting brighter on the subject's face, then you can increase the shutter speed a little; see the light dropping away, you can reduce the shutter speed a little but still make sure irs high enough to freeze action. I won't lie to you, this isn't easy to do, but the more you practice, the easier it becomes.

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in manual mode, the camera has no con-

trol over the exposure settings, and the camera's builtin light meter shows how much it believes you're underor overexposing the image. Even though the metering mode has no actual effect on the exposure setting, the metering mode you use still matters. It lets you know what the camera is thinking and can help to keep your exposures on track, especially when first starting out. When it comes to concert photography, I've found that the spot-metering mode does the best job because it ignores most of the scene and just measures what you're focused on. I believe that when you do the same type of photography a scene as accurately, the camera. if not more so, than for long enough, your eyes and brain can meter

Remember

the days of manual focus? I do. The DSLRs

available today can autofocus so well that I haven't shot a concert using manual focus in a very long time. But you need to know how the autofocus in your camera works. Because you're shooting at very V\~de apertures due to the low light you end up ~th a very shallow depth of field, meaning that your focus had better be exactly on your subject. The following autofocus settings usually give me the best results. Make sure that the camera is set on continuous autofocus so that as the subject moves, the autofocus will readjust. Then use single-point focus autofocus so you can manually move the point onto whatever you want to be in focus. Many
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use dynamic area autofocus, which will

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try to track subjects as they move. The only downside to this is that dynamic autofocus will lock onto whatever is closest to the camera, and many times that's the microphone stand and not the singer. It can take some practice to determine what works best for you. Notice how quickly the background in this photo drops out of focus. This is because the photo was taken using 1/2.8, which has a very shallow depth of field.

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If yo U want to get better images, then you have to work on your timing.
This means that you need to watch for the patterns and timing of the lighting and 01 the performance. There will be times where the lights will brighten and then dim again. Knowing this is coming will allow you to increase the shutter speed for a few moments, then drop it back down again. Time the performers and look for repeated patterns. When it came to photographing Billy Morrison, I noticed that he had a habit 01 holding the guitar up by the neck at the end of a song. I made sure that I was focused on him when the song ended to get the shot. If you can see the timing, you can plan ahead.

It's easy to get caught up in the music and the action and
lorget some 01 the basic rules 01 composition, but one that you need to pay attention to is the background. It can make or break a shot, and usually just by changing your position a little or waiting until the musician moves can make all the difference. In these two images, we have the same musician shot from the same point, but just waiting a few moments made all the difference in the backgrounds.

S h 0 0 t a little wide and crop in postproduction

because you

don't want to cut off parts of musical instruments. The most common problems are when photographers cut off the headstock or bottom of the guitar body. Carefully watching the edges of the frame can avoid both of these. Once in a while, I'll purposely crop in tight, but those shots are usually taken toward the end of my allotted time in the photo pit.
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The most commonproblems are When photbographers cut off the headstock

or ottorn of the 8uitar body,

1)

a combination of three software programs in my postproduction work: Photo Mechanic (www.camerabits.com) to import all the images and perform the initial sort; Adobe Photoshop Lightroom 3 to do the second sort, create the final picks, and export the images in the form needed by the client; and Adobe Photoshop CS5 if any of the images need more editing. Because Adobe Camera Raw and the Lightroom Develop rnooule are similar, any of the settings I use in one can be done in the other.

I use

~ii~_14 an image Open


in Camera Raw. Click on the Lens Corrections tab and then click the checkbox for Enable Lens Profile Corrections. The built-in lens pronles work great. The profile for the NIKKOR 24-70mm f/2.8 lens in this example brightens the

the image to 100% so the changes can be more easily seen. In this example, the Luminance slider in the Noise Reduction section was adjusted to 20 and the other settings were left alone. Since the camera I use (a Nikon 0700) has really low noise in the high ISO range, I don't add a lot of noise reduction. ~ your camera has more noise or you're using a higher ISO, then YOl(11 need to adjust to taste.
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so that the exposure

In the Basic tab, adjust the image right to you. Start with the Exposure and

slider, and then adjust the Blacks and Brightness. I usually add Clarity since I like that look. Then adjust the Temperature Tint for the White Balance if you think it needs some help (for this image, there was a lot of green light that I wanted to remove). Use the Crop tool (C) to crop the image if needed (since I shoot a little wide, I usually need to crop).

'~\ost of the time, I'm on a very tight schedule and need to get the images processed
as

soon as pos sible after the show,

so

I work 01\ getti:\g the imagesr~htin the camero

instead of trying to

fiX them later fI Photoshop or Lightrool1l

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One of the keys to success as a concert photographer is to only show your best work. I always believe that the subject of the photos is going to see and judge those images. I never send out, post on my website, or share via Twitter, any image that I don't think shows the musician at his or her best. I think it's one of the reasons that I'm invited back to shoot by the musicians themselves; they're confident they will get images they're happy with. ~

ALAN HESS ~ w
(/)

is a photographer,

author,

and instructor. He spends a majority at his time crouched in photo pits shooting concerts three songs at a time. He has written five books including the Composition Digital Field Guide, Exposure Digital Field Guide, and iPad Fully Loaded. He has been an instructor at Photoshop World since 2009. He lives in San Diego Ylitll his wife and dog. Alan's website is www.alanhessphotograph\,l.com and he can be reached on TYlitter at @ShotlivePhoto. Check out Alan's concert photography class on 054 www.kelbytraining.com.

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IMAGES

BY ALAN HESS

SCAN PAGE fORAoomCNAL

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FROM BER I 'S STUDIO


A Link in the Chain
The young lady below is one of the many people that appear in my latest painting,

BERT MONROY

Times Square. There's a

gold chain that graces her neck. It's a bit more complex than a regular chain because it's comprised of different sized loops. Sound complicated? Not at all! All you need is a custom brush tip and a layer style.

STEP ONE: In a new Photoshop

document,

select the Ellipse tool

(nested with the Rectangle tooIIU]).

There are three settings in the an inch across

Options Bar for the Ellipse tool: Shape Layers, Paths, and Fill Pixels. Select the Paths option. Draw a large ellipse-about should do the trick.

STEP TWO: Draw three smaller ellipses to represent

the smaller Tip:

loops in the chain. They should slightly overlap each other. When you have multiple four paths-each Selection tool. paths-as path can be selected independently

in this case where you have with the Path

STEP THREE: Select the Brush tool (B) and open the Brush panel

(Windovv>Brush). In the Brush Tip Shape section, set the Hardness to 100%, reduce the Spacing to the lowest setting (1 %), and choose a Size that will give you a nice stroke for the thickness of the largest loop in the chain. Choose the Path Selection tool (A) and click on the largest loop to select it. Press B to switch to the Brush tool. Press D to set your Foreground color to black. Click the Stroke Path with Brush icon (hollow circle) at the bottom automatically of the Paths panel (Windovv>Paths) to stroke the large ellipse. Since you have the Brush tool selected, the path will be stroked with the current Brush tool settings.

Step Iwo

STEP FOU R: Now let's apply a stroke to the three smaller ellipses.

Press A to switch to the Path Selection tool, click to select the first small ellipse, hold down Shift, and click to select the other small ellipses. Choose the Brush tool again, select a smaller hard round brush tip, and set the Spacing to 1 %. Click the Stroke Path with Brush icon in the Paths panel to stroke the three smaller ellipses.

SrepFour

STEP FIVE: Choose the Path Selection tool again, hold down

Shift, and select the large ellipse. Click the Load Path As a Selection icon at the bottom of the Paths panel. To turn the selection into a brush, choose Edit>Define
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Brush Preset. Name the brush accord(PC: Ctrl-D) to deselect.

ingly and click OK. Press Command-D

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STEP SIX: Switch to the Brush tool again and choose the new

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brush tip you just created in the Brush panel. This is where you'll modify the brush tip to do exactly what you want it to. Click on the words "Shape Dynamics" to Direction. on the left side of the dialog. Make Step Six sure all the controls are set to 0% and set the Angle Jitter Control

056

FROM

BERT'S STUDIO

STEP SEVEN: In the Brush Tip Shape section, increase the Spacing

until the individual tips of the four links appear to come together and form a complete chain. Note: The settings that appear in the dialog shown are not a formula; the particular shape and size of your brush plus the resolution of your image may require a different setting.

STEP EIGHT: Open a graphic

to which you wish to add your

chain. Select the Pen tool (P) and generate a path to form the shape of the chain. The path shown follows the flow of the neck. Your path can be any shape you wish. [If you would like more information about how the Pen tool works, visit www.photoshopuser.coml keyconcepts.J Click the Foreground color swatch at the bottom of the Toolbox, choose a gold color from the resulting Color Picker, and click OK. Click the Create a New Layer icon at the bottom of the Layers panel to create a new layer for your gold chain. Select the Brush tool once more, choose a smaller Size for your brush in the Brush panel, and click the Stroke Path with Brush icon in the Paths panel. The brush tip should follow the flow of your path, forming chain. Tip: To hide the path underneath to deselect it. a perfectly linked the chain on your docuStep Seven

ment, click the gray area beneath the Work Path in the Paths panel

STEP NINE: You already have the color of gold but what you need

now is the sparkles that make it look metallic. Applying a layer style will complete the look of real gold. Back in the Layers panel, doubleclick the layer thumbnail containing the gold chain to bring up the Layer Style dialog. Click on the words" Drop Shadow" on the left side of the dialog to give the chain dimension and make it look as if it's lying on top of the surface. The default settings will do. Click on the words "Bevel and Emboss" to add the glistening complete the golden look. Increase the Depth to intensify the colors. Reduce the Size so the highlights and shadows will be dearly defined within the shapes Mode Opacity. Finally, click on the Shadow of the loops. Play with the Angle until you see the best results, and increase the Highlight Mode color swatch to change the color to a deep brown so the dark areas will look like dark reflections in the gold. Click OK to apply the two layers styles.
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Step Eight

effect needed to

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That's it! A complex chain was created with a couple of tools and a few simple steps. Once you master this wonderful "Photoshop," application called you'll find that most anything you want to create will
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usually involve a couple of tools and a few simple steps. Experiment with the brush tips, shapes, and layer styles outlined in this tutorial and see what kind of things you can come up with. Have fun! •
Step Nine

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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, wmten many books, and appeared on hundreds of TV shows around the world.

057

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>

K Eve

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@ Smart objects

Type tool

~DEKESPACE
Branding Type on a Texture
in eye-catching

DEKE MCCLELLAND

Over the course of this column and the next few columns we'll share some shockingly simple recipes that result and highly credible type effects. Here you'll learn how to create type that appears to be branded into a textured background. The specific texture doesn't matter, all you need is an image and you're ready to go.

In this tutorial we'll explore how to apply a displacement

map to a

smart object, darken letters with the Burn tool and the Multiply blend mode, and create a relief effect with a Bevel and Emboss layer style. Follow along to learn how to rnake branded type in Photoshop. [NAPP members may download All files are for personal use only.] the file used in this tutorial from www.photoshopuser.comlmemberslaprmayll-downloads.html.

Step One
STEP ONE: Here we have sorne black text set against a textured

rock wall (the text color doesn't matter). For the sake of convenience, we entered the word "BRAND" on one layer and the registered is just fine. One of the great trademark symbol on another-which at once. Open (File>Open) the textured image and select the Type tool Choose an applicable

things about this technique is that you can apply it to multiple layers

m.

font and size in the Options Bar and enter [PC:

some text. Press the Commit icon (checkmark) when finished. Make sure the text layer is active in the Layers panel (Command-click Ctrl-click] each text layer in the Layers panel if there are more then one to select all) and select the Rectangular Marquee tool (M). Rightclick in the document window This makes the text compatible and choose Convert to Smart Object. with nondestructive smart filters.

Seep Twa

[If you would like more information

about how the Type tool and

smart objects work, visit www.photoshopuser.comlkeyconcepts.)


STEP TWO: Now we're going to save the textured

background

as a displacement

map, which is an image that distorts another im-

age according to its luminance levels. In the Layers panel, select the Background layer (textured image), Right-click in the document window, the image a memorable and choose Duplicate Layer. In the resulting dialog, change the Document setting to New and give Name. Click OK to create the new image in map has to be a flat PSD file, and Click a separate Photoshop document. In Photoshop, a displacement unless you want different results for the horizontal and vertical distortions, it should be grayscale. Choose lmaqee-Modec-Grayscale. Discard in the corresponding
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Step Three

dialog to convert the image to a single

channel of luminance data. Save (Filec-Save As) the image as a PSD.

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STEP THREE:

Switch back to the original document

and select

the text layer in the Layers panel. Choose Filter>Distort>Displace. Change both the Horizontal Scale and Vertical Scale to 5 (for our purposes, the other settings don't matter) and click OK. Navigate to the file you saved in the previous step and click Open. Bright pixels in the displacement map shift the edges of the letters up and to the left, and dark pixels shift them down and to the right. The result

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058

DEKE SPACE

is that Photoshop slightly but accurately warps the letters into the contours of the textured background. Press Command-+ FiltersBluo-Gaussian (PC: Ctrl-r) to zoom into the edges of the letBlur and enter 0.7 pixels for the Radius. ters. If the edges appear a bit jagged (as they probably will). choose

STEP FOU R: In my experience. the best way to burn the text into

the background

is with the Burn tool. Unfortunately.

the Burn tool

Step Five

works with neither editable text nor smart objects. Instead. we'll need to convert the text into a selection. Hold down the Command (PC: Ctrl) key and click on the text layer Smart Object thumbnail in the Layers panel to load it as a selection. Click its Eye icon to hide its visibility and click the Background layer (textured image) to make it active. To jump the selection to a new layer. press Option-Command-J (PC: Alt-Ctrl-J). name the new layer "Burned Type." and click OK.
STEP FIVE: Select to the Burn tool (nested with the Dodge tool

[OJ) and choose a large. blurry brush. Paint where the text once was to make it somewhat visible again. (Tip: Paint over the text once or twice; anything more usually makes it too dark.) When finished. select Multiply in the top-left corner of the Layers panel to burn the text into the background,
STEP SIX: Now we're going to add beveled edges. so the branded

lo:_~

....

letters appear to be stamped into the surface of the image. Click the Add a Layer Style icon (jx) at the bottom of the Layers panel and choose Bevel and Emboss. Choose Emboss for Style. Down for Direction. and 4 px for Size. Choose Linear Dodge (Add) for Highlight Mode and increase its Opacity to 100%, Click the Shadow Mode color swatch. choose a dark brown color (R:42. G:22. B:18). click OK. and increase its Opacity to 100%. Click OK to achieve the final result.
STEP SEVEN:

.....

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... ~~~
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The wonderful

thing about this straightforward

approach is how flexible it is. You can rerun these same steps with any background but with different image to create as many variations as you like. In displacement maps and different effects. And the case of the images shown here. we employed the same text because the base text is expressed as a smart object. you can switch out the behavior of the Displace smart filter in the Layers panelwhen the text layer is active and visible. double-click "Displace" to load a different displacement map-without to start from scratch. If your letters appear too dark or light. you can also adjust the Burned Type layer using a Levels command taste as well (double-click Layers panel). One of the things I love about Photoshop is the way it lets you turn type and other synthetic objects into fully integrated components of your photographic composition. If you agree. keep an eye out for Step Seven future installments of this column. We'lI have more live-type techniques coming your way .• 01 (lmage>Adjustments> Levels). You can adjust the Bevel and Emboss layer style effect to the words "Bevel and Emboss" in the the word having

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FO R A FR EE VI DEO DEMON STRA TION of this and other recipes. check out Deke's Techniques series at www.deke.comldekepod. is author of Adobe Photoshop (55 One-on-One (deke. oreil/y. com) and the three-part video series Photoshop (55 One-on-One (/ynda.comldeke).

059

COLUMN>

>

CLASSIC EFFEC I5
Mosaic Layer Mask Effect

COREY BARKER

Layer masks are one of the most critical features for compositing images in Photoshop. But don't forget that you can also apply things such as filters to a layer mask to achieve amazing effects without ever altering the original image. In this tutorial, we'll create a mask from an image and then apply one of the Pixelate filters.

STEP ONE: Open an image to which you would like to apply the

effect. It would be a good idea to play with this effect on different types of images to see what works best. Here, we have an image of a model from iStockphoto.com. [NAPP members may download the files used in this tutorial from www.photoshopuser.com/members/aprmayll-downloads .html. All files are for personal use only.J

STEP TWO: Next, open the abstract image that will be used to

Step One

create the mask. This image has some pretty cool angles in the graphic that will work with the angle of the subject from Step One.

STEP THREE:

Select the Move tool

M and

drag-and-drop

the

abstract shape file to the image containing the subject. It will appear on its own layer (Layer 1). The cool thing about an abstract image is that it can be rotated, distorted, or warped to cater to the subject. To be able to do that, however, we need to be able see the image below the abstract shape.

STEP FOUR: To help visually place the abstract shape, drop the

Opacity of the layer to 50% in the Layers panel. This will allow us to see the background image below the abstract shape. Step Four
STEP FIVE: Press Command-T

(PC: Ctrl-T) and then flip, distort,

or rotate the shape to best fit the position of the subject. In this example, we're merely rotating the image so that the blue area is over the main subject. To rotate the layer, hover the cursor outside the bounding
cr w

box until the cursor changes into a double-headed

bent

arrow, and then click-and-drag

(hold the Shift key to drag in 15°

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increments). Click-and-drag

inside the bounding box to position the

blue area. Press Return (PC: Enter) to commit the transformation.

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Step Five

CLASSIC

EFFECTS

STEP SIX: Don't worry

if the image background

doesn't cover is black it's (PC: Ctrlto select to fill

the entire image area. In this case, since the background blue shape layer back to 100%, and then Command-click click) its layer thumbnail to select it. Go to Seled>lnverse

easy to just fill the empty area with black. Raise the Opacity of the

the areas outside of the shape. Press D to set your Foreground color to black, and then press Option-Delete with black. Press Command-D Right-click in the document, (PC: Alt-Backspace) (PC: Ctrl-D) to deselect. To soften tool (G), to Transparent

the left edge of the blue shape, switch to the Gradient select the Foreground

gradient in the Gradient Picker, select the Linear Gradient option in the Options Bar, and then click-and-drag document from the left edge of the about halfway into the blue shape. Once the shape

Step Six

STEP SEVEN:

image is in place and the background area is filled, hide the layer of the model (Layer 0) by clicking on the Eye icon next to it in the Layers panel. Then, go to the Channels panel (Window>Channels). We need to determine which color

t«.

channel shows most of the abstract shape. In this case, it's the Blue channel. Hold down the Command channel thumbnail as an active selection. (PC: Ctrl) key and click on the Blue to load the white and gray area of the channel

Step Eight

STEP EI GHT: Back in the Layers panel, click the Eye icon for the

blue shape layer (Layer 1) to hide it. Tum the visibility back on for the layer containing the bottom the model (Layer 0), and then click on the layer to make it active. Click the Add Layer Mask icon (circle in a square) at of the Layers panel, or go to tayec-Layer MasbReveal the abstract Selection. This will make the subject visible only through shape, which is now a layer mask.

Pr-eset: (CustOM

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( Oplions._ )

STEP NINE: Now click on the

layer mask thumbnail lines around

to make it Then, Set

active, as indicated by the thin black the thumbnail. go to Hlterc-Pixelatec-Mosatc.

the Cell Size to 45 square and click OK. (Note: Vary the setting based on the image size and resolution.)

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Step Ten

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revealing the imo o a: is based on the gray squares that were

STEP TEN: Now you can see the mosaic effed

age. The varied transparency

generated by the filter. You can modify this slightly by applying a Levels adjustment to the layer mask itself. Go to Image>Adjustments>Levels. Drag the highlight (white) Input Levels slider to the left, and drag the shadow (black) Input Levels slider to the right just slightly. Click OK. The change in contrast of the mosaic squares will change the transparent properties of the layer mask showing more or less of the image. Simply add some text or other graphic elements to complete the effect .• OJ

MOSA
DESIGN

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@ Layermasks @ Smartobjec:ts
LESASNIDER

GRAPHIC SECRETS
How to Spice Up Backgrounds

There's no excuse for boring backgrounds in promotional pieces. By harnessing the power of blend modes, you can easily combine multiple images to create striking backgrounds. When you do, you'll add depth to your design, which helps draw the viewer's eye into the most important part: your copy.

STEP ONE: Gather two images you wish to use. If you're starting

with an image that has a dark background hunt for something light background,

(like this acoustic guitar), photo of glit-

light in color (like this soft-focus hunt for something

tery lights) to go with it. If you're starting with an image that has a dark. Look for images that have interesting patterns, shapes, or textures. You're not limited to using photos either; most stock image companies offer a variety of vector illustrations, too. (Tip: Starbursts, sunbeams, and wild circular patterns are especially usefuL) Try searching with the keywords "background texture" in photos or vector databases to get started. docu-

STEP TWO: Combine the images into one Photoshop

ment as separate smart objects. Working with smart objects lets you experiment with the size of each layer without losing image

Step One

quality (as long as you don't enlarge a JPEG much past its original dimensions). Choose Filee-Open as Smart Object to open a dark background image and then choose File>Place to bring in a lightcolored image. Photoshop will place a bounding box around the second image to resize or rotate it. Adjust the image accordingly (we rotated and resized our image) and press Return (PC: Enter) to accept the changes. In the Layers panel, double-click each layer's name to rename it appropriately image "guitar" (we named our dark background image "white lights," and this tutoand our light-colored

we'll refer to these layers using these names throughout Smart Object thumbnail.

rial), and notice the smart object icon at the bottom right of each

STEP THREE:

Make sure the white lights layer is above the guithe

Step Two

tar layer in the Layers panel. If this isn't the case, click-and-drag

white lights layer to the top of the layer stack. Change the blend mode of the white lights layer to Color Dodge (which lives in the Lighten category) at the top left of the Layers panel. Each layer's blend mode controls how colors on one layer interact or blend with color on other layers when they overlap. By using
.J 0:

blend modes, you can control exactly how each layer blends. Technically speaking, any blend mode in the Lighten category will work because they all have the power to lighten (or dodge) the image. The neutral color in this category is black, meaning it disappears in all but one of these blend modes. The Color Dodge blend mode, in particular, lightens images by decreasing contrast. It has a tendency to turn light pixels solid white, and unlike the other blend modes in the Lighten category, it keeps black pixels, so the dark parts of the image don't change (making it perfect for this technique). Tip: The Color Dodge blend mode shortcut is Shift-Option-D (PC: Shift-Alt-O).

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062

Step Three

GRAPHIC

SECRETS

Note: If you're trying to spice up a light-colored background, use a blend mode from the Darken category instead-they all have the power to darken (or burn) your image. The neutral color in this category is white, which means any white parts of your image disappear.

STEP FOUR: Lower the intensity of the blend mode effect by

reducing the opacity of the white lights layer. In the Layerspanel, change the Opacity of the white lights layer to 45%.

STEP FIVE: To keep the white lights layer from covering the

guitar layer, add a layer mask. With the white lights layer still active, click the Add Layer Mask icon (circle in a square) at the bottom of the Layerspanel.

STEP SIX: In the realm of the layer mask, painting

with black conceals and painting with white reveals. Another way to grasp this concept is to think of a layer mask as digital masking tape-painting with black lays down the tape (thereby hiding what's under it), while painting with white peels the tape off. Since your goal is to hide part of the white lights layer, we need to paint with black. Press B to grab the Brush tool, choose a small- to medium-sized brush in the Options Bar, and press D to set the Foreground color and the Background color to their defaults (white and black, respectively, when a layer mask is active) at the bottom of the Toolbox. Then, press X to make the Foreground color black.

STEP SEVEN:

Paint over the entire guitar. If you accidentally Step Seven

paint beyond the guitar, press X to switch the Foreground color (so you're painting with white) and brush back over that area. [If you would like more information about how layer masks and smart objects work, visit www.photoshopuser.comlkeyconcepts.] Step Eight
STEP EIGHT: Saveyour document as a native Photoshop docu-

ment. Choose Filee-Save and select Photoshop from the Format As drop-down menu. Give your masterpiece a name and click Save. Saving the file as a PSDkeeps the layers intact so you can tweak it later on without starting over.

STEP NINE: Here's a before-and-after of the design after adding

text. As you can see, adding visual interest to the background makes a big difference. By using blend modes, not a single selection was required, and by using smart objects, you can swap content-Rightclick to the right of the Smart Object thumbnail in the Layers panel and choose Replace Contents from the resulting drop-down menu. Until next time, may the creative force be with you all! •
LESA SN IDER, chief evangelist of iStockphoto.com,

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~ ~ ~
063

tines on KelbyTraining.com. She elso leiids photographic edventures on the rivers of Europe (PhotoCruisewithLeSiJ.com). World Dream Team of instructors and founder of the free tutorial site, GraphkReporter. com.

COLUMN>

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~PHOTOSHOP MASTERY
Refining the Results of the Refine Edge Command

BEN WILLMORE

Selects-Refine Edge is where most hair extractions should be performed. I covered the basics of that command in an earlier column (see Phoroshop User, September 2010, p. 48). Now let's explore how to improve the look of hair after the Refine Edge command has been used to extract the subject from its background.

For the most versatility when using the Refine Edge command, set the Output To setting to New Layer with Layer Mask if you turn on the Decontaminate Colors checkbox; otherwise, use the Layer Mask setting. This will cause the command to deliver its results in the form of a layer mask, which will allow for more refinement options.

image look natural. In those cases, you'll find that the translucent area is represented as shades of gray in the mask while fully transparent areas appear black. To remedy the situation, Optionclick (PC: Alt-click) the mask to view it and make a selection with the Lassotool (L) that encompasses the problem area to isolate it from the rest of the mask. Make sure the selection only touches areas of the mask that are white; otherwise, you might be able to see the border of where you've enhanced the mask. Next, Option-click (PC: Alt-click) the mask again so that you're viewing the main image, but the mask is still active for editing. Finally, choose Image>Adjustments>Levels. Bring in the upper-left Input Levels slider until areas start to become black, and then adjust the middle slider to fine-tune the transition between black and white.
BACKGROUND REMNANTS I
I

A FEW NOTES

ABOUT

LAYER

MASKS

The corners of the layer mask thumbnail in the Layers panel indicate if the mask is active for editing. If you don't see brackets around the corners of the mask, then click the mask thumbnail to make it active. To view the contents of the mask in the active document window, hold the Option (PC: Alt) key and click the mask thumbnail. Use the same technique again to hide the contents of the mask and return to viewing the main image.
FIXING CRISP EDGES

.._-----/

If your image includes both fuzzy and crisp-edged objects, then there's a good chance that the settings needed to make hair look good will cause the crisp-edged objects to look less than ideal. When that happens, Option-click (PC: Alt-click) the mask to make it visible and then use the Brush tool (B) with a Hardness setting that matches the edge quality of the object (low for out-of-focus edges and relatively high for areas that are in focus). For our example, we'll set Hardness to 75% and paint with black and white to clean up the edge. (Note: The Hardness setting is located in the Brush Preset Picker in the Options Bar.) After refining the mask, you may find that some of the partially transparent hairs look too bright or dark compared to the background. The best way to prevent that from happening is to use the Decontaminate Colors feature in the Refine Edge dialog. If you've already done that and still have less-than-satisfactory results, choose Layer>New Adjustment tayec-tevels. turn on the Use Previous Layer to Create Clipping Mask checkbox, and click w
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OK. Move the middle slider in the


TRANSLUCENT AREAS

Adjustments panel to adjust the brightness of the image. Then, choose lrnaqec-Acjustrnentsc-lnvert hair to fix the problem .• and paint with white on the mask of the Levelslayer to apply the adjustment to the edges of the

II)

Occasionally, you'll find that the areas between hairs, where the background should show through, end up being rendered as translucent instead of 100% transparent. This prevents a newly placed background from showing through enough to make the

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064

PHOTOS HOP HALL OF FAM ER Ben Willmore is a nomad exploring America via motorcoach. Catch his latest adventure by visiting his blog at WVNV.whereisben.com, see his photography at www.tnebestotoen.com, and find out about all his books, seminars, DVDs, and other educational products at WVNV.digitalmastery.com.
ALL IMAGES BY BEN WILLMORE

K EV

CO NeE

PTS:

@ Smon objects
DAVE CROSS

~BEGINNERS'WORKSHOP
Making a Custom Picture Package
In earlier versions of Photoshop, there was a command

called Picture Package that could create a page with

several different sizes of the same photo. Last issue, we looked at how to use Bridge to make a layout with multiple photos in one size, but this time we'll see how to make a custom photo layout thanks to smart objects.

This is a fairly typical scenario with smart objects: you invest a small amount of time up front to create a document age with multiple sizes of one photo on a page. Before we start, a couple of notes: Although you can drag an image directly from Mini Bridge onto the page, in the long run, it's better to use a more manual method since that will allow you to use different sized originals. Also, in our example we'll use JPEG about how smart objects files, but you can do the same thing with RAW files (more on that later). [If you would like more information work, visit www.photoshopuser.comlkeyconcepts.] that becomes an easy-to-update template. In this example we'll create a picture pack-

St€P Two

STEP ONE: Create a new document

(File>New) in the size and

orientation

you want for the layout of your picture package. (Note:

Make sure your document resolution is the same as the images you plan to use in your picture package.) We're using a 1Ox8" document in landscape orientation.

STEP TWO: Open the photo you want to use to create your tem-

plate, and using the Move tool document.

M, drag-and-drop

it onto the layout

It's quite possible that it will come in too large (as shown

here) but that's okay. Tip. Start with a photo that's the typical size you work with.

STEP THREE:

Before resizing, Right-click to the right of the

thumbnail

in the Layers panel and choose Convert to Smart Object.

STEP FOUR: Press Command-T

(PC: Ctrl-T) for Free Transform.

Hold down the Shift key and resize the photo to the first size you want for the layout. Press Return (PC: Enter).

STEP FIVE: Duplicate the layer by pressing Command-J (PC: Ctrl-J)

and then position it beside the first photo using the Move tool (hold Shift as you drag to keep the images aligned). Continue duplicatcr w

ing layers and using Free Transform to make multiple copies of the photo in different sizes. Be sure to keep all the separate layers. (In our example, I also added a logo to the docurnent.)

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STEP SIX: Save (Files-Save As) this document

as a PSD file,

naming it in a way that will remind you that this is the template 066 you'll reuse. continued on p.73

BEGINNERS'

WORKSHOP

STEP SEVEN: Of course, lots of other possibilities exist for your

template.

You can add some color, a textured

photo as a back-

ground, or other graphic elements. It's also an option to add one or more layer styles to the first photo (before making all the copies). Then all the copies of the smart object will have the same look.
STEP EIGHT: Here's how you use the template

to place a new

photo. Note: This works best when the new photo and the original are the same size (in a moment we'll address how to deal with size problems). To replace the template photo with your new photo, in the Layers panel Right-click to the right of one of the smart object layers and choose Replace Contents. Navigate to the new photo and click Place. Your layout will update with the new photo replacing all the template layers. This works because each layer is a clone of the original smart object, so when you replace one, they all change. Note: At this point, make sure that you use the Save As command to save the new photo as a separate document You'll want to preserve your template as is, with the original template (smart object) photo.

Step Seven

STEP NINE: What happens if you replace your template

photo

with one that's a larger size? Well, it will be replaced, but the scaling will be off and you'll end up with a bit of a mess.

STEP TEN: If you know that your replacement

photo is larger,

Step Eight

here's a better way to replace the contents (and the reason that we built the template from Mini Bridge). In the Layers panel, double-click on the Smart Object thumbnail for one of the smart objects in the template to edit its contents. This will open a document in PSBformat that contains the original photo. by dragging in a document rather than placing

STEP ELEVEN: Drag-and-drop

the new

photo into this PSBdocument, and use Free Transform to make the photo fit.

STEP TWELVE: Close and save the doc-

Step Nine

ument and the template your ternplate.)

will update. (As

before, be sure to use Save As to preserve

STEP THIRTEEN:

Finally, if you're

using RAW files, then into your document. o

you can use Mini Bridge to drag-and-drop adjustments

When you do, Camera Raw will launch, allowing you both to make and make sure that the sizing is correct. When you click OK in Camera Raw, your image will automatically be placed as a smart object. When you choose Replace Contents with a RAW smart object, once again it will open the file in Camera Raw so you can ensure the size is the same. As you can see, with a little work-s-done once-you can create your

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own picture package template with smart objects! •

Step Twelve
however, if you have a question that you'd like answered
ALL IMAGES BY DAVE CROSS

~ ~

GOT A BEGI N NERS' WORKSHOP TOPIC? Pleasesend it to letters@photoshopuser.com; immediately, go to the Help Desk at www.photoshopuser.com.

"

073

COLUMN>

>

TTHECOPYRIGHTZONE
Derivatives and What If-itis
Instead of the usual jovial, lighthearted the average bear and can handle this.

ED GREENBERG AND JACK REZNICKI

fare, this column will call upon you, dear reader, to flex your

intellectual muscles. We know that if you're a regular reader of this column, then you're smarter than

Life is not like a movie. Most times there isn't a happy, clear-cut ending where the antagonists who hate each other at the beginning of the movie fall in love by the closing credits. Often life's answers raise even more questions-hard, except maybe to lawyers. That's frequently the case with what we think is a critical issue for photographers and artists-the thorny matter of derivatives. Trust us when we say that the issue of derivatives seems to cross the path of most photographers at some point in their careers, if that career lasts of a derivative law, in real life it may be longer than the flash of a strobe. While the definition is put forth clearly and simply in copyright vague, and unsatisfying questions,

to keep by your nightstand pages. From McCarthy's:

if the Ambien doesn't kick in. McCarweighing in at a manageable 500

thy's is sort of a mini-Nimmer,

"DERIVATIVE

WORK

[copyriqht] A work which IS

based on a preexisting work and In which the preexisting work is changed, condensed, or embellished in some way"

difficult to pick out of a lineup. Both reasonable (and unreasonable) judges, juries, and just plain folk can and do disagree on just what is and what isn't a derivative work. PARAMETERS AND AMBIGUITY When we talk about derivatives with photographers, photographers crave simple, unambiguous we know you want us to pose a specific case, with specific facts, because answers. Everyone loves to have well-defined parameters within which to work. Alas, such is if this, what if that,

That's the basic definition, most often confronted

the fine-tuning

of which goes on for

pages. What follows is our attempt to flesh out and explain scenarios by photographers.

NOT ALWAYS BAD So your photo or artwork has been" appropriated." has been violated, ripped off, stolen, or

As we like to say in plain language, you've


new work,

been robbed, your work stolen. Someone took your original photo and used all of it or just part of it in another completely which is now a derivative of your original work. Many times "derivative" may not be a bad word on its own. If under license the originators or their heirs are being compensated

rarely the case with derivatives. Add to that ambiguity the buming desire to want to kill us with "what if-itis" -what state-and what if my wife's cousin's neighbor's car mechanic does it in another it's understandable that what ifs are like ears: just about are a big part of a photographer's rights under everybody has two. Derivatives copyright, so to understand derivatives, we look to the copyright and final word on all things treatise

or consent, the derivative work may be a cash cow for the artist and his or her family. Classically, in 1900, L. Frank Baum wrote a book called The Wonderful Wizard of Oz. Mr. Baum wrote derivative of works based on his own original work, and there were more books on Oz. He also produced some silent films about Oz-derivatives his books. After he passed away, MGM produced the classic 1939 film, The Wizard of oz. The 70s brought another movie and a play called The Wiz, which licensed derivatives of Mr. Baum's stories. Derivatives don't have to be in the original media, be exactly the same, and they don't have to be something bad, as the Baum family can attest. Royalties and license fees are real cool. Unfortunately, most times nobody is producing a movie, play, or in federal book about your photo. Most often your case will be an apparent rip-off, and thus you'll need to prove it's an infringement court. A derivative is always built on an underlying work. In other

laws. There's a legal work that lawyers and judges consider to be the definitive interpretation, copyright. commentary, Entitled Nimmer on Copyright, it's a ten-volume

containing thousands of pages and more legalese than any gaggle of attorneys can hope to fully understand. Light reading it ain't. Thousands of real cases are discussed on its pages, and it's in looseleaf form to boot. Why? Because it's updated, amended, revised, and changed yearly. Nimmer is an ever-changing organism, striving to keep pace with the lightning speed of today's digital world. With
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that, attorneys who want to stay current sign up for various services where copyright issue developments are provided on a daily basis. DEFINING A DERIVATIVE Now that we've set the stage for this moving feast we call copyright, let's go to the first course, where we define derivatives. For a definition of derivatives, we'll use another Desk Encyclopedia of Intellectual lawyer's friend, McCarthy's It's one more book Property.

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words, it takes two to tango; two items have to be compared and there has to be substantial similarity. Just being" inspired by" doesn't cut it. You can say that Star Wars was inspired by the 1930's Buck Rogers movies that were about swashbuckling view, being "substantially." continued on p. 76 outer space heroes. They miss being substantially similar, with the key word, in Nimmer's

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074

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~ 2010 M'-'l.li.llalt.I~. All n re ....noo · k'(itind('r MId ~I~i.lia 1Jlhk'tC"l ere Ir.tdtnwl.S(lr MceQ I ••b.Inc. in Iht 11'I.:nJ(~rcountric .. All ,'4hct I"ftldUCI i\:tfM"ii.an,J k)"'l'iaKlr~mart.."I OfA"li'l'1'\'~ ltakm.lfl."(llhnrn:~~-aj'e"'l'mj"(lnJc~.

This painting of Jack's original photo is an example of a good derivative, in that the painting was done byarrist Jim Ryan with Jack's specific permission and license. Without the license, this becomes a bad derivative and a case for Ed Greenberg.
PAINTING BY JIM RYAN PHOTOGRAPHEO BY ALEX GRABIEC COPYRIGHT (IS STILL) JACK REZNICKI

Mere similarity infringement. photo-is

of the compared

works isn't enough, in determining

even

DERIVATIVES V. COMPILATIONS Another term associated with derivatives that gives photographers fits and head-scratchinq bouts is compilations. A compilation is not a derivative. A compilation is when there's a new product creworks. A great

though substantial similarity dominates

derivative original

There also has to be a standard of originality where

the variation, the derivative of the underlying work-the lay claim and copyright to a style of work.

more than "merely trivial." In other words, you can't

ated with multiple underlying licensed copyrighted

example is a magazine. A magazine publisher can get a copyright on the magazine, which is a compilation of work of photographers and writers who may have only given the publisher a one-time usage license for their work. The magazine doesn't own all of the work within it, but does own the work that was created by cornpiling all of the work together. The publisher can own the whole, but not the parts, because parts is parts. The original creators, unless they signed away their copyright, still own their individual works, but they don't own the magazine. The magazine owns the magazine, but (typically) not the photos, stories, or even advertisements contained in it, unless the copyrights in all of those pieces were transferred to the magazine. in

Our good friend Howard Schatz is famous for his photographs of nudes underwater look, Howard underwater with colorful fabric. While unique can't claim that any and all photos of a nude of his work, unless

is derivative and an infringement

there's something you clearly see when held side-by-side. Similar poses of the model, similar fabric, similar lighting, etc. can all be considered derivative. But unless the two photos are that similar, it falls under influence, not copying and infringement. Early in Jack's career, he was known for a Norman Rockwell style. You could clearly see an influence, theme, likeness, or setup. How much can be copied without book, but a very simple explanation infringing and becoming a derivative inviting a lawsuit? That answer can take up a small is if a common person can but there's no copying of any

So, to wrap up, we wish we had very hard, clear lines to help you determine for all time just what is and what is not a derivative, but the law doesn't work that way. We hope that this column helps you to both understand and appreciate the nuances of a complex area of copyright law. Even though you may eventually require the assistance of a lawyer, you will be able to discern what is and isn't important. •

tJ)

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hold the original underlying work and determine that the second work was derived from it, there's a good chance that a copyright infringement has occurred and the work in question is a derivative of your original, underlying work.

a.

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I

a.
CATCH -.JACK AND ED'S BLOG

at www.thecapyrighrzane.comand

read about their book, Photographers Survival Manual, published by Lark Books.

076

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COLUMN)

THE SMALL BUSINESS

AND FREELANCE COACH


Businesspeople Should Be Seen and Heard
column will be covered in upcoming issues of

LARRY BECKER

This is one of those big, broad-brush articles that hits on a lot of ideas for freelancers and small business marketing. Don't worry though, because each of the general areas we'll touch on that deserves its own

Photoshop User.
A RETAIL LOCATION

It's important to establish a broad foundation local marketplace. When I talk with working

checklist for self-

marketing and promotion so you're as visible as possible in your professionals about these topics,

Obviously this isn't for everybody, but if you have the opportunity to open a retail location, you automatically generate credibility. But be careful to wait until you can afford a location that meets more than just your budget. Consider whether or not the location is in a neighborhood that your target market finds comfortable and convenient. Sometimes it's worth a few more bucks a month to get a location with good signage. Of course, freelance designers, Photoshop professionals, and even many photographers (both full- and part-time) work out of their homes. If that works for you, it's a great way to save some overhead, and even write off some of your home office expenses on your tax bill. But there's an option that's in between these two that many new businesspeople don't know about. Executive suites are found in various office parks and large office buildings, and they work like this: You pay a reduced rental fee and get a small, furnished office, or possibly just occasional office space for meeting clients. There's a receptionist who answers the phone for you (and lots of other small businesses) and forwards calls to your phone (in that office or a cell phone). A person always answers your calls, receives your mail, greets guests at the door, etc.. and you look like a bigger business. Because you're sharing the receptionist, a small office, a restroom down the hall, and usually a conference room (which you have to reserve in advance for meetings), the cost is far less than a full-service office with your own staff and facilities.

there's usually a, "Hey, that's a cool idea," moment or two, but for the most part, they know this stuff. At the same time, most of them admit that they aren't really doing all they can with every one of these marketing strategies. So, even if you think you know everything outlined here, make a commitment to do a self-audit and see if there's something more you could be doing, or consider that you might need to update your marketing mix and spend less time and money on the less-effective methods. Selling in your local marketplace requires that you have lots of strategies for getting noticed. Besides paid advertising, there are all kinds of ways to be seen. Some are old-school and some are digital age. The key is that you need to consider all your options and then develop a marketing mix that includes as many of these methods as you can afford. And by "afford," time-wise, and on a personal comfort level. For example, you might not have much of an advertising budget in the beginning, so local print and electronic media might be off the table for you. If you're comfortable with public speaking, you have a great way to get in front of a target audience and show them what you can do. Heck, some people build a solid business with little more than word-of-mouth marketing, but most folks need to consider the full array of options and try them all until they discover what works best. Let's begin by looking at some old-school concepts. I mean financially,

LOCAL

SHOPS,

RESTAURANTS,

HOTELS,

ETC.

If you want your photography or design work to be seen locally, LOCAL CHAMBER OF COMMERCE
find local businesses that might be willing to display your work. Keep in mind that you're looking for places that cater to the client base you have in mind (level of affluence, style, etc.) and that are local as opposed to being a part of a national chain. There's nothing wrong with hanging your work in national chains, but it's usually easier to get approval from a local owner to display your work. Local shops and popular restaurants are great places to start, but a couple places to put lower on your list are hotels and frame shops. Artists and photographers frame shops, so the competition displaying there. want their work hanging in is stiff, and hotels don't usuThis is a great idea for most markets around the country because, for a nominal fee, you get small business help (some chambers of commerce are much better than others at this) and a list of all the chamber members. If your target market includes commercial businesses, getting a list of most local businesses is a great start! Besides the prospective client list, be sure to check out services
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that are included with your membership. There might be coaching events and meetings, there might be leads groups, and there are definitely regular membership events you'll want to attend for the networking prospects. Get to know who's who in the chamber and be sure to be visible at local events. It's a great way to generate business.

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ally serve local clients, so you won't usually get local clients by

078

continued on p.80

THE

SMALL

BUSINESS

AND

FREELANCE

COACH

PUBLIC SPEAKING This is gold! If you're good in front of a crowd, all you have to do is show your expertise by giving a program that teaches a little bit about your field (e.g., a designer might show examples of good and bad design, and a photographer might help novices take better pictures). The key here is that most places will kick you out if you go into a sales pitch. You need to be subtle and don't pitch your services. The list of places you can speak is pretty long. Service clubs like Rotary, Kiwanis, Sertoma, and Lions Clubs are a good start. Church groups, chamber of commerce groups, and even local craft stores have various meeting opportunities where you can be the expert presenter.

the iPad and iPhone. This means no Flash and yes, you can have impressive, interactive video and galleries without Flash. Your site needs to be loaded with content that's consistent with keywords in your site, and those keywords need to be consistent with what your target market is searching for. Search Engine Optimization (SEO) is complicated enough that people build careers and attend conventions about it, but every website owner should be familiar with the basics and put best practices into the site(s). And when it comes to your site, it doesn't cost much more and it's worthwhile to develop a site for each of your main specialties (niches). For example, people prefer to hire an expert senior portrait artist, and a professional wedding photographer. You might be both, but don't mix these messages on the same site, if you can avoid it.

STRATEGIC PARTNERSHIPS Wedding photographers need to become friends with local wedding planners, dress shops, tux rental outlets, and florists. Look for similar complementary businesses for your market and make sure they have a stake in your success. For example, if your work is hanging in a local restaurant, it's a good idea to get a stack of brochures into the hands of all the waiters and waitresses and make sure they know that if they refer somebody, they'll get a $50 commission, and the customer will get a discount.

ELECTRONIC ADVERTISING It's a good idea to collect email addresses and market to willing customers electronically. You might even consider producing a newsletter or monthly special. While it's potentially free if you're in a small market and managing a small email list yourself.It's possible that even the modest email campaigns can be perceived by some Web-hosting companies as sparn, and your emails could get intercepted and blocked. Consider looking into a company that provides these direct email services because the cost is relatively small and email management and suggestions are often helpful to companies that don't have a full-time, e-marketing employee. Constant Contact (www.constantcontact.com) is one of the big, nationally recognized email marketing companies that has plans and templates for small businesses. The nice thing about this approach is that opt-out and anti-spam policies are managed well and will help you avoid problems associated with looking like a spammer.

PRINT ADVERTISING AND DIRECT MAIL These old-school methods of marketing used to be much more effective, but these days, with the advent of Internet-based marketing, they're far less effective in most cases. Print ads and direct mail may still playa role in marketing services locally, but the role should necessarily be smaller than just a few short years ago.

RADIO, TV, AND LOCAL CABLE This is something to do only when you're sure you can afford it and it should never be used as a primary method to get people through the front door. The key is that you need to be doing well financially and have the money to experiment with several outlets for this kind of marketing. I strongly suggest that in your brandbuilding messaging you avoid focusing on low rates for services. You'll generally benefit from establishing your image and awareness (mindshare) first. Even if your goal is to get more new customers through the door and your plan is a "special price, limited-time offer," that should only be a part of your message. The balance of your message should focus on quality and professionalism because adding more products and services to your sale is the way most photographers and designers can effectively add to their bottom line. Most local salespeople will tell you how to get a big line out the

FACEBOOK AND TWITTER Having a well-managed Facebook presence comes right after having a good website, and the job of your Facebook presence is to push potential clients to your website for additional information. And I'm not talking about a Facebook page for you personally; I'm talking about a fan page for your business. These are absolute gold to senior and wedding photographers across the country. On the other hand, Twitter is far less effective as a marketing tool. While there are a few strategies for getting customers via Twitter, most require a lot of time and some luck to be effective. There are usually better ways to spend your time. TAKE ACTION NOW Make a checklist of these areas and write down what you're already doing in each area. Look at the possible marketing methods you aren't using and consider why you've ignored them so far. Make a commitment for this week to expand your reach in one or more of these areas, or cut your efforts in inef-

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door, but what good is that if your profit margin is far less than normal and your workload is increased? Upscale image building is usually a better way to go.

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YOUR WEBSITE(S) Entire books are written about website marketing, so let's just hit the high points here. Make sure your site is compatible with

fective areas. Then revisit this list every three months to see how things are going and make appropriate adjustments. Use what works .•

080

AL

COLUMN>

>

CREATIVE POINT OFVIEW


Graduated Filter: The Uber Brush!
We've all heard it over and over-get

KATRIN EISMANN

the image right in front of the lens, which is fine when the subject

matter is cooperative and well lit. In reality, and especially in landscape photography, controlling the subject or light is often beyond a mere mortal's power.

Working with the Graduated Filter tool in Adobe Camera Raw or Lightroom to seamlessly improve the scene is a fabulous method to experiment and enhance light, form, color, and contrast. The Filter tool among my primary reasons that make the Graduated

favorite features of the Adobe RAW processing engine include:

• Flexibility: After applying a Graduated Filter, you can adjust and refine the setting to perfection . • Additive: Similar to brush strokes, adding multiple gradients

allows you to build up the perfect effect. • Synchronization: Improve one image and easily apply the effect

to similar images . • Seamless: In contrast to the Adjustment Brush tool, the Gradu-

ated Filter tool rarely leaves telltale edges or halos. • Equilibrium: Use the Graduated Filter to effectively balance color,

exposure, brightness, and focus in your images.


GUESSTIMATE THE EFFECT

After processing your images with the basic tonal, color, and contrast controls in Adobe Camera Raw or Lightroom, take a moment to global subtly apply refinements with the Graduated Filter, as demonstrated here in these frigid photos that show the image with "just" processing (left) and then enhanced with the Graduated (right). When using the Graduated Filter tool After

Filter, you need to guess at the

desired effect, apply an initial gradient, and then refine the effect.

STEP ONE: Start by processing the image globally (we're working

in Adobe Camera Raw) and then click on the Graduated in the tool bar at the top left of the window. of either the Exposure or Brightness slider.

Filter (G)

In this example, we

want to darken the sky, so click once on the minus sign to the left

STEP TWO: Pull an initial gradient,

with the first click (green

pin) being where the effect is the strongest (which I usually place 1/3 from the top of the image). The length (dashed line) of the
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pull determines

the transition

width,

and the release point (red

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pin) defines where the gradient effect ends. On landscape images with straight horizon lines, hold down the Shift key to create perfectly straight gradients.

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STEP THREE: Adjust the Graduated

Filter parameters to create increasing Satura-

the desired effect. When working 082 try reducing

on subtle skies such as this one, Step Two

both Exposure and Brightness,

CREATIVE

POINT

OF VIEW

tion by 10, and reducing Clarity and


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Sharpness. Avoid being too dramatic and overdarkening or increasing saturation too aggressively, as increasing saturation can overpower subtle tonal and color transitions and introduce

$NtpIItu

banding into the blue skies or highly saturated image areas.

COlo<

STEP FOU R: After darkening

one area of an image, it can be

very effective to lighten other aspects to increase tonal and visual tension. To add a new Graduated Filter, click on the New radio button and click the plus sign to the right of Exposure (remember that this is a guesstimate and vvill be adjusted in a moment).

STEP FIVE: In this example, a steeper Graduated

Filter was pulled

to enhance the water with increased Exposure, Brightness, Contrast, Saturation, foreground and Clarity. Since the water and ice forms are in the of the image, they should have greater presence, so it's
Step Five

effective to increase the Saturation and Contrast a bit more aggressively than when working on subtle transitions. SYNCHRONIZE THE EFFECT It's a rare day that you'll be out shooting and only take one image, or where the improvements help similar ones-especially panoramic photography. you added to one image wouldn't when preparing source images for

Use the Graduated Filter to enhance one

image and then synchronize the effect to the other source images.

STEP SIX: Open the source images for a panorama

in Adobe

Camera Raw and use the Graduated Filter to balance the color and exposure in just one of the images. In this example, two Graduated Filters were used to bring out the sky and the icy foreground the center image of seven panoramic source files. of just
Step Six

STEP SEVEN: In Adobe Camera Raw, to synchronize

the effect by Syn-

across your images, click Select All at the top left, followed chronize. Select Local Adjustments

in the Synchronize drop-down

menu and click OK. When comparing the panoramic results vvithout (top) and with (bottom) the gradients, for me it's an easy choice to choose the more compelling image. IT COULD BE EVEN BETTER! Using the Graduated Filter like a big brush always helps me to
Before

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apply the desired effects. In the future, I hope that the Graduated Filter tool will include the ability to add noise or grain and more importantly the ability to erase parts of the gradient. Erasing selecin the dead of winter along Lake Huron where the
After

tively would be especially useful on those landscapes that aren't photographed horizon is always long, straight, and endless .•

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;:

KA TRI NElS MANN is the author of Photoshop Restoration & Retouching and Photoshop Masking & Compositing and co-author ofThe Creative Digital Darkroom and the recentfy released Real World Digital Photography, 3rd edition. In 200S, she was inducted into the Photoshop Hall of Fame. Katrin is the Chair of both in-classroom and online MPS in Digital Photography department at the School of Visual Arts in NYC (WIIWII.sva.eduldigitalphoro).
AU IMAGES BY KATRIN EISMANN

;:

083

COLUMN>

>

~DIGITAL PHOTOGRAPHER'S NOTEBOOK Facial Symmetry


shows which side is which in this installment of the "Digital Photographer's Notebook."
~ We've all admired supermodel makes them so beautiful? faces in magazines. What is it that

KEVIN AMES

The technical term for a person with a symmetrical face is "supermodel." Everyone else has a face with one side thinner than the other. That's important in making portraits. A quick session in Photoshop dramatically

Symmetry. One side of the face is almost use light

a mirror image of the other. The rest of the faces on the planet have a thin side and a thick side. Classic portrait photographers so that the wider side goes into shadow. This brings up a really good question: how do you know which side is thin, and which side isn't? Let's go through the thick and thin of this question. Download the photograph Alexa.tif from the NAPP member asymmetry by Facwebsite, open it in Photos hop, and see the difference

makes even on a model. Alexa Johns is a model represented seem to mirror each other.

tor Women in Atlanta. She has a great, fresh look, and features that [NAPP members may download the file used in this tutorial from www.photoshopuser.comlmemberslaprmay .html. All files are for personal use only.]
STEP ONE: After opening

ll-downloads

Step One

the Alexa.tif in Photoshop, press Comlayer. Double-click Choose

mand-J (PC: Ctrl-J) to duplicate the Background the Redangular

the layer name in the Layers panel and rename it "Retouch." tion starting at the upper-left

Marquee tool (M) from the Toolbox. Draw a seleccorner of the frame to the bottom-

left corner of the frame and then drag to the right until Alexa's face on the left side of the image is selected. The selection (known as "marching ants") should cut through the center of her nose, the Cupid's bow of her upper lip, bottom lip, and chin.
STEP TWO: Press Command-J

(PC: Ctrl-J) to put the pixels in the

selection on a new layer. Rename it "Left Side." Press Command-J (PC: Ctrl-J) again to duplicate the Left Side layer. Rename it "Right Side." Press Command-T Right-click (PC: Ctrl-T) to invoke Free Transform, box, and choose Flip Horizontal. inside the bounding Step Two

Press Return (PC: Enter) to commit the transformation.


STEP THREE:

Choose Views-Shove-Smart

Guides. Select the

Move tool
or w
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M from

the Toolbox. Start to drag the Right Side layer to the Shift key, and continue to drag toward magenta line appears, formand

the right, press-and-hold

the right until a vertical and a horizontal

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ing a large, magenta colored plus sign (+) in the center of the photograph. This tells you that the layers are aligned both horizontally vertically. Release the mouse button, then the Shift key. (Note: When you press-and-hold the Shift key while dragging a layer with the Move tool, Photoshop constrains the movement horizontally or vertically, Step Three depending on the direction you drag.) Alexa now has one symmetrical

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face. Let's compare it to a symmetrical version of the other side.

DIGITAL

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STEP FOUR: Command-click


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(PC: Ctrlin the

STEP SIX: Choose Filec-Scriptsc-l.ayer Comps to Files. Choose a

click) the Right Side layer thumbnail

.....

M",

Destination for the new files, enter" Alexa" for the File Name Prefix, and choose either PSD or TIFF as the File Type. Leave Include ICC Profile checked. If you choose to make PSD files, make sure Maximize Compatibility is selected. For TIFF files, make sure Image Compression is set to None. Click Run. The monitor will flash as Photoshop runs through the layer comps opening each layer, saving it as a new file, and then closing it. When the script finishes, notice the" Layer Comps to Files was Successful" dialog and click OK.
To FW"

Layers panel to load it as a selection. Click the Eye icons of the Right Side layer and the Left Side layer in the Layers panel to hide their visibility. Command-J Click the Retouch layer in the Layers panel to make it active. Press (PC: Ctrl J) to place a copy of the selection on its own layer and rename it "Right Side thick." Duplicate the Right Side thick layer and rename it "Left Side thick." Press Command-T (PC: Ctrl-I) to invoke Free Transform, Right-click inside the bounding box, and choose Flip Horizontal. Press Return (PC: Enter) to commit the transformation. With the Move tool selected, click the Left Side thick layer, press-and-hold the Shift key,

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and drag to the left until the vertical and horizontal smart guides appear. (Note: The Retouch layer will show through a little on the left side.) Release the mouse button, then the Shift key. The visible version shows Alexa with a symmetrical face made from the thicker side. Next we'll make individual files then view them side by side to really see the difference between thin, normal, and thick. Comps and click the Create of the Layer Comps panel. and click OK. In the Layers

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STEP FIVE: Choose Window>Layer

New Layer Comp icon at the bottom In the resulting dialog, name it "Thick"

STEP SEVEN: Switch from Photoshop to Bridge. Navigate to your

images, click on the first image thumbnail,

hold down the Shift key,

panel. click where the Eye icons of the Right Side layer and the Left Side layer once were to turn their visibility back on. Once done, the thin version of Alexa's face will show. Create a new layer comp and name it "Thin." Click the Eye icons of the top four layers to hide their visibility, leaving the Retouch layer visible. Create a new layer comp and name it "Normal." The next step uses a script that comes with Photoshop to turn each layer comp into a separate file.

and click the last image thumbnail to select all of the files in the Content panel. Press Command-B (PC: Ctrl-B) to show all three versions next to one another. You might have to do this exercise a couple of more times to really see how different I mean shadow .• each side of a face can be. Then you'll be able
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to pick which side to light and which one to cast into darkness-

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KEVI N AM ES Cfwt€5 evocative photographs for clients such as Westin Hotels. AT& T. and Coca-Cola. His fourth book, published by Peachpit Pr€55 is The Digital Photographer's Notebook: A Pro's Guide to Photoshop (53, Lightroom and Bridge. He teach€5 the digital arts worldwide.
ALL IMAGES BY KEVIN AMES

COLUMN)

TTHE FINEARTOF PRINTING


Choosing Photoshop Color Management
files in stays wide gamut and doesn't change-unless you want it to.

.JOHN PAUL CAPONIGRO

Policies

Knowing what to do with the color management dialogs you encounter while editing your digital images in Photoshop is the key to making sure that the rich, saturated, wide-gamut color you choose to master your

When you choose EditxColor Settings, you not only choose Working Spaces (RGB, CMYK, Gray, and Spot) to create new files in (choose ProPhoto RGBfor the widest gamut color space), you also set Color Management Policies that determine what happens when you're dealing with files that aren't created or edited in the same color spaces. For RGB, CMYK, and Grayscale files, you can turn color management Off, Preserve Embedded Profiles, or Convert to Working color spaces. You rarely, if ever, want to turn off color management. You only do this when you want to ensure that no color space conversions take place (e.g., when opening target files for creating printer profiles). Similarly, you typically don't want files automatically converted to a default working color space without your knowing that it's happening, as they are when you set the policy to Convert to Working. color-management You only want this to happen when you're batch converting a number of files to quickly bypass dialogs. In the majority of cases, you're better operation is about to served leaving the default settings at Preserve Embedded Profiles. This way, any time a color-management take place, you'll get one of three dialogs (Paste Profile Mismatch, Missing Profile, or Embedded Profile Mismatch) that alert you and give you control over how the operation is handled. So what do you do when you encounter one of these dialogs?

PASTE PROFILE MISMATCH You encounter the PasteProfile Mismatch dialog when you're pasting information from a file in one color space into a file in another color space. (Photoshop can open many files in many color spaces at one time, but a single file can have only one color space at one time.) The parenthetical remarks in the Paste Profile Mismatch dialog say it all. If you Convert, you "preserve color appearance." Photoshop does this by referencing the ICC profiles of the source and destination color spaces, and precisely changing the numbers in the file so that they produce the closest possible match to the original appearance. Only the appearance of very saturated colors will change if you convert a file to a smaller gamut color space. On the other hand, if you Don't Convert but "preserve color numbers," the appearance of a file will change, sometimes dramatically, because a new color profile has been assigned but the numbers in the file have not been converted at the same time.

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different color spaces, such as ProPhoto RGB and sRGB, mean different things. The same values in a file (0 to 255) are spread out over a much greater distance (a wider gamut) in ProPhoto RGB, producing more saturation. So, the appearance of the in same numbers (e.g., R:100, G: 100, B:50) varies significantly

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saturation in ProPhoto RGB and in sRGB because their gamuts are so different. Only the appearances of equal or neutral values (i.e., R:10, G:10, B:10 or R:128, G:128, B:128) remains the same in all RGB device-neutral color spaces (sRGB, ColorMatch RGB, Adobe RGB [1998), and ProPhoto RGB). With this in mind, you rarely want files without profiles. Files without profiles vary wildly in appearance based on the device displaying them. Untagged files indiscriminately toss their unchanged numbers into different color spaces, editing or working color spaces, or a device's color space, so their appearance constantly changes. Untagged files are unpredictable and unstable. The only time you want files like this is when you're profiling a device, such as a printer. Then, not knowing the color space of the device, you

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They're cumulatively destructive. Making only two color space conversions is ideal: first from a source to a device-neutral space; second to a device-specific output/display editing color color space.

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The same RGBnumbers (R:255,G:O, B:O)produce different appearances in different RGBcolor spaces because their gamuts are different. Only the appearance of equal or neutral values remains the same. send known numbers to it and measure the appearance gener-

CHANGING

GAMUTS

If you haven't

been using wide-gamut

editing

spaces such as

ProPhoto RGB, don't think that you can improve your legacy files by simply converting them to a larger gamut editing space. All this does is give you the potential for more saturation. To actually get more saturation, you also have to enhance your files with software after conversion; even then, the saturation will tend to lack variety
MISSING PROFILE

ated. With this information,

you can create an ICC profile that

describes the devices behavior.

in luminosity

and hue. The best way to get the extra saturation

If you encounter a file that's missing a profile, assign one but don't do it in the Missing Profile dialog because you can't preview the results while you're choosing a profile. Instead, when you encounter the Missing Profile dialog, select Leave As Is (don't color manage), and click OK to open the untagged file. With the file open, choose Edite-Assiqn Profile, enable Profile, and select a profile that generates a pleasing appearance. If you're lucky enough to know the profile that's been removed from a file (the right answer), assign that profile but in most cases you won't know, so just choose a profile that makes the file look as close to what you want as possible (the best answer). Then save the file with the profile attached to it. Once it's converted, leave it in that color space; don't convert it to a wider gamut space thinking you'll get more saturation-you won't.

with rich variation in luminosity and hue is to return to your original source file (RAW file or scan), and convert it into a wider gamut editing space.

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Information converted from sRGBto ProPhoto RGBdoesn't get more saturated. The editing space becomes a wider gamut but the potential for increased saturation can't be accessed unless values in the file are enhanced with software. Understanding the difference between assigning and converting to a profile is one of the most conceptually challenging things about color management in digital imaging. It's counterintuitive to think that by why this is in changing numbers the appearance of colors will stay the same, or that if you don't, they won't. happening, Photoshop, management But once you understand how to set up your color-management and what to do when you encounter environment o o
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PROFILE

MISMATCH

With a clear understanding dialog-the

of the difference between assigning a

profile and converting to a profile, the Embedded Profile Mismatch one you'll encounter

most

often-becomes

straightfor-

ward. In a majority of cases, simply select Use the Embedded Profile (instead of the working color space). Don't select Discard the Embedded Profile (don't color manage) unless you know the file has been assigned an incorrect profile. Use Convert the Document's Colors to the Working Space only during batch conversions (e.g., when you're converting a number of copies of files to sRGB for the Web). Do this with copies only. If you convert your originals from wider gamut color spaces, you'll lose the greater saturation they contain permanently. Minimize the number of color space conversions a file goes through.

the three color-

dialogs, things will become much simpler. If you adopt and always convert to and create new files in have to think about it any more and simply when you need to, rest

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assured that your images are the very best that can be created .•
Master

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JOH N PAUL CAPON IGRO is an internationally respected fine artist, a member of the Photoshop Hall of Fame, and author of Adobe Photoshop Class and the DVD series RlEvolution. Get more than 100 free lessons when you sign up for his free enews Insights at www.johnpaulcaponigro.com.

OEr?

COLUMN>

>

~TABLETTALK
Making the Leap from Mouse to Tablet

COREY BARKER

Since the dawn of personal computers, we've been at the mercy of what the industry has offered us in the way of hardware and software. When it comes to input devices, the mouse has dominated the market asthe standard for computers for quite a number of years.

We never really questioned

this; we just accepted it as the norm, Twittering, emailmore.

It's easy to retreat to what we know and are familiar with. You have to purposely make it harder for you to do that. Put the mouse away, or hide it in the closet. If it's not around, you'll be less tempted to use it. I started using a Wacom tablet 12 years ago and haven't used a mouse since. I'm not suggesting altogether; used to the pen. that you abandon the mouse just resist the urge to use it while you're trying to get

and if your day consists mainly of Facebooking, However, there's a large dominating challenge that conventional their digital workstations

ing, or just plain Web surfing then you really need nothing

force of digital visionaries who

wisdom and want to be able to use of the mouse; to using the

as an extension of their own creativity.

They don't want to be shackled by the limitations Because so many of us have been indoctrinated mouse, it can be downright frustrating

they want a device that behaves like a real pen or paintbrush.


NOT DURING A PROJECT

to start cold using a pen for using

Don't start using a tablet for the first time while you're working on a project. This will only frustrate you. Trying to learn a new input device at the same time you're trying to finish a project will just drive you crazy. This happens to some people and they have such a bad experience with the tablet that they never try it again. It's like driving in the Indianapolis 500 without first test-driving the car.

and tablet. This seems ironic since we first learned to write using pens and pencils anyway. So we're already programmed a device like a Wacom pen. The only difference is that we need to look at the screen, not our hand on the paper. In a sense, we must relearn to use the pen to adapt to this ever-evolving using a pressure-sensitive pen: technology. Here are a few tips to keep in mind when you're ready to start

EXPERIMENT

Set some time aside to do nothing but experiment and play around
HIDE YOUR MOUSE

with the tablet and pen features and how they function

in Photo-

When you're ready to start learning how to use a tablet, throw away your mouse. Not literally, of course, but at least put it away so you won't be tempted to just pick it up and go back to your old habits. Many people who spend the money on a nice tablet often revert to using the mouse that comes with the tablet. What have they gained but a really expensive mouse and mouse pad?

shop or any other program you may use. The pen's basic functionality is the same as a mouse so you can use the pen in any application, but like any new tool or device, you need to practice. All you have to do is commit yourself to making the leap from the mouse to the pen. Once you make that jump into the world of pressure sensitivity, I have a feeling that you'll never want to leave. _

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If you're considering making rhe leap ro a rableo check out a couple new courses from Corey er KeibyTraining.com: -Getting Up ro Speed wirh Wacom Inruos4" and -Using Wacom Tablets wirh Phoroshop. _ The first is all abo(lr getting set (lP our of tbe box and tne second is abour (Ising the rablet effectively wirh Phoroshop.

088

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KEV

CONCEPTS:

@pentool

~BEYOND PHOTOSHOP
Animating Vector Masks on Video
attention to your subject. Here we'll animate a Black & White adjustment

SCOTT

ONSTOTT

By animating a vector mask to follow a particular object in a panning video, you can use adjustment Extended to keep the featured building in color while the camera pans across a blue-tinted,

layers to draw (55

layer's vector mask in Photoshop

grayscale skyline.

STEP ONE: Open the Los Angeles.mov file in Photoshop C55

Extended. In the Layers panel, double-click on Layer 1 and rename it "Video." Choose Window>Animation to open the Animation panel. Press the Spacebar to play the video. Click the Stop icon and then click the Selects First Frame icon (looks like rewind) in the lower-left corner of the Animation panel. Press Command-+ (PC: Ctrl-s) to zoom into the U.S. Bank Tower (tallest building west of the Mississippi River) on the left side of the frame. [NAPP members may download the files used in this tutorial from www.photoshopuser.com/members/aprmay11-downloads .html. All files are for personal use only.]

STEP TWO: Press P to select the Pen tool. Click to add anchor

points around the visible portion of the tower. After you click to add the last point, click on the first point to close the path. Press Shift-A twice to select the Direct Selection tool. Click to select any anchor point that needs adjustment to better fit the outline of the tower and nudge the selected anchor point into alignment with the tower using the arrow keys on your keyboard. [If you would like more information .photoshopuser. about how the Pen tool works, visit www com/keyconcepts.]

Step One

STEP THREE:

PressCommand--

(PC: Ctrl--) to zoom out to

100% and press F to enter Full Screen Mode With Menu Bar. Press U to select the Rectangle tool and make sure the Paths option is selected in the Options Bar. Click-and-drag to draw a surrounding rectangle twice as wide as the image, leaving extra room on the left side. You'll need this extra room later when we animate this path in the form of a vector mask.

Step Two

STEP FOUR: PressShift-A twice to select the Path Selection tool. cr w

Click the path surrou nding the tower, hold Shift, and select the rectangle surrounding the entire image. Click the Exclude Overlapping Shape Areas option in the Options Bar. Now the inner path representing the tower is excluded. Choose Layer>New Adjustment Layerc-Blark & White, uncheck the Use Previous Layer to Create Clipping Mask checkbox, and click OK; the work path is immediately converted into a vector mask for the adjustment layer so that the building remains in color while everything else is shifted to grayscale.

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Step Three

BEYOND

PHOTOSHOP

STEP FIVE: Press F twice to enter Standard

Screen Mode. In icon of panel

the Animation

panel, click the right-facing

arrow to the left of the

Black & White 1 layer and click the Time-Vary Stopwatch

the Vector Mask Position property to create an initial keyframe at zero. Drag the Current Time Indicator (CTI) in the Animation to 1 second. Select the Move tool (V) and press-and-hold the Right Arrow key until the vector mask aligns with the displaced tower.

STEP SIX: Set the CTI to 2 seconds and then nudge the vector

mask to align with the tower. A keyframe will automatically be generated in the Timeline. Continue to set the CTI to the next second and nudge the vector mask so it aligns with the tower. Repeat this process until you create the last keyframe for the final second.

Step Five
STEP SEVEN:

Select the Tint checkbox

in the Adjustments

panel and click its color swatch to open the Color Picker. Choose a soft blue color (R:179, G:183, B:255) and click OK.

STEP EIGHT: Press the Spacebar and preview the video. The

featured building remains in color as the camera pans to the right.

As day turns to night in the time-lapse video, the tower fades away
in the darkness near the end of the clip. Choose tayec-New justment Layer>BrightnessiContrast, Aduncheck the Use Previous Layer

to Create Clipping Mask checkbox, and click OK. In the Adjustments panel, drag the Brightness slider to 100. Set the Opacity of the Brightness/Contrast 1 layer to 0% in the Layers panel. Step Seven

STEP NINE: In the Animation

panel, drag the CTI to 7 seconds1 layer and click the

which is right at the transition from day to night. Click the rightfacing arrow next to the Brightness/Contrast Time-Vary Stopwatch icon of the Opacity property to establish an 1 layer in the Layers panel to 100% to Step Nine

initial keyframe. Drag the CTI to 8 seconds and increase the Opacity of the Brightness/Contrast create the final keyframe in this property.

STEP TEN: Press the Spacebar and preview the video again. The

night scene is much brighter between

now that the brightness

ramps up

7 and 8 seconds on the Timeline. Choose Filec-Export»

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Render Video. Select QuickTime Export under File Options and click the Settings button. In the Movie Settings dialog, click the Settings button and for Compression Type choose H.264. Click OK twice and then click Render to write your animated video to a QuickTime file. Note. We have provided a Los Angeles Final.mov to compare with your own results .• 0 Step Ten
SCOTT ONSTOTT oeeres video tutorials on Photoshop, Drawings and Models with Photoshop. SketchUp, and 3ds Max at ScottOnstottcom. Check out Scott's new book, Enhancing Architectural

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COLUMN>

>

TPHOTOSHOP&THEWEB
to make sure that you have a presence in the places that Web visitors are going.

RAFAEL

"RC"

CONCEPCION

Link Lightroom, Flickr, and Your Website for Max Exposure


When working on your online presence, it's important that you cast as wide a net as possible. Not only is it important for you to create a blog site that compels people to come back for ideas, it's also important for you

~ These days, Facebook and Flickr are places that can't be ignored. Thankfully, you can set yourself up in such a way where publishing to all of these platforms is relatively painless. Here's how:
FROM LlGHTROOM TO FLiCKRPUBLISH SERVICES

link will give you the option to write a title and compose a blog entry right from Flickr. Click on the Post Entry button, and all of the Flickr information will be posted on your blog site.

Lightroom

gives you a couple of quick ways to post your images

online for everyone to see. In the Library module, there's a panel at the bottom left called Publish Services. Click on the Set Up link to the right of the Flickr option, and enter your Flickr information erences in the Lightroom and prefPublishing Manager dialog. When that's
Blog this photo

- .....
Choose
iI blOO beloW: A80UTRC

complete, drag the images that you want to post on Flickr onto the Photostream in the Publish Services panel. After you've placed your images in the list, Right-click on the Photostream and choose Publish Now to upload the photos to your Flickr account. The great part about this is that the service is twosided: If someone makes a comment will appear in the Comments on the image, the comment panel in Lightroom the next time you

publish. Deleting images is as simple as selecting the image in this list and pressing Delete (PC: Backspace).
FROM YOUR BLOG TO FACEBOOKWORD PRESS PLUG-INS

Now that you have the information

on your blog, there's one last

place you'll want to advertise this: Facebook. If you start updating your blog on a regular basis, it becomes very tedious to keep posting on Facebook, "Hey, go read my blog for this." Ideally, you'd like this to happen automatically. One of the things that makes the Word Press platform so great is its huge developer community. You stand a pretty good chance section of finding a plug-in that will allow you to do pretty much anything you need. A quick search on the Wordpress.org/extend
Import Smart Collection Settings ...

turned me on to a program

called Status Updater. After a quick If you

install, Status Updater monitors for any new posts placed on your
FROM FLlCKR TO THE BLOGACCOUNT SHARING

website, and then updates your Facebook page accordingly. tion as well.

use Twitter, the Status Updater will update your Twitter informa-

Once you have your images on Flickr, you can quickly add them to your blog through
cr w

the Sharing & Extending section in Flickr. (Click By threading all of your Internet and social media accounts in this fashion, not only do you guarantee that you'll get as much mileage as you can for the images that you post, you'll also be very efficient with your online content, leveraging websites that are free to distribute and share. Top that with the fact that you'll appear to be "in the know" on technology, and it's a win-win. Enjoy! •

your account name at the top right of Flickr to see the Sharing & Extending tab.) At the bottom of the Sharing & Extending section, click the Configure Your Flickr-to-Blog firmed some information, Settings link, then click Set Up Your Blog and configure your WordPress blog. After you've conwhen you click on the Share This option, your blog will be listed at the bottom of the menu. Clicking on the

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RC can be found testing his blog experiments mostly at www.aboutrc.com.Formoreinformationonhowtosetupablog.visitRC.sc/asses on "WordPress Basics for Photographers" at www.kelbytraining.com. and look for his book Get Your Photography on the Web: The Fastest, Easiest Way to Show and Sell Your Work.
All IMAGES BY RAfAEL 1lC- CONCEPCION

More akin to movie trailers than slideshows, Animoto Pro combines your photos and video clips into beautiful, custom videos. What used to take hours now only takes minutes, so you can spend more time doing what you love - shooting amazing photos.

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Awanis

(~ 11111'1Eili)
animoto.com/photography

DEPARTMENT>

>

TFROM THE HELP DESK


~ TO: VICTORIA FROM: NAPP HELP DESK

PETER

BAUER

I can't seem to get Photoshop (55 to run reiiably on my computer. What can I do to get back to a stable work environment ?-Victoria

First, verify that your computer's hardware meets the minimum system requirements for Photoshop (55. For a Mac, you'll need a multi-core Intel processor; Mac OS 10.5.7 or later; a gigabyte of RAM; 2 gigabytes of free hard drive space; a monitor resolution of 1024x768 or higher; a DVD drive (for installation); and a hard drive (no MacBook Air installation!). On Windows, you'll need an Intel Pentium 4 or AMD Athlon 64 processor; Windows 7, Vista with 5ervice Pack 1 (or 2), or Windows XP with ServicePack 3; a gigabyte of RAM; a gigabyte of hard drive space; a monitor resolution of 1024x768 or higher; and a DVD drive (for installation). To take advantage of all of the advanced graphics features, you'll also need a video card that supports OpenGL Drawing. You'll find a list of video cards with which Photoshop (55 was tested at this link: http:// kb2.adobe.comlcpsl831/cpsid_83117.htmI.You'li driver for your video card. The installation process itself can make a big difference in how Photoshop runs. Make sure that you're logged into the operating system using an account with full access to the computer (the administrator's account is recommended). Before installing, disable all spyware, antivirus, and auto-backup software. Install only into the default location. In Photoshop (PC: Edit»Preferences>Performance, specify only internal hard drives as scratch disks (never external drives, removable media, or network drives). If your computer's video card isn't listed as having been tested with Photoshop (55, turn off Enable OpenGL Drawing. If your computer is running a 32-bit version of Windows, set the memory allocation no higher than 70% (55% is recommended). On a Mac or a 64-bit version of Windows, the memory allocation can be set to 100% if you have at least 4 GB of installed RAM. If you use third-party plug-ins, install (not move or copy) them into a folder outside the Photoshop folder. Right-click on the folder and create an alias (Mac) or a shortcut (P(), and move that alias or shortcut to the Plug-ins folder inside the Photoshop folder. In the future, when you upgrade or reinstall, simply create a new shortcut or alias and move it to the new Plug-ins folder. also want to go to the video card manufacturer's website and download and install the latest

Plug-ins that aren't 64-bit software require that Photoshop (55 runs as 32-bit software. In the Mac's Finder, go to the ApplicationsiAdobe Photoshop (55 folder, Right-click on the Adobe Photoshop (55 app icon, and select Get Info. In the Get Info dialog, select the option Open in 32 Bit Mode. On 64-bit versions of Windows, the installer puts the 32-bit version of Photoshop into C:\Program Files (x86). Plug-ins that are 32-bit need to be installed into that version of Photoshop (55, and you'll need to run that version to use the plug-ins. Remember, too, that you should only open images from and save images to local hard drives (internal or external). Never work directly to a network drive or removable media. _ PETER BAUER is Director of the NAPP Help Desk and a member of the Photoshop
Half of Fame. His latest book is Photoshop

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(55 for Dummies.

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• ILLUSTRATOR TUTORIAL
Paint with Images

COREY BARKER

There are things that Illustrator can do that Photos hop can't and vice versa; for instance, in Illustrator you can paint the same image repetitively with a brush. While in Photoshop you can define a brush based on its luminosity, Illustrator allows you to define an image as a symbol and then paint it repeatedly on the artboard .

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STEP ONE: Launch Photoshop and open the image from

which you want to create a symbol. You'll need to extract the subject from the background. In our example, the original background is white, so we'll click the background once with the Magic Wand tool (nested under the Quick Selection tool [WD to select it, then choose Select>lnverse. After using your tool of choice to select your object, press Command-J (PC: Ctrl-J) to copy it to a new layer (Layer 1).
STEP TWO: Drag the original Background layer to the Trash icon

to delete it, leaving only the coin over a transparent background.

STEP TH REE: Choose File>Save As and save this file as a

layered PSDto the location of your choice.

STEP FOUR: Now launch Illustrator,

and choose Filee-New.


Enable: All Readable Documents CUnk

In the New Document dialog, set New Document Profile to Basic RGB, and click OK. Choose File>Place, and locate the PSD you created. In the Place dialog, make sure the Link and Template checkboxes remain unchecked, and then click Place. Click OK in the Photoshop Import Options dialog and your object will appear on the artboard. Step Four

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STEP FIVE: Because the image appears on a white

back-

ground in Illustrator, it isn't obvious that the transparency around the coin has remained. We created a small colored box and placed it behind the coin to demonstrate that the transparency is indeed being maintained.
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If you'd like to see for yourself,

simply choose the Rectangle tool (M), drag out a shape around

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the object, click the Fill swatch at the bottom of the Toolbox, open the Swatches panel (Window>Swatches), and select a color. Then, choose Objectc-Arranqec-Send to Back. Step Five

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ILLUSTRATOR

TUTORIAL

STEP SIX: Open the Symbols panel (Window>Symbols).

Choose the Selection tool

M and

click-and-drag the placed

image into the empty area of the panel. In the Symbol Options dialog that appears, set Type to Graphic, and click OK. Note: The symbol will remain the same size it was when defined, so if you place a large graphic it might be a good idea to scale it down before defining it as a symbol.

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STEP SEVEN: Now that the image has been defined as a sym-

bol, go ahead and delete the graphic on the artboard. Next, choose the Symbol Sprayer tool (Shift-S). Notice it's grouped with a number of other symbol tools. We'll get to some of those in a moment.

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Step Seven

STEP EIGHT: Start painting the symbol onto the artboard.

As long as you hold down the mouse button, it will keep adding symbols. Move the cursor around to spread the symbols at random. You can continue to add more symbols later if you want by selecting the symbol group with the Selection tool and painting with the Symbol Sprayer tool.

Step Eight

STEP NINE: Now click-and-hold

the Symbol Sprayer tool in

the Toolbox and choose the Symbol Shifter tool from the flyout list. This will allow you to move the symbols that have already been created. Simply click-and-drag to shift the positioning of the symbols.

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Tip: If you

hover your cursor over the right edge of the flyout

list of symbol tools, you'll notice that the edge turns gray. Release the mouse button and you now have a floating panel containing those tools.

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Step Nine

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ILLUSTRATOR

TUTORIAL)

STEP TEN: Go to the symbol tools once again and choose

the Symbol Spinner tool. As you click-and-drag over the symbols, you'll see arrows appear that indicate the orientation of the symbols. The arrows also serve as a visual aid to see how much the object rotates. The result is a more random placement of the coins done in a fraction of the time. Now we need to take it back to Photoshop.
STEP ELEVEN: Choose the Selection tool, select the symbols,

and go to Edite-Copy. Return to Photoshop and create a new document that's the appropriate size for your project. Choose Edits-Paste. and in the Paste dialog that appears, select Smart Object, and click OK.
STEP TWELVE: Now you can add the image to your Photo-

shop composite. You can even add filters and a layer mask to the Smart Object layer. If you need to edit the symbols in Illustrator again, just double-click the Smart Object thumbnail in the Layers panel and it will open the original graphic in Illustrator. Use the symbol tools to add, subtract, or modify the symbols. To delete a symbol, switch to the Symbol Sprayer tool, hold the Option (PC: Alt) key, and then click on a symbol. When finished, simply close the file and save the changes. When you return to Photoshop, the smart object will be automatically updated. To complete the effect, we added some other coins to the symbol library in Illustrator usinq the same technique, and added them to the Photoshop document. • Step Eleven Step Ten

Paste Paste As:

o Pixels o Path o Shape Layer

Smart Object

OK

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~INDESIGN TUTORIAL
Creating Gallery Print Templates

TERRY WHITE

One of the things that I've really become a fan of doing is producing gallery prints of my photography. Of course, I have to give Scott Kelby credit for turning me on to this "look," and the steps to do it in Photoshop.

As usual, I'm always looking for any way to streamline a workflow,


and while I've got some nice actions set up in Photoshop C55 to produce layouts, InDesign is actually easier to use for this type of template workflow. same document, Also, now that In Design C55 supports both portrait and landscape pages, as well as multiple page sizes in the I can do it all in one In Design file.
Document Preset: (Custom}

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Number of Pages: 1 _ FaCing PA9f:5 Stan Page #: -1-

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OK Cancel) Pr"'L.

:: Master Text Frame

( More Options)

Qr"o"Iloo: STEP ONE: You have to start somewhere,

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so let's start by creatdeselect "10 in" for

ing an Bxl O" portrait page. Choose File>New>Document, the Facing Pages checkbox, set to "0 in," and click OK. enter "8 in" for Width, Height, select Portrait for Orientation,

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Columns Number:-;;-..;-.""1----,

Gutter: ~O.1667~

make sure all the Margins are

Step One

STEP TWO: Since we're creating a template,

it's best to set up

the elements that we want on every print on the master page. There will be one A-Master page already in the Pages panel for your newly created document. Choose Window>Pages to open the Pages panel and double-click on the A-Master thumbnail to make it active.

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Step Two

STEP THREE: It's your design and there are no rules. You can

Rectangle Options -----, Width: 5


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decide how large and what shape you want for your placeholder image. Select the Rectangle Frame tool (F) and click-and-drag on the page, enter the dimensions
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draw a frame on the page. If you want a particular size, click once you want in the resulting Rectangle dialog (we created a 5x7" frame), and click OK.

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Step Three

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