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104 | Let Lightroom ManageYour Color Printing
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  2. 2. ® T H E A D O B E ® P H O T O S H O P ® “ H O W- T O ” M A G A Z I N E user A P R I L / M A Y 2 0 0 8 THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM SmoothCriminal Createsilkysmoothskineven withharshlightingconditions MastertheModule Getgreatresultsandstreamline yourworkflowwiththePhotoshop LightroomPrintmodule DISPLAY UNTIL JUNE 3, 2008 CombineAfterEffectsCS3andPhotoshopCS3 Extendedforimpressivefaux3Deffects Weddingphotographydos anddon’tsfromthepros enter the 3rd dimension I do PLUS: Resultsfromthethirdannual PhotoshopUserAwards
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  4. 4. Departments 8 | About PhotoshopUser Magazine 10 | From the Editor 14 | ContributingWriters 18 | Photoshop News 22 | NAPP Member News 92 | From the Help Desk 130 | Photoshop Q&A Reviews 120 | Canon EOS-1Ds Mark III 121 | Digital ROC, SHO, GEM, GEM Airbrush 121 | Imagenomic Professional Plug-in Suite 122 | Fluid Mask 3 124 | Black-and-White Infrared 124 | LensCoat 125 | Image Doctor 2 126 | PhotoTools 1 Professional Edition 127 | NIKKOR Lenses 128 | Photoshop Book Reviews 40 | Wedding PhotographyTips from the ProsWho Know Are you ready for wedding season? David Ziser shows you the path to becoming the best of the best; Matt Adcock inspires us with his studio’s interpretation of the“Trash the Dress”phenom- enon; and Cliff Mautner shares his wisdom from a darkroom perspective.—David Ziser, Matt Adcock, and Cliff Mautner 51|PhotoshopUser Awards We’re proud to announce the winners of the third annual Photoshop User Awards! See who prevailed from more than 1,200 submissions across 11 categories. 98|Createa3DAnimationwitha2DImage Have you ever wanted to fly through one of your favorite images? Well now you can using Vanishing Point and After Effects CS3.—Richard Harrington Features
  5. 5. But Wait—There’s More: Wherever you see the symbol at the end of an article, it means there’s additional material for NAPP members at www.photoshopuser.com. Columns 26 | Down & DirtyTricks Learn how to create an extreme video game cover, craft intricate ornaments for your wedding album templates, and make your designs rip from the page.—Scott Kelby, Felix Nelson, Corey Barker, and Matt Kloskowski 50 | Photoshop Mastery If you overlook the relationship between brush diameter and hard- ness,yourlayermasksmaysufferfrominconsistency.—BenWillmore 56 | From Bert’s Studio Bert uses the Blend If sliders to take the newlyweds for a dip in the champagne…with a nonalcoholic alterative too!—Bert Monroy 58 | Photoshop Speed Clinic Annoyed because your colors go flat every time you upload an image to the Web? Be frustrated no more!—Matt Kloskowski 62 | The Fine Art of Printing The bonàtire (BAT) tradition is an essential tool for keeping your fine art prints consistent over the years.—John Paul Caponigro 66 | Creative Point ofView Katrin plucks a page from Goldilocks and the Three Bears and places it in the context of image editing.—Katrin Eismann 70 | Deke Space Deke continues his quest to explain how Photoshop uses blurring to sharpen, this time with Smart Sharpen.—Deke McClelland 72 | Photoshop for Educators Learn about the Image Processor and how to string actions together to maximize your productivity.—Jan Kabili 74 | Beginners’Workshop If you get that glazed-over look in your eyes when someone says “nondestructive editing,”quickly flip to p. 74.—Dave Cross 78 | Digital CameraWorkshop Ever dreamed of putting your images up on theWeb but thought you lacked the expertise? Not anymore!—Jim DiVitale 82 | TheWOW! Factor Here’s how to get pristine landmark shots even if you have people traffic trying to get in the way.—Linnea Dayton 84 | Mastering Photoshop withVideo Here’s the conclusion (Part 3) on how to create a graphic animation for a newscast from a 2D image.—Glen Stephens 86 | Digital Photographer’s Notebook Kevin gives us an exceptional skin-softening technique, using model Catherine Norcom as his muse.—Kevin Ames 88 | Classic Photoshop Effects Making a movie poster is a timeless technique. Here’s how to make it look more complex with less hassle.—Corey Barker 94 | Photoshop CS3 Extended for Research Here’s an overview of the types of data you can get from an image using the Analysis tools.—Eric J. Wexler 96 | Photoshop CS3 Extended for Engineering Integrating a 3D model into a 2D image can help the client real- ize your vision and imagine the possibilities.—Scott Onstott 132 | Photoshop QuickTips Go click-crazy in the Layers panel; restrict your cropping; and learn powerful ways of using the Option (PC: Alt) key.—Sherry London 154 | Photoshop Beginners’Tips Back up your presets; create cool spiral artwork; use shortcuts to navigate the Filter Gallery; and more.—Colin Smith 51 ContentsApril/May 2008 | www.photoshopuser.com 66
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  7. 7. Contents 104 | Let Lightroom ManageYour Color Printing Some Lightroom users have difficulty when it’s time to print. Once you have everything set up properly in the Print module, you can achieve quality prints every time.—Dave Huss PhotoshopLightroomSection 108 | Featured Photographer This issue, we take a look through the lens of world-renowned editorial and corporate photographer Maggie Hallahan. 111 | LightroomTips &Tricks 112 | Under the Loupe The Export dialog was upgraded in Lightroom 1.3. Users are now able to extend export functionality through third-party plug-ins.—Rob Sylvan 114 | Working Creatively in Lightroom The Camera Calibration panel is typically used to make adjust- ments for specific camera sensors, but it’s more fun when used as a creative tool.—Angela Drury 116 | Under the Hood When you have lots of photos to edit from a shoot, use the Sync function and take the rest of the day off.—Matt Kloskowski 118 | Lightroom Q&A 108 Feature
  8. 8. › ››photoshopuser›april/may2008 008 nati onal ass ociati on of photos hop pr ofess i onals The National Association of Photoshop Professionals (NAPP) is a dynamic trade association and the world’s leading resource for Adobe® Photoshop® training, news, and education. Founded in 1998, NAPP has become the largest graphics and digital imaging association in the world with more than 70,000 members worldwide. NAPP is open to any individual using Photoshop in a casual or professional environment. There’s no faster, easier, and more affordable way to get really good at Photoshop. Join today for only $ 99 U.S., $ 129 Canada, and $ 99 International (digital delivery). NAPP also offers special educational memberships. Go to www.photoshopuser.com to get more info. NAPP Membership Benefits: Annual subscription to Photoshop User magazine (eight issues annually) Members-only website with time- and money-saving content, including: Registration discount to Photoshop World Conference & Expo—the annual NAPP convention and the largest Photoshop event in the world Monthly e-newsletter produced just for members NAPP membership details at www.photoshopuser.com or call 800-738-8513 Monday–Friday, 8:30 a.m. to 7:00 p.m. EST. about photoshop user Photoshop User magazine is the official publication of the National Association of Photoshop Professionals (NAPP). It is for members, by members, and is not available to the general public by subscription. As a NAPP member, you automatically receive Photoshop User delivered right to your door eight times a year. Each issue features in-depth Photoshop tutorials written by the most talented designers, photographers, and leading authors in the industry. WeeklyTips andTutorials from world-class instructors Vendor discounts on hardware, software, services, plug-ins, and travel NAPP Perks for complimentary images, actions, shapes, and plug-ins Help Desk to get your Photoshop questions answered fast Advice Desk to get straight, unbiased advice on products Bookstore of latest educational books and DVDs, plus huge discounts National schedule of Adobe Photoshop training seminars NAPP Gallery for creating your online portfolio Cover photo: ©Maggie Hallahan www.maggiehallahan.com
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  10. 10. FromtheEditor AfewwordsfromourE.I.C.… WorldwidePhotoshopCompetitionAndthewinneris… F or years now, the Photoshop World Guru Awards have been recognized as the competition to win in the digital imaging industry, and winning a “Guru” has been the career springboard for dozens of talented designers, photographers, and Photoshop artists—kind of the “Oscars of Photoshop.” But there’s always been a downside to the Gurus: Entry into the competition is just for those who attend the NAPP’s Photoshop World Conference & Expo. I actually think it’s pretty cool that the Gurus are what they are, and all who enter the Gurus are there together at the live awards ceremony (part of the Photoshop World opening keynote). You can feel the excitement and anticipation in the room when we start showing the nominees’ work in each category—you can feel the electricity and it’s really something you have to experience firsthand. But “firsthand” is also part of the problem. That’s why three years ago we set out to create a new com- petition: a worldwide Photoshop competition open to every Photoshop user, everywhere. And I’m proud to say that in our third year, the level of competition, the incredible prizes, and international recognition that winning The Photoshop User Awards brings now rivals the prestigious Photoshop Guru Awards, and we just couldn’t be more proud to host this annual competition. Thefirstyear’sBestofShowprizewasanall-expensespaidtripfortwotoParis(togetinspirationtodesign a cover for this magazine). In year two, we sent the Best of Show winner and a guest to Rome and this year, we’re sending the Best of Show winner and his guest to beautiful Maui! I’m honored to announce that this year’s Best of Show winner is…(well, you’ll have to turn to page 51 where we reveal this year’s Best of Show winnerandtheworkofthewinnersineachcategory).Thankstoeveryonefromaroundtheworldwhojoined the competition, and look for our special winner’s cover image on a future issue of PhotoshopUser. It’s also worth noting that this is our largest issue ever (150+ pages!)—we’ve come an awful long way. When NAPP first started 10 years ago, our first issue was 32 pages and was published only four times a year. For this issue’s cover story (starting on p. 40), we have an absolute rock-star lineup of the hottest wed- ding photographers sharing their insights and techniques including: David Ziser on “In the Driver’s Seat” (where David shares his philosophy of excellence in wedding photography); Matt Adcock on “Trashing the Dress” (about the phenomenon of trashing the bride’s gown); and Cliff Mautner on “Stepping Outside the Darkroom” (all about encouraging people to use Photoshop without drawing attention to its use). We also have a special second feature (p. 98) from digital video wizard (and Photoshop World instruc- tor), Richard Harrington, on how to use the Vanishing Point filter to create a VPE file that you can export to After Effects and create a 3D flyby look—all from a 2D image. This guy is just sick! One last thing: If you want to get the most from your NAPP membership, stop by the member website once a week and watch Larry Becker’s “NAPP News” video report. It’s right there on the homepage, it’s just 5-minutes long, and it quickly brings you up to date on the latest member discounts, deals, and news you’ll want to know. We’re getting loads of great feedback from members who watch it religiously and if you haven’t caught it yet, put down the magazine, head over there, and check it out. Thanks so much for your support of the NAPP and what we’re trying to do as an association. It’s great to have you on board! All my best, Scott Kelby Editor and Publisher “We just couldn’t be more proud to host this annual competition [The Photoshop User Awards].” ››photoshopuser›april/may2008 010
  11. 11. EDITORIAL: Scott Kelby, Editor-in-Chief Issac Stolzenbach, Managing Editor Barbara Thompson, Senior Technical Editor Chris Main, Technical Editor Mike Mackenzie, Associate Editor Kim Gabriel, Traffic Director Felix Nelson, Creative Director Dave Damstra, Production Manager Taffy Orlowski, Associate Designer Christy Winter, Associate Designer Dave Korman, Production Designer Contributing Writers Web Team Scott Kelby, Publisher David Moser, Executive Publisher Kalebra Kelby, Executive V.P. Business Manager Larry Becker, Executive Director of the NAPP Paul Parry, Chief Financial Officer V.P., Sales 813-433-2370 Melinda Gotelli, Advertising Director 916-929-8200 Advertising Coordinator 800-738-8513 ext. 115 Advertising Designers (Ronni) O’Neil, Director of Circulation/Distribution 800-738-8513 ext. 135 Fax: 813-433-5015 Customer Service: Letters to the Editor: Photo Gear Desk, and Advice Desk: Photoshop User APRIL/MAY 2008 The official publication of This seal indicates that all content provided herein is produced by Kelby Training, Inc. and follows the most stringent standards for educational resources. Kelby Training is the premier source for instructional books, DVDs, online classes, and live seminars for creative professionals. All contents ©COPYRIGHT 2008 National Association of Photoshop Professionals. All rights reserved. Any use of the contents of this publication without the written permis- sion of the publisher is strictly prohibited. Photoshop User is an independent journal, not affiliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned belong to their respective owners. Some of the views expressed by contributors may not be the representative views of the publisher. ISSN 1535-4687
  12. 12. The world’s most POWERFUL painting and illustration software Natural-Media ® A genuine work of art is the unique expression of the artist’s imagination and hand. Each stroke is distinctive, and each piece is one of a kind. Corel Painter X is the ideal tool for turning your photographs into stunning paintings. Featuring the new RealBristle system that models classical brushes right down to the individual bristles, and an array of art materials and textures that mirror the look and feel of their traditional counterparts, Painter offers unlimited creative freedom. The result? An original work of art, every time. Visit to experience Painter X and download your trial today. ™ www.corel.com/psu free 30-day Created with Painter. Made by hand. Caribbean Romance by Maura Dutra ®
  13. 13. ContributingWriters Photoshop’smostwanted ››photoshopuser›april/may2008 014 Kevin Ames createsevocativephoto- graphs for clients such as Westin Hotels, AT&T, and Coca-Cola. His fourth book, recently published by Peachpit Press, is The Digital Photographer’s Notebook: A Pro’s Guide to Photoshop CS3, Lightroom and Bridge. He teaches the digital arts worldwide. Steve Baczewski is a freelance writer, professional photographer, graphic designer, and consultant. He also teaches classes in traditional and digital fine arts photography. His company, Sore Tooth Productions, is based in Albany, California. Steve can be reached at foxhole510@sbcglobal.net. Peter Baueris the Director of the NAPP Help Desk and a featured colum- nist at Planet Photoshop. As an Adobe Certified Expert, Pete does computer graphics consulting for a select group of corporate clients. His latest book is Photoshop CS3 for Dummies. John Paul Caponigro, an inductee to the Photoshop Hall of Fame andauthorofAdobe Photoshop Master Class, isaninternationallyrenownedfine artist and authority on digital printing. Visit www.johnpaulcaponigro.com and receive a free subscription to his enews Insights. Linnea Dayton has authored, co-authored,andeditedmanybooks,maga- zines,andnewslettersforgraphicdesigners, illustrators,andotherswhousecomputers intheir art. She is currently at work on the 11th edition of The Photoshop Wow! Book, published by Peachpit Press. Jim DiVitale is an Atlanta-based photographer and instructor specializing in digital photography. His clients include IBM, Carter’s, Mizuno USA, Genuine Parts Company, Scientific Atlanta, TEC America, and Coca-Cola. Check out his website at www .divitalephotography.com. Angela Drury isanaward-winning photographer with 18 years’ experience shootingfilmanddigital.Shehasreceived numerousawardsandhasbeenfeaturedin severalgroupandsoloshows.Angelalives inSanFranciscoandworksatAdobeSystemsInc.Toseeher photography,visitwww.angeladrury.com. Daniel East is an author, freelance writer, presenter/trainer, and consultant with more than 20 years’ experience in professional photography, pro-audio, and marketing. Daniel is also founder and president of The Apple Groups Team support network for user groups. Dave Huss, with more than 25 years’experience as a photographer, has authored more than 18 books on digital photographyandphotoediting.Hislatest book is Adobe Photoshop Lightroom 1.1 for the Professional Photographer. Dave is a popular conference speaker in the U.S. and Europe. Katrin Eismann isauthorofPhoto- shop Restoration & RetouchingandPhoto- shop Masking & Compositing. Katrin is theco-founderandpresentChairoftheMPS in Digital Photography Department at the SchoolofVisualArtsinNYC(www.sva.edu/digitalphoto).She was inducted into the Photoshop Hall of Fame in 2005. Laurie Excell has28yearsofphoto- graphy and photographic equipment sales experience. Her images have been showcased in galleries, Audubon calen- dars, Camping Life Magazine, Amtrak publications, and BT Journal. Check out her website at www.excellnaturephotography.com. Jan Kabili is a popular Photoshop author and educator. You can see her Photoshop video podcast at http://photo- shoponline.tv or subscribe to Photoshop Onlineatwww.itunes.com.Viewheronline training videos, including Photoshop CS3 Essentials for the Web, at www.lynda.com. Sherry London is author of Photoshop CS2 Gone Wild and has written a number of other books on Photoshop, Illustrator, and Painter. Sherry also writes tips and product reviews for Photoshop User and Layers magazines, as well as tutorials for Planet Photoshop. Bert Monroyis considered one of the pioneers of digital art. His work has been seen in countless magazines and scoresofbooks.Hehasservedonthefaculty of many well-known institutions, written dozens of books, and appeared on hundreds of TV shows around the world. Deke McClelland is recipient of the Videographer Award for Excellence, the OmniAward(both2007),andauthorofthe full-color Adobe Photoshop CS3 One-on- One (Deke Press/O’Reilly Media). He also hosts the online series, Photoshop Channels & Masks and Photoshop CS3 One-on-One (www.lynda.com/deke). Colin Smith,an award-winning designer, lecturer, and writer, has authored or co-authored 12 books on Photoshop and has created a series of Photoshoptrainingvideosavailablefrom PhotoshopCD.com. Colin is also the founder of the online resource PhotoshopCAFE.com. Scott Onstott, author of Enhanc- ing CAD Drawings with Photoshop, has written and edited dozens of books and videos on AutoCAD, Revit, 3ds Max, Illustrator, and Dreamweaver. Subscribe to his Digital Architect video podcast on iTunes and check out his website at www.scottonstott.com. Rob Sylvanis a trainer, instructional designer, writer, Web developer, and photographer. In addition to being a NAPP Help Desk Specialist, he’s a Senior Image Inspector for iStockphoto.com. Check out his Lightroom tips, tutorials, and presets at www.sylvanworks.com. Glen Stephens,developer of the Tools for Television, Photoshop Toolbox (www.toolsfortelevision.com), has more than10years’experienceinthebroadcast video industry. His company, Pixel Post Studios, provides training and design services for the broadcast video industry. Ben Willmore istheauthorofAdobe Photoshop CS3 Studio Techniques and Up to Speed: Photoshop CS3, as well as co-author of How toWow: Photoshop for Photography.Currently,Benisontourwith hishitseminar“PhotoshopforPhotographers.”Checkoutthe freetipsandtutorialsathiswebsite,www.digitalmastery.com. Chris Orwig, a photographer and author, is on the faculty at the Brooks Institute of Photography in Santa Barbara. His publications include Photoshop CS3 for Photographers, Photoshop Lighroom Essentials, and more. Check out his website at www .chrisorwig.com.
  14. 14. DAZ Studio is a Trademark of DAZ 3D, Inc. Photoshop is a Registered Trademark of Adobe Systems, Inc. View-Master is a registered trademark of Fisher-Price, Inc. Artwork by: Janek, Cwrw, Bigjobbie, 3dstrike, and Adiene. Check it out at www.daz3d.com/3dbridge ™ EASILY pose pre-made models three-dimensionally in DAZ Studio, and see the results immediately in Photoshop!This plug-in is affordable, compatible with any version of Photoshop CS,and seamlessly integrates 3D into your 2D workflow. There’s nothing quite like viewing an image three-dimensionally because, well, life is three dimensional.
  15. 15. Official tour sponsors: Adobe, Photoshop, Illustrator, InDesign and Photoshop Lightroom are registered trademarks of Adobe Systems Incorporated. for more locations, dates, and information about these in-depth and inspiring one-day training seminars call 800-201-7323 or visit www.kelbytraining.com/seminars. It’s time to get excited about Photoshop® all over again! Don’t miss your chance to get up close and personal with the world’s most renowned Photoshop® authors, teachers, and creative gurus.The Adobe® Photoshop® SeminarTour provides a rare opportunity to see the best on the planet teaching the absolute hottest and latest tips, tricks, and techniques. Welcome to the Show! The Most Popular Seminar Tour in the World Fullday only $99 $79NAPPmembers payonly Produced by Your one-day seminar also includes a detailed seminar workbook, keyboard shortcut guide, issue of PhotoshopUser and Layers magazines, and a bonus KelbyTraining DVD ($29.95 value). To register visit www.KelbyTraining.com/seminars WASHINGTON, DC SALT LAKE CITY, UT INDIANAPOLIS, IN PHILADELPHIA, PA DENVER, CO PORTLAND, OR BOSTON, MA COLUMBUS, OH MILWAUKEE, WI FT. LAUDERDALE, FL SACRAMENTO, CA CHICAGO, IL NASHVILLE, TN SAN FRANCISCO, CA SEATTLE , WA NEW YORK, NY Scott Kelby Dave Cross Bert Monroy Ben Willmore
  16. 16. Thin and light, the new Cintiq 12WX gives you the flexibility to work directly on screen the way you want. Rotate the 12.1” display when working flat on your desktop, stand it upright or even use it on your lap. At just 4.4 pounds, the Cintiq 12WX combines a wide-format LCD monitor with Wacom’s patented, professional pen technology to give you the perfect companion for your Mac or PC. Add pen-on-screen control to any computer and even use it to control other displays. The Cintiq 12WX delivers a highly-sensitive pen-on-screen experience so you can work directly on your images and applications in the most natural way possible. For more information, visit: www.Cintiq.com/PSU STARTING AT $999 A new option for working directly on screen
  17. 17. PhotoshopNews AllthelatestonPhotoshop-relatedgearandsoftware ››photoshopuser›april/may2008 018 Adobe Stock Photos discontinued Adobe Systems Incorporated released a notice in February 2008 announcing that it will dis- continue its Adobe Stock Photos operations as of April 1, 2008. Customer support, however, will still be available through June 1, 2008. The company reports that the service hadn’t performed as well as they’d originally hoped and that it will turn its focus to new features in current products and ser- vices with their ever-evolving new technologies. According to James Alexan- der, Adobe’s Director of Product Management, “There is an on- going additional cost factor, and any companyinvolvedinprovid- inga service has to look at how effective it really is for our business and our customers.” Looking forward is Alexander’s mission and he states that, “Based on the Stock Photo experience, there are certain capabilities that will help us to roll out these [new] projects to the professional audience. I don’t think this is the last time Adobe is going to attempt to bring content to its customers.” Alexander says that Adobe is looking at other services to provide for video and online PDF creation and photo-editing services. “People are going to see us experiment with more of the online services…I think it is the natural evolution.” Adobe also reports that some of these new offerings will be revealed later this year and in early 2009. For additional information, visit www.adobe .com/adobestockphotos. Pentax offers new digital SLRs The Pentax faithful will rejoice with the announcement of the new K20D digital SLR.This feature- filled camera finds focus with 14.6 megapixels, a nearly 3" LCD display, and new noise-reduction technology for improved image quality. Add to that shake and dust reduction, enhanced dynamic range, a new LiveView function to view the image on the monitor when you’re shooting, six image modes, and a weather-resistant body—a lot of value for the $1,299.95 price tag (body only). Should you need a more compact system, check out Pentax’s new K200D with 18–55mm at $799.95. The K200D offers many of the same new technologies found in the K20D, but with a 10.2-megapixel CCD (charge coupled device) sensor as opposed to a CMOS sensor. While the K20D uses a rechargeable li-ion battery, the K200D runs on AA batteries. Both models feature 11-point autofocus and 16 segment metering systems. Bring in the new smc Pentax DA lenses due to ship in May and you’ll have a lot of camera in your hands for a very good price. Get more details from www.pentaxslr.com. D60 digital SLR now available from Nikon The new Nikon D60 compact, digital SLR camera is very fast—a stunning 0.18-second startup— and includes the new AF-S DX NIKKOR 18–55mm f/3.5–5.6GVR image stabilization lens. Nikon’s smallest digital SLR, the D60 has lots to offer with big features, such as a 10.2-megapixel CCD sensor with Active D-lighting to optimize quality under extreme lighting conditions. Like many new products in this category, the in-camera features now include special effects and modest retouching abilities. The D60 sports dust-detecting technology that actually shakes the particles from the sensor and uses Nikon’s Airflow Control System to reduce dust with each shot. A 2.5” LCD monitor makes images easy to see and menus easy to use. The D60 accepts SD, SDHC, and Eye-Fi wireless memory cards. In terms of performance, this is all-Nikon with continuous shooting up to 3 fps, eight shooting modes, EXPEED image processing, and 3D Color Matrix Meter- ing II with three-area autofocus (similar to high-end Nikon systems). The package is priced at around $750 with a body-only option in the mid-$600 range. Visit Nikon at www.nikonusa.com. Kodak unveils brand-new sensor Imaging pioneer Eastman Kodak has announced an innovation in image-sensor technology that further reduces the size of the device required to get impressive image quality. The Kodak KAC-05020 image sensor is the first 1.4-micron, 5-megapixel device that’s small enough to make even a camera-equipped mobile telephone produce quality images. The new sensor outperforms other smaller-pixel technologies by increasing the sensitivity and reversing the polarity of the silicon to improve the integrity and structure of each pixel. According to Kodak, this produces a CMOS sensor that rivals the CCD sensors found in top-end hardware. Kodak has also increased the light sensitivity with its TRUESENSE Color Filter Pattern to add panchromatic (clear) pixels to the sensor to detect all wavelengths of visible light. This is reported to dramatically improve images in low-light conditions and reduce motion blur in high-speed motion images. The new sensor is capable of imagery up to ISO 3200 with support for 720p video at 30 fps. It supports Texas Instruments’ OMAP and OMAP-DM to employ enhancement features, such as image stabilization, red-eye reduction, and facial recognition in mobile communication devices. To find out more, check out www.kodak.com/go/imager. Nikon D60 Pentax K20D
  18. 18. ››www.photoshopuser.com 019 onOne Software acquires Liquid Resize Technology onOne Software, known for its imaging and design tools, announced that it has acquired Liquid ResizeTechnology— a method of image resizing originally developed by Ramin Sabet and Irmgard Sabet- Wasinger in Vienna, Austria. Mike Wong, Vice President of Marketing at onOne Software, explains, “The technology [of Liquid Resize] that we acquired is entirely different than the patented resizing technology that we have in Genuine Fractals, which is intended when you need to make a photo signifi- cantly larger. The Liquid Resize technology will allow users to change the aspect ratio of a digital image while minimizing distortion. You’ll be able to take a 4x5 aspect ratio, ‘stretch’ it to a panorama format, and keep all of the details in the image in correct proportion.” For more details, go to their website, www.onone- software.com. Check out the new and considerably improved Aperture 2. Apple Inc. has kept all of the power and functionality of Aperture while updating the interface to simplify using the product. Aperture 2 has more than 100 new features added to its photo-editing and management software—most notably a streamlined user interface and entirely new image-processing engine. Also, Aperture 2 has new image-adjustment tools, including one called“Recovery,”which pulls back“blown”highlights. Priced at $199 (upgrade $99), Aperture now seamlessly integrates with Apple’s .Mac, iLife, iWork, iPhone, iPod touch, and Apple TV products. In addition, Apple continues to roll out hardware products with the new MacBook Pro models. The update to the line unleashes the power of Intel’s new super-efficient Penryn chips and NVIDIA GeForce 8600M GT graphics cards, with up to 512 MB of video memory, plus the addition of multitouch gesturing on the track pad. Offered with either the base 2.4-, 2.5-GHz, or the seemingly inexplicable 2.6-GHz option (for an additional $250), the build-to-order options include a 200-GB, 7200-rpm hard drive and up to 4 GB, 667 MHz DDR2 SDRAM. All of the connectivity is there too, with FireWire 400 and 800, USB 2 (15” offers two; 17” offers three), Bluetooth 2.1/EDR, Express- Card/34 slot and 802.11n wireless AirPort Extreme. The 17” model also boasts the more environmentally friendly arsenic-free screen with the option for a mercury-free LED display. Pricing starts at $1,999 with lots of options available. For more information on Aperture 2 and the new MacBook Pro, visit www.apple.com. By Daniel M. East Apple updates Aperture and MacBook Pro Sony develops new CMOS Sensor Sony Corporation announced the development of a 35mm full-size (diagonal 43.3mm /Type 2.7), 24.81 effective megapixel, ultrahigh-speed, high image quality, CMOS image sensor that’s designed to meet the increasing requirement for rapid image capture and advanced picture quality within digital SLR cameras. In addition, Sony’s Column-Parallel A/D (analog to digital) conversion results in less image noise with improved performance. While full production is said to be under way for later this year, there’s no information about which models might contain this new sensor. FontAgent Pro Server 2.5 announced Insider Software has announced its new font-manage- ment system, FontAgent Pro Server 2.5. The company promises Web administrators a way to get consistency and control over font use by providing access to only those fonts that have been designated for specific users, groups, and projects. FontAgent Pro Server 2.5 boasts new zero-config- uration architecture that can access user information stored in Active Directory servers, and it has also been updated to take advantage of the Mac OS X 10.5 Leopard operating system. FontAgent Pro can help organizations to manage and reorder fonts easily while tracking license usage. The new font server will also warn administrators when license limitations are exceeded. For more information, visit www.insidersoftware.com. Sharp and Sony sign LCD Memorandum of Intent Sharp Corporation and Sony Corporation have signed a nonbinding memorandum of intent to create a joint venture for new, large-sized LCD panels and modules. Assuming they receive government approval, the Sakai City, Osaka, Prefecture LCD production facility (currently under construction) will manufacture the new 10th generation mother glass substrates for the new products. According to a press release from Sony, a new company name will be announced by April 2009 with the majority of the total investment and capital (66%) coming from Sharp vs. Sony’s 34%. Visit www.sony.net for details. MacBook Pro COURTESYOFAPPLE,INC.
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  21. 21. NAPPMemberNews Allthelatestonmembershipandbenefits ››photoshopuser›april/may2008 022 PhotoshopUser TV now on the FOX Business Network PhotoshopUser TV made the transition from the Web to cable television February 5 with its debut at the I-was-up- late-anyway timeslot of 1:30 a.m. (EST) on the FOX Business Network. Reaching more than 30 million homes nationwide, the FOX Business Network can be found on multiple cable operators, including Time Warner, Comcast, Charter, and Direct TV. (Check your local cable provider or Satellite service for availability.) Of course, PhotoshopUser TV will still be posted on the website (www.photoshopusertv.com), and the iTunes/iPod version will be available as always. But now you can watch Scott Kelby, Matt Kloskowski, and Dave Cross from the comfort of your favorite couch or chair. Climb inside the mind of photography guru, Joe McNally Joe McNally’s vivid, dramatic photography has appeared in the pages of Sports Illustrated, Time, and National Geographic. Now he is breaking new ground with his newest photography book, The Moment It Clicks, by elegantly blending the stunning images and layouts of a coffee table book with the industry tips and tricks of a training manual. Joe breaks down pithy photogra- phy concepts into bite-size pieces and shares personal insights based on a lifetime behind the lens. Although unheard of to most photography books, he even gives readers the“inside scoop”on how each shot was taken and the challenges he had to overcome. TheMomentIt Clicks is currently available to NAPP members at www.KelbyTraining.com for $33.99. Master Layers with Matt Kloskowski’s new book As most of us know, mastering layers is the key to improving your overall efficiency and creativity in Adobe Photoshop. This was the impetus behind Layers: The Complete Guide to Adobe Photoshop’s Most Powerful Feature—the latest book by NAPP instructor Matt Kloskowski. Described by Matt as “the Photoshop book I wish had been around when I was learning Photoshop,”Layers covers such topics as managing multiple layers, layers-based photo retouching, and time- saving design techniques. And it’s written in a clear, concise, fully illustrated style that makes learning easy and fun. NAPP members can get a copy of Layers:TheCompleteGuide to Adobe Photoshop’s Most Powerful Feature at www.Kelby- Training.com for $23.99.
  22. 22. By Bryce Smith Visit the NAPP member website (www.photoshopuser.com) for more info regarding any item on these pages or anything concerning your membership. If you have suggestions or ideas for enhancing your NAPP membership, please send them to the NAPP Executive Director, Larry Becker, at lbecker@photoshopuser.com. Recent NAPPDiscounts Mister Retro—Create profes- sional-quality distress effects with these MachineWash image filters. Each volume contains 60 image filters to texturize, age, and weather layered art- work in Photoshop. NAPP Members receive a 10% discount on all individual Machine Wash volumes. DigitalTechnology Centre—The DigitalTechnology Centre offers NAPP members a 10% discount on its hands-on workshops.The Centre trains creative profession- als and serious hobbyists in photography, graphic design, digital fine art, and videography. LocatedinsunnySarasota,FL,the CentreisanAdobeCertifiedTrain- ing Center and Corel Certified TrainingPartnerinCorelPainter. The Lepp Institute of Digital Imaging—NAPP Members receive 15% off when they reg- ister online or by phone for any courses at the Lepp Institute. Located on the scenic California coast,The Lepp Institute is the premier digital darkroom in the United States.With only 16 students, an instructor, and two teaching assistants per course, participants receive the indi- vidual attention they deserve. Adobe—As a proud partner of NAPP, Adobe has extended a 15% discount on most products from the Adobe website. If you access the Adobe Online Store from the NAPP website, you will see the discount instantly.The discount also applies to third- party plug-ins, training, and books that are available for sales directly from Adobe through the Online Store or by phone. Artlandia—NAPP members receive a special 10% discount on Artlandia SymmetryShop, a Photoshop plug-in that lets you create pattern designs from your favorite digital images. NAPP members also get the same dis- countonallSymmetryShopvalue packages, including a bundle with Artlandia SymmetryWorks, a pattern design plug-in for Adobe Illustrator. ››www.photoshopuser.com 023 It came from the forums The NAPP member community is one of the greatest, yet most overlooked benefits of belonging to the largest image-related association in the world. We have thousands of members who frequent our member forums, and besides Photoshop World or a 1-day seminar, the sense of community is strongest there in the forums. And it’s an incredible resource for getting others to help you with suggestions, critiques, and referrals to resources they’ve used. Sure, NAPP professionals are great. Scott Kelby, Dave Cross, Matt Kloskowski, Corey Barker, Rafael Concepcion, and others will show you all kinds of Photoshop tricks and techniques. And if you ask a question of Peter Bauer over at the Help Desk, you’ll get an answer right away. On the other hand, if you want some group input to help you improve a project or if you want to ask a few hundred people if they have seen a technique that will improve a design you’re working on, your answers are just a forum post away. There’s really no way we can convey all the great ways people meet, network, and trade great information in our forums, so you should visit them at your earliest convenience and go to the “Introduce yourself!” thread. Oh, and for the record, you’ll find that the NAPP member forum is an incredibly friendly environment with great moderators who keep everything moving in a positive, helpful direction. So if other forums out there have turned you off, don’t worry! The NAPP forums are friendly, safe, fast, and amazingly helpful! [Note: This member surely meant “pimping” in the kindest sense of the word and did not intend for it to sound the way that might get a news correspondent suspended.—Ed.]
  23. 23. The following conferences and seminars are sponsored or produced by the National Association of Photoshop Professionals and provide special discounts to NAPP members.Visitwww.kelbytraining.com for all the latest seminar information. UpcomingSeminars MaximumPhotoshopCS3 featuringDaveCross Boost your creativity, productivity, and skills, and discover how to truly utilize Photoshop’s most powerful tools and features. This seminar will teach you the hottest tips, tricks, and techniques to maximize your creative talents! NEWYORK, NY May 30, 2008 Jacob K. Javits Conv. Center Regular admission is $99. NAPP members pay $79. Call 800-201-7323, or register online at www.kelbytraining.com. PhotoshopCS3 forPhotographers featuringBenWillmore Enrich your images with valuable tips for everything from setup to printing your masterpiece. Photoshop Hall of Fame guru Ben Willmore reveals key digital photog- raphy concepts, powerful adjustment tools in Photoshop, and remarkable restoration and manipulation techniques. CHICAGO, IL May 19, 2008 Donald E. Stephens Conv. Center NASHVILLE,TN May 22, 2008 Nashville Conv. Center SAN FRANCISCO, CA May 28, 2008 South San Francisco Conf. Center Regular admission is $99. NAPP members pay $79. Call 800-201-7323, or register online at www.kelbytraining.com. PhotoshopCS3 CreativityTour featuringBertMonroy While you may not be able to draw like Bert (he’s truly the master), in this seminar you’ll learn the Photoshop techniques he’s developed to create realistic images that boggle the imagination! It’s the perfect seminar for Photoshop users, photog- raphers, and illustrators alike! PHILADELPHIA, PA April 18, 2008 Pennsylvania Conv. Center BOSTON, MA April 30, 2008 John B. Hynes Conv. Center MILWAUKEE,WI May 7, 2008 Midwest Airlines Center Regular admission is $99. NAPP members pay $79. Call 800-201-7323, or register online at www.kelbytraining.com. PhotoshopCS3PowerTour featuringScottKelby Amplify the impact of your work with high-voltage, hair-raising techniques for Photoshop CS3.This seminar, created by the #1 best-selling computer book author, Scott Kelby, will boost your already impres- sive Photoshop skills with awe-generat- ing effects used by today’s industry pros. For registration and dates, call 800-201-7323 TheAdobePhotoshop LightroomLiveTour featuringScottKelby Take your photography to a whole new level of productivity, efficiency, and fun with real-world insider techniques that make your life easier and free your time so you can do what you really want with your photography—rather than boring, repetitive production tasks. For registration and dates, call 800-201-7323 PhotoshopWorld Conference&Expo ORLANDO, FL April 2–4, 2008 Orange County Conv. Center You’ll learn the most up-to-date tech- niques and hottest tips for Adobe Photo- shop CS3, Photoshop Lightroom, and Photoshop CS3 Extended from a team of the industry’s most talented and creative instructors. And don’t forget theTech Expo where you can get an insider’s look at the latest products and technologies. General admission is $699. NAPP members pay $599. Students (with ID) pay $149. Call 800-201-7323, or register online at www.kelbytraining.com. ■ NAPP-SponsoredPhotoshopTraining LearnthelatestPhotoshoptechniquesfromthehottestPhotoshopeducators ››photoshopuser›april/may2008 024 Instructorssubjecttochangewithoutnotice
  24. 24. Looking for a unique way to show off that beautifully saturated photo? Consider having it printed on metallic paper from Mpix. Fine art,special events,greeting cards and special images all look stunning when printed on metallic. METALLICPRINTS! Visit www.mpix.com to see our full line of photographic and press products. ImagecourtesyofTheVelvetTrunk,Franklin,TN.
  25. 25. ■ BY COREY BARKER ››Photoshopuser›april/may2008 026 Video games are extremely well designed these days, especially the packaging. For example, I saw this interesting effect on the cover of an EA game called Burnout Paradise. Basically, it’s an inverted mask revealing the image within the object and leaving the background blank. Here’s a quick technique to achieve a similar effect. UseInvertedMaskingforEffect Down&DirtyTricks ThehottestnewPhotoshoptricksandcoolestspecialeffects STEP ONE: Start by picking the base image for your design— we selected a photograph of a car that’s positioned just as needed for the end composition. Then choose a background image that will be revealed within the outline of the car—we’ll use this cityscape. Note: Some of the settings used in the following steps will vary depending on the images you choose, so you may need to experiment a little. STEP TWO: Open your base image (our car). (Tip: Always use a copy image and retain the original, just in case.) Remove the color information from the image by pressing Shift-Command-U (PC: Shift-Ctrl-U).We need to smooth out any fine noise and minute detail in the image and retain relatively sharp edges so go to the Filter menu, under Blur, and choose Surface Blur. In the dialog, enter 10 pixels for Radius, 5 levels forThreshold, and click OK. ©FOTOLIA/IROCHKA©FOTOLIA/MICHAELSHAKE
  26. 26. ››www.photoshopuser.com 027 STEP THREE: Because of the varying contrast in this image, we’ll process two versions of it: one for the roof portion and one for the lower chassis. Click-and-drag the Background layer to the Create a New Layer icon to add a Background copy layer. For this copy layer, go under the Image menu and choose Adjustments>Threshold. In the dialog, choose 50 forThreshold Level and click OK. If there are noisy areas, that’s okay, because we’ll paint later to eliminate them, as needed. STEP FIVE: Click the Background layer to select it and press Command-I (PC: Ctrl-I) to invert the values of the image.Then go into the Image menu, under Adjustments, and choose Thresh- old.This time we enter 145 and click OK. (Remember that some experimentation may be needed depending on your image.) STEP FOUR:The areas around the top of the car will be our focus for this layer. Click on the Lasso tool (L) in the Toolbox and make a selection around everything that you want to remove—for our example, it’s the bottom section including the wheels, the bottom of the car, and the shadows.Then press Shift-Delete (PC: Shift-Backspace) to open the Fill dialog, choose White from the Use menu, and click OK to fill the selection with white (as shown). Press Command-D (PC: Ctrl-D) to deselect and click the Eye icon next to this Background copy layer to hide it.
  27. 27. ››photoshopuser›april/may2008 028 continued on p. 30 STEP EIGHT: It’s time to open the image that will be masked within the graphic (our cityscape). As we’ll need a final RGB document to composite the elements into, click on File>New. In the dialog, we used 6.5" for Width, 8" for Height, and 200 ppi for Resolution, and then clicked OK. With the Move tool (V), drag your background image into this new document and posi- tion it at the bottom (as shown). Note:You may have to use Free Transform (Command-T [PC: Ctrl-T]) to resize your image; remem- ber to press the Shift key while resizing to constrain proportions. STEP SEVEN: Press Shift-Command-E (PC: Shift-Ctrl-E) to Merge Visible layers and you should now have a black-and-white shape of the car on one layer. Now we’ll load the white area as a selec- tion. In the Channels panel (Window>Channels), press the Command (PC: Ctrl) key, and click on the RGB composite channel. This will load the Luminosity as a selection. Which, in this case, is all the white area of the image. STEP SIX:With the Background layer active, use the Lasso tool to select the top area of the car and fill this area with white, as we did in Step Four. Press Command-D (PC: Ctrl-D) to deselect. Next, click the Background copy layer and its Eye icon to make it visible and active. Set this layer’s blend mode to Multiply, which willblendtheseelementstogethernicely.NowsetyourForeground color to black, choose a small, hard-edged brush, and paint the small areas of white around the car.
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  29. 29. ››photoshopuser›april/may2008 030 STEP TEN: Be sure the cityscape layer is active and the selection is positioned over the image, then click on the Create Layer Mask icon at the bottom the Layers panel. This will mask the street image in the shape of the graphic. Now unlink the layer mask from the layer by clicking on the chain icon between the thumbnails. STEP NINE: Go back to your base (car) image with the active selection. Click on any selection tool (it doesn’t matter which one but make sure the New Selection icon is clicked in the Options Bar) and drag your cursor over the selected area—it will change to a move-selection indicator (circled below). Drag-and-drop this selection onto your working document. If you need to scale this selection, go to the Select menu and choose Transform Selection, press the Shift key (to constrain the proportions), scale the selection to fit within your document boundaries. Press Enter (PC: Return) to commit the changes. STEP ELEVEN: Click the layer mask thumbnail to highlight it and press Command-T (PC: Ctrl-T) to bring up the Free Trans- form bounding box. Slightly rotate the mask counterclockwise to add a little more dramatic effect, then reposition, if neces- sary. Now click on the layer (not the mask) to make it active and use Free Transform to similarly rotate the image to somewhat match the angle of the car. Reposition this image to reveal the best part through the mask. To complete our composition, we used Levels (Command-L [PC: Ctrl-L]) to increase the contrast of the street image with a quick adjustment then added some text. ■
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  31. 31. ■ BY SCOTT KELBY AND FELIX NELSON ››Photoshopuser›april/may2008 032 I saw this subtle design technique used on sample pages from Australian wedding photographer Yervant, who sells a large collection of wedding templates (for more info, visit www.yervant.com.au). One of his templates had this embossed corner effect I hadn’t seen used in this way before. EmbossedWeddingOrnamentCornerEffect Down&DirtyTricks ThehottestnewPhotoshoptricksandcoolestspecialeffects STEP ONE: He also used it with type for a similar effect. But to get to that point, it takes a little setting up first. Begin by creating a new RGB document (File>New) in whatever size you’d like for your wedding album page (in this case, an 8x10"), then open three photos in portrait orientation that you’d like to appear on the page (as shown here). Choose a light-to-medium gray as your Foreground color and press Option-Delete (PC: Alt-Back- space) to fill your Background layer. STEP TWO: Take the Move tool (V), drag the main photo you want to appear on the page into that new document, and then press Command-T (PC: Ctrl-T) to bring up the Free Transform bounding box. Press the Shift key (so your photo resizes propor- tionally), grab a corner, and size it so it appears approximately the size you see here. Now, press Command-R (PC: Ctrl-R) to make the Rulers visible, then click-and-hold on the top ruler and drag down a guide; position it along the two center handles of the bounding box (as shown here). Now you have a guide in place for aligning your next two photos. Press the Return (PC: Enter) to commit the transformation.
  32. 32. ››www.photoshopuser.com 033 STEP THREE: Drag the next photo over to the document and bring up FreeTransform again.You want this photo to be nearly half as tall as your main photo. So grab a corner, hold the Shift key, and drag inward to scale it down. Make sure it fits to the left of your photo but slightly above that center guide. Press Return (PC: Enter) when the size looks right. Now do the same thing with the other photo, but place it below the centerline so all three photos are in place (as shown here). Now click on the top layer and press Command-E (PC: Ctrl-E) twice to merge the three photo layers into a single layer. Now you’re going to add a black stroke border around your photos. Choose Stroke from the Add a Layer Style (ƒx) pop-up menu at the bottom of the Layers panel. When the dialog appears, choose Inside for Position (so your corners don’t appear rounded), change your stroke Color to black, then click OK. STEP FIVE: Now that our setup is out of the way, let’s do what we came here to do: create blind-embossed initials and ornamentals on the background. First, click the Background layer, then go to the Toolbox and choose the Custom Shape tool (nested under the Rectangle tool). Now go up to the Options Bar and click on the Custom Shape Picker. When the library appears, click on its flyout menu and choose to load the Ornaments shapes set (as shown here). Once you choose it, a dialog will appear asking if you want to replace the existing shapes, or add (Append) to them. Click Append and these Ornament shapes will appear at the bottom of the Shape library. STEP FOUR: Press Command-R (PC: Ctrl-R) again to hide the Rulers. Now you’re going to convert these photos to black and white by choosing Black & White from the Create New Adjust- ment Layer pop-up menu at the bottom of the Layers panel. (Note: If you don’t have Photoshop CS3 yet, you can press Shift- Command-U [PC: Shift-Ctrl-U] instead to do the conversion.) When the Black and White dialog appears, choose whichever built-in preset looks best to you, or create your own custom black-and-white conversion using the sliders, and when it looks good to you, click OK.
  33. 33. ››photoshopuser›april/may2008 034 STEP EIGHT: The final step is to duplicate this layer and put a copy at all four corners so it creates a little embossed frame around your corners (as shown here).To do that, you simply press Command-J (PC: Ctrl-J) to duplicate the embossed shape layer (Layer 2), and then bring up FreeTransform. Once the FreeTrans- form bounding box appears, Control-click (PC: Right-click) inside the bounding box, choose whatever option you need to rotate the shape to create the other corners. In all, you should have one original corner and seven duplicates, all flipped and rotated (I let each corner shape overlap a little so they look like one shape, instead of two separate pieces). STEP SEVEN: Press Command-J (PC: Ctrl-J) to copy the selected area (on the Background layer) and put it up on its own layer (you won’t be able to see anything on that layer quite yet). Choose Bevel and Emboss from the Add a Layer Style pop-up menu. When the dialog appears, lower the Size to 1 (to make the edges thinner) and increase the Soften to 6. Click Down for Direction (so it looks like it’s embedded down into the gray background). Down at the bottom of the dialog, increase the Highlight Opacity to100%,lowertheShadowOpac- ityto50%(tomakethehighlights brighter and the shadows less dark), and click OK. STEP SIX: Select Ornament 5 from the library and make sure the Shape Layers icon is clicked on the left side of the Options Bar. Press the Shift key, click-and-drag out this shape, and then position it above the top-left corner.Then go to the Layers panel, hold the Command key (PC: Ctrl key), and click on the Shape Layer’s thumbnail to load it as a selection.You can delete this layer altogether (drag it into the Trash) because now that your selection is in place, you don’t need it anymore. OPTIONAL STEP: For this example, I used the built-in shape from Photoshop but if you go to iStockphoto.com and search for “Ornaments,”you’ll find literally thousands of custom-made shapes you can buy from $1–5. Another technique used by Yervant is to do the exact same thing but with the bride’s first initial. So instead of using the Custom Shape tool, use aType tool and input her first initial.Then Command-click (PC: Ctrl-click) on the layer’s thumbnail to load it as a selection. Throw the type layer away, and take the selected area up to its own layer (just like you did with the selection you made from the shape). Add the Bevel and Emboss effect and you’re done (as seen in the inset to the right). ■ ALL IMAGES ©ISTOCKPHOTO/VICKI REID
  34. 34. www.onOnesoftware.com NEW! Get back to shooting today with PhotoTools Professional Edition. For more information, free 30-day demo and video tutorials... © 2007 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc.The onOne Software logo, Genuine Fractals, Mask Pro, PhotoFrame Pro and Intellihance Pro are trademarks of onOne Software. Adobe and Photoshop are trademarks of Adobe Systems Incorporated. All other trademarks are the property of their respective owners. Instantly give your photos the professional look with the new PhotoTools Professional Edition. Jack Davis (Photoshop Hall-of-Fame member and Photoshop instructor) and Kevin Kubota (renowned professional photographer and Photoshop instructor) have teamed up with OnOne Software to bring you this indispensable Photoshop Plug-In. PhotoTools Professional Edition includes over 250 professional effects from Jack Davis and Kevin Kubota. Select, preview and stack multiple effects to get the perfect one-of-a-kind look and then start up the powerful PhotoTools batch processing engine to quickly enhance an entire shoot at once. Get PhotoTools Professional Edition today and save time, energy and money, while getting the creative quality you dream of. PhotoTools Professional Edition, another way that OnOne Software gets you back to shooting. “A truly indispensable piece of software has 2 qualities: everyday usefulness and an intuitive interface. Phototools Pro has done that perfectly, and in turn made itself truly indispensable to the Photoshop artist.We use it everyday in our studio.”—KevinKubota InstantlyGiveYour Photosthe Professional Look ORIGINAL
  35. 35. ››photoshopuser›april/may2008 036 ■ BY MATT KLOSKOWSKI Energy drinks are popping up all over the place these days. Recently, we saw a can with a scratched surface, almost like it was ripped from the can—really cool. And you know what happens when we see something cool—yep, we have to re-create it in Photoshop. JustScratchingtheSurface STEP ONE: Start out with a blank canvas (File>New). For flexibil- ity, start out big: We used 1200x2000 pixels with a Resolution of 300 ppi; however, if you’re creating something for theWeb, 72 ppi will work just fine. To set the mood for the image, we’ll fill the background with black: Press the D key to set your Foreground color to its default black and then press Option-Delete (PC: Alt-Backspace) to fill it. Down&DirtyTricks ThehottestnewPhotoshoptricksandcoolestspecialeffects STEP TWO: Now comes the logo or whatever object you want to make look like it was scratched. (This technique works best on thin objects because a claw mark doesn’t leave a very wide opening.) We called our energy drink“Mammoth,”so using the Lasso tool (L), we drew a jagged M on the canvas (to add to your selection just press-and-hold the Shift key).We were deliberately unsteady with the mouse to give the impression of jagged edges. Click the Select menu, choose Modify>Smooth and in the dialog, enter a setting of 5 pixels, then click OK to smooth the selection a bit.
  36. 36. ››www.photoshopuser.com 037 STEP THREE: Next, click the Create New Layer icon at the bottom of the Layers panel to create a new layer (Layer 1). Click on the Fore- ground color swatch at the bottom of theToolbox and set the color to bright green (we used R:124, G:189, and B:53), then click OK to close the Color Picker dialog. Press Option-Delete (Alt-Backspace) to fill the selection with the green color we just chose, and then deselect (Select>Deselect) the logo selection). STEP FOUR: Our“M”is kind of flat so let’s give it some depth. Click on the M layer to make sure it’s active in the Layers panel, then click on the Add a Layer Style icon (the small ƒx icon) at the bottom of the Layers panel, and choose Inner Shadow. Make sure your settings (ours are the default) are as shown (or similar) but don’t click OK yet. STEP FIVE: Next, click on the words“Inner Glow”in the Styles list on the left (make sure you click on the words, not just the checkbox) to add an Inner Glow layer style. Again, your settings should be similar to what’s shown here. Don’t forget to change the color as well—click on the color swatch and when the Color Picker opens, drag your mouse (it changes to an eyedropper) and click on the green in your image. Go ahead and click OK to close the Layer Style dialog.
  37. 37. ››photoshopuser›april/may2008 038 STEP SEVEN:To complete the“highlight,”click on the white M layer (Layer 2) to target it. Select the Move tool (V) and use your Arrow keys to nudge the white layer up and to the left.We pressed the Left Arrow key and the Up Arrow key only one time each, but you can try pressing them twice to make the highlight appear really strong. You can also try changing the Opacity of the white M layer (Layer 2) to around 60–70% to adjust the highlight strength. STEP EIGHT:You’ll probably have to resize your logo to fit on a can (since we made it so large).Then place your two M layers on top of a can (ours is courtesy of iStockphoto), add some text, and you’ve got an energy drink all your own! ■ STEP SIX: Next we need a touch of highlight on the outer left edges (where the light would be coming from) so hold down the Command (PC: Ctrl) key and click on the M layer’s thumbnail to load the M as a selection. Now, press-and-hold the Command (PC: Ctrl) key and click on the Create a New Layer icon to create a new layer below the M layer. Press the D key and then press Command-Delete (PC: Ctrl-Backspace) to fill the selection with white. Press Command-D (PC: Ctrl-D) to deselect. ©ISTOCKPHOTO/DARYARYAN
  38. 38. TOP LEFT BY MATT ADCOCK AND SOL TAMARGO; TOP RIGHT BY CLIFF MAUTNER; BOTTOM BY DAVID ZISER
  39. 39. ››www.photoshopuser.com 041 edding photography has seen the greatest increase to its ranks in years, and we all know why: digital cameras. Hey, the cost of membership into the “Wedding Photography Country Club” is a lot lower than it used to be. In pre-digital days, you practically had to mortgage the house for the equipment—Hassel- blads, Mamiyas, and Bronicas. And I haven’t mentioned lenses; you’d need to purchase the big “potato-masher” flash units to go with those fancy, expensive cameras. The cash outlay was often around $10,000–$20,000 or higher if you wanted pro results for your client. How can the influences of the digital age help us become better wedding photographers? Here are the facts: Equipment and lab prices are getting cheaper, faster, and better in this digital age, so photographers are poised in the driver’s seat to have the most profit- able times ever. It’s no wonder that so many people are jumping on the wedding photography bandwagon, as it seems like an easy way to earn a few extra dollars. For most emerging pros, however, that’s not enough to make the house and car payments. So, if you want to be a better wedding photographer and become more successful, buckle your seatbelts because here’s what you have to do. What can you do to make your images stand out from the crowd? The reality is that wedding photography looks pretty much the same these days—just Google “wedding photography” and you’ll see. Sure, there are some good shooters, but much of what you’ll see is pretty standard. Maybe you need to ask yourself, “ How are my images the same and how are they different from the competition?” Start by looking at what kind of images your competitors are producing. Take note of the kind of customer service they’re known for, what kind of products they offer, and where they are in terms of pricing, etc. Make lists and be specific. Then determine how many of the items on your list are the same as your competitors. The trick is to change as many of your similarities as possible into differences. (Did you know that customers will spend a lot more on perceived differences than similarities?) Work this list diligently, revisit it regu- larly, and make changes quickly when more parallels creep back. Otherwise, if everything looks the same, then price becomes the choice, and cheap wins! Something else to consider is what kind of passion you bring to your wedding photography? An article I read recently claimed that many wedding photographers are overpriced, based on the premise that if you’reonlyinitforthemoney,youbringnopassiontotheevent.Iagree! Several years ago, during a weeklong wedding class I was teach- ing, one of the class members asked another (who had traveled from Israel): “Why are weddings such a big event for people of your faith?” His answer is as clear to me today as it was 10 years ago. “In the over 5,000-year history of people of my faith, we endured by living from one joyous event to the next!” That’s when it became crystal clear to me that the role of the photographer was more than just about shooting a wedding. It’s about capturing the most joyous events in our clients’ lives. As we look through our viewfinders, each wedding photographer must see and feel that “joyous event” and only then will we be able to capture all the heartfelt images our clients deserve. It’s an honor for us to participate in such an important event. What’s your basic lighting and shooting technique?” Do you set your camera to “P for Professional” and just shoot away? Or have you read the manual cover-to-cover and learned all the magic your camera has to offer? Have you reviewed all the custom settings for your camera andflashandpracticedusingthecameraonthosesometimes-obscure settings? If not, your camera’s only firing on half its cylinders and it’s time for a “tune-up.” Read the manual, then practice on your spouse, practice on your kids, practice on your friends and family. Just keep practicing until it feels natural.
  40. 40. 042 ››photoshopuser›april/may2008 It’s not about having every lens in your gear bag. For weddings, my basic gear bag would contain just two Canon 40Ds, one with 50mm f/1.4 lens, (the f/1.8 version will save you about $275), the other would be outfitted with a 17–85mm IS lens, with a third 70–200mm f/4 IS lens also in the bag. Couple this with two Canon 580EX II flashes, a monopod, 36" translucent umbrella, and a Quantum FreeWire, radio-controlled setup and I’m ready to go. Down the road, you can mix it up with a 10–22mm super-wide-angle fisheye lens, room lights, etc.—but that’s after your wallet begins to fatten up. So how do you get the creative juices flowing? Arrive early and start building a plan. First I walk around the interior, exterior, grounds, and any special nooks and crannies I can find, familiarizing myself with the location and looking for the places that give me the best, some- times the most dramatic, elements for my compositions. Remember, you have to work fast on the wedding day. Don’t do your research after things get started—that’s way too late! Another way to get great images I learned from the late Monte Zucker, legendary portrait and wedding photographer, who said, “First be a good copier.” Otherwise, first learn the techniques of a master photographer you admire, then get those techniques down cold so it becomes routine. Once they’re burned into your brain, you’re ready to add your own creative juices to the mix. (I studied with some of the greats: Monte Zucker, Rocky Gunn, Al Gilbert, Dean Collins, and many more. After a while, I broke away from the comfort of their styles, incorporated my own spin on what I’d learned, and eventually developed my own style.) Also, remember, nobody knows it all. We should be students for our entire life—it’s the only way to continue to learn and grow. How about going back to school? For free! It’s easy, just head over to Google.com, Flickr.com, and Photobucket.com and search for “wedding pictures.” On Google, you’ll get more than 19,000,000 matches; Flickr more than 200,000; and Photobucket more than 45,000—a lot of inspiration and many great ideas. The Flickr site even lets you group your favorites. As you add to your favorites, you’re continually creating a go-to resource of ideas for your wedding shoots. (Remember, these are just for your personal review and can- not be used in any promotional way.) The point is that as you save your favorite photographers’ site links and your favorite images from your image searches, then compile them into your very own reference library, the learning possibilities are endless. Okay, you have a great set of ideas, you’re all fired up and ready to go, but how are you going to use this energy and inspiration to improve your photography? Try this: Before every wedding, promise yourself that you’ll try something new and different and that you’ll work on the weakest aspects of your technique. Tiger Woods does it every day, so if you want to be a “Tiger” in this profession you should do it too! Get a plan together based on your meeting with the client, your timeline, and past experience of the venues. Set the schedule, mak- ing sure to fit “Murphy’s Law” (if things can go wrong, they will) into the equation. Some photographers have the “If you can’t shoot ’em good, shoot ’em fast” motto but forget that philosophy and just shoot smart. For every action, there’s an equal but opposite reaction and this holds true for a wedding shoot. Watch the action but also develop a sixth sense and be ready to anticipate how those around the action— moms and dads, wedding party members, and guests—might react. An action combined with a reaction creates a moment captured for the client and it’s your job to capture more moments on the wedding day than just the action. Remember too that it’s not all about the bride and groom: The parents also played a big part in planning and preparation for this wedding day. Take images that the parents want—extended families,
  41. 41. ››www.photoshopuser.com 043 grandparents, godparents, Aunt Minnie from Milwaukee—and get the group shots that are special to the couple too—friends from col- lege, work buddies, childhood friends, and fraternity/sorority pals. In this photojournalistic age of wedding coverage, many impor- tant images are missed, so have you thought about a second shooter to help cover the wedding? Here in Cincinnati, we’re asked all the time how many photographers will be at the wedding. I work with a second shooter on many occasions to capture the peripheral action at the wedding. These images supplement the coverage nicely and can add substantially to your sales. One last idea: Form a “brain trust” of like-minded photographers and get together occasionally to discuss the status of wedding photography and how can you improve on it. More importantly, practice together and critique each other’s work. Hire college kids or use friends’ children to be your models for portfolio development. It’s a great way to hone your skills and create a knockout set of sample images. Some bridal shops have clearance racks where you can pick up an inexpensive bridal gown for about $100. Split the cost with your brain-trust buddies for cheap “tuition” to improve your photography. These are just a few things that I think make a good wedding photo- grapher but it’s all about practice, patience, and passion. If you’re giving the client 100% of your effort, talent, time, and energy…you need to give them more! Although he holds degrees in physics and engineering, David Ziser continues to enjoy a successful career as one of the coun- try’s top wedding photographers and has shared his passion for the profession with tens of thousands of photographers around the world. Once again he’s heading up the wedding photography track at Photoshop World this April in Orlando. for some free “photography lessons.” of your photography. dial on your camera and flash does. before the event so you can work faster on the wedding day. your style and technique while you’re not under the time con- straints of the shoot. to update those images. - room tutorials, and the latest happenings in the profession.” ALL IMAGES BY DAVID ZISER
  42. 42. 044 ››photoshopuser›april/may2008 n 2003, del Sol Photography started receiving requests to cover unusual photo sessions that allowed almost 100% creative free- dom without the pressure of wedding-day stresses. The catch? The bride wanted to wear her wedding dress for a photo session in a seriously hostile environment. These clients weren’t interested in any “formal portrait” or a session that reminded them of their friends’ wedding photos. They wanted something extreme—and extreme is what they got! On one of del Sol’s first Trash the Dress (TTD) sessions, the client arrived in Mexico with a stack of photocopied images. She had tear sheets with shots from Howard Schatz’s underwater photo sessions and from model and fashion magazines. This bride wanted to do a fairytale session. For us, the del Sol TTD phenomenon was born. As a recent groom myself, I enjoy photographing these sessions with my insanely talented new wife, Sol Tamargo. Sol’s work and vision are constantly inspiring me, and as a team, our portfolio reaches the most dynamic level possible. Our studio, del Sol Photography (www .delsolphotography.com), is comprised of two photographers in love who spend their time photographing love. Talk about the dream job of a lifetime! Our studio serves the Mexican Caribbean coastline of the Riviera Maya, based out of Playa del Carmen. Being local to this region opens the door for more creative photo sessions. Our clients know that the beaches are magnificent and the Yucatán offers pristine jungle set- tings with some of the most amazing underground caves in the world. Having a Spanish-speaking tour guide on hand is a bonus too (thank you Sol!). After discovering some really amazing places, we began booking TTD sessions and have had many requests for repeats since. For this TTD shoot, Sol and I were standing in a cave sinkhole in the middle of the Mayan jungle 10 miles inland from the Yucatán coast. We were in water up to our knees. In some places, the ground appeared solid, but we had to be aware because there was quicksand mud. Bats were flying all around—lots of bats. In this part of the country, the indigenous bats have an 8–10" wingspan. Looking up, there was a 6' hole in the ceiling with a root system from the trees above, all reaching down to drink water from the cenote, a water- filled sinkhole usually found in South America. The water in places was waist deep and crystal clear. Each step took us deeper into the squishy dirt sediment. There were these oddly hard, small balls under our feet randomly scattered on the bottom…my guess—bat guano. We inserted the bride and groom in this absolutely anti-wedding atmosphere and indulged in one amazingly exotic photo shoot. Due to proximity of the wedding date (usually the day after), the clients are enjoying the time of their lives. These day-after sessions release all their tension. Some of the most amazing energy we’ve ever witnessed flows from the souls of our brides and grooms. For us, covering one of these sessions is a chance of a lifetime. The lighting setup and final product are results of dynamic team- work,madepossiblebyourtalentedteamofprofessionals.Ourimages wouldn’t exist without the help of our associate photographers and technical assistants. These sessions require lighting skills; excellent equipment; backup equipment; a subject (bride) who is ready for the excitement; and location, location, location! After three or four hours of shooting, we may end up with 1,200 photos that we sort through. ThenweusePhotoshopCS2andCS3,alongwiththeimagebrowsing assistance of Photo Mechanic (www.camerabits.com), to complete a tight edit for our clients.
  43. 43. ››www.photoshopuser.com 045 Photoshop enables us to finish the artwork in postproduction. On these controlled shoots, we try to nail the light from the start; how- ever, sometimes the rustic qualities of our location prevent capture of the ideal frame. Photoshop allows us to perfect the original vision by using simple masks and levels adjustments. We use some del Sol custom actions for brightening, darkening, masking, and toning. We also enjoy the versatility of the History Brush tool (Y) and a few other professional actions that help us balance for tungsten- or cooler-toned images, which makes our life way, way easier. Typical treatment in Photoshop involves some color correction and cropping. Occasionally, we’ll combine faces from one photo to another toimproveindividualframes.Ifweshoot10framesthatareallsimilar,or haveexactlythesamelightingandsurroundings,headsandfacespicked upfromdifferentphotographsblendmagnificently.Wefindartisticedit- ingveryenjoyableandoftenmakemultiplesnapshotsofoneimage. You can take snapshots of your image while you’re processing by opening the History panel (Window>History) and clicking the Create New Snapshot icon at the bottom of the panel. Snapshots enable excellent History panel navigation, allowing endless variations of the same photo during one edit session, and you can always repaint the last state of the image with the History Brush tool. When working on an image, we generally apply actions to create different results. For example, we may crop an image and fix a few dust spots on the sensor. Then we’ll make a snapshot to save our progress while we’re still working on the same image. Later on during the session, we can make a black-and-white version of this image with some minor contrast adjustments. After those adjustments, we’ll create another snapshot to save the results of the black-and-white editing. Then we can revert back to the first snapshot to start another postprocessing effect and see what the image looks like after applying another set of actions that converts the image to cross-processed. After fine-tuning the results of the cross-processing, we’ll make another snapshot to save that history state. If we aren’t yet satisfied with the results of the image, we can go back to the first snapshot we made and start another creative batch of techniques and actions to achieve more artistic results. Basically, a snapshot provides us with the ability to review results of countless postprocessing techniques applied to one image during a session of editing. We use the History Brush tool, with its blend mode set to Screen or Multiply in the Options Bar, as a brightening or darkening tool, respectively. It works similarly to the Dodge and Burn tools; it’s just a different way to get the job done. We look forward to many more exciting adventures. Creative freedom is important for the growth of all wedding photographers. For us, the del Sol TTD is a gift that keeps on giving. Every time we photograph a session that blows our minds, a client requests an even crazier ses- sion. This industry owes many thanks to all the photographers and skilled artisans who have been involved with helping Trash the Dress become its own artistic genre. Specifically, many thanks to Mark Eric, author of www.trashthedress.com and all the participating photogra- phers who perpetuate this worldwide phenomenon. MattAdcockisthecreatorandauthorofwww.flashflavor.com.Mattwritesaboutcreative,off-cameraflashtechniques for photographers while showcasing del Sol Photography and featuring other professionals throughout the indus- try. Del Sol Photography is comprised of Matt Adcock and Sol Tamargo, two photographers in love who spend their time photographing love—a dream job of a lifetime. You might be asking yourself, “Why in the world would anyone want to wreck something that costs thousands of dollars?” Well, I’m happy to paraphrase Mark Eric, wedding photographer and author of www.trashthedress.com, by saying: “Why? Why not? You’ve made your commitment to your one true love, so why let something so beautiful go the way of the slow rot in the closet? Just trash it! Especially if you can have a blast and get some fantastic images out of it at the same time.” ALL IMAGES BY MATT ADCOCK AND SOL TAMARGO
  44. 44. 046 ››photoshopuser›april/may2008 ome kind folks from this publication saw my images while I was giving a presentation for Nikon at their Imaging USA booth earlier this year in Tampa, Florida. When I was asked to contribute to Photoshop User magazine, my first inclination was to laugh—and laugh hard. I mean, I’m not exactly known as a Photoshop guru (understatement!). With all of the amazing Photoshop artistry going on around us, it’s easy to become awed and intimidated when gazing at the vari- ous styles and techniques used to manipulate photographs. But, after getting over my Photoshop-skill envy, I had a revelation: My knowledge of Photoshop, however limited I may think it is, allows me to work on my digital images in a similar fashion as if I were still in a “wet” darkroom. Why not share what I know? After all, while I’m no Eddie Tapp, I can give my images the necessary treatment to make them look their best, while still maintaining a sense that the postpro- duction doesn’t trump the original image. Simply put, I don’t want people to think I’m just polishing trash; I want my images to speak loudly on their own, not by the Photoshop work done to them. My background is in photojournalism: I shot 6,000 assignments in the 15 years I spent with the Philadelphia Inquirer. I learned dark- room skills from some of the very best printers on the planet. With an enlarger, light, lenses, and chemistry, we were able to enhance our film images to complete a vision for our work. Hand move- ments, exposure time, burning, dodging, and masking, were the ancestors of the Wacom tablet, mouse, and Layers panel. In the darkroom, however, there was a “truth” to the enhancement. Henri Cartier-Bresson, considered by many as the father of photojournal- ism, once said, “The picture is good or not from the moment it was caught in the camera.” Today, it’s fairly simple to overprocess images to compensate for inadequate photography skills. The “shoot first, Photoshop later” mantra is fairly widespread and, in my opinion, has enabled some photographers to cover their lack of a skill set with a decent knowledge of Photoshop. The only thing worse than an overprocessed, bad image, is a strong image that’s so overcooked in Photoshop that the original shot becomes secondary. I do my best to use Photoshop in a way that completes the vision for an image, but never distorts or trumps the original. My approach to Photoshop is fairly simple: Treat the image the same as if I were in the darkroom. A technique I frequently use is perhaps one of the most basic in Photoshop: Click-and-drag the Background layer to the Create a New Layer icon to duplicate it, press Command-L (PC: Ctrl-L) to open the Levels dialog, and bring down all the too-bright areas that distract from the center of attention in the frame. Then I’ll click the Add Layer Mask icon, set the layer Opacity between 30–50%, and paint in black with the Brush tool (B) to bring back areas that are too dark, while leaving the hot spots down where they should be. There are also times I like to vignette an image. When in the dark- room, it was common to burn the edges of a print to draw the viewer’s attention to the subject. It’s easy to overdo this so for me it’s usually very subtle. Here’s how: First, duplicate the layer, then select the EllipticalMarqueetoolfromtheToolbox,andclick-and-dragacrossthe image to select the outer area that you’d like to vignette. Press Shift- Command-I (PC: Shift-Ctrl-I) to invert the selection, go to the Select menu, under Modify, and choose Feather. Enter 150 pixels or so in the Feather dialog and click OK. Then, open the Levels dialog and bring down the area you’re vignetting to the desired amount. If done right, you’vejustimprovedtheprinttenfoldbyallowingthesubjecttojump out at you. Not all images need vignettes, but when used in a subtle fashion, it’s an invaluable printing tool.
  45. 45. ALL IMAGES BY CLIFF MAUTNER ››www.photoshopuser.com 047 I know you’re saying, “Simple,” right? The answer is, “Yes, it is.” The trick is to be subtle. The goal is to use Photoshop on an image without being obvious that it’s ever been in Photoshop. The greatest printers of yesteryear were those who worked hard in the darkroom but you could never tell exactly how hard they worked. Halos around heads, highlights thataremuddy,colorsthatareoversaturated,andjustanoverall“unnatural” feeltotheimagearesignsthatthepostproductionwastooheavy-handed. The truth is, if I can learn the basics of Photoshop, anyone can. You don’t need masterful Photoshop skills to make great prints. Also, for those who purchase and use another’s actions to save time, that’s great. But do your best to avoid just pushing the Play button all the time: When this happens, so many images begin to look the same. I’ll use certain purchased actions, but I’ll use them for basic color tweaks, not to polish a finished print. Developing an individual Photoshop style is crucial. Even a neophyte like me has been able to learn enough of the basics to give life to my work and complete the vision I have for an image. When PhotoshopUser asked me to write about my favorite techniques, I bet they had no clue that I was so clueless. Maybe that’s the beauty of it! I know so many of my colleagues who are intimidated by the thought of using Photoshop, yet they have no idea how simple the basics are. I’m a living example that you can teach an old “photodog” new tricks. I may never be a Photo- shop Yoda, but when I tweak an image that completes my vision, it’s a feeling of great satisfaction. The only difference now is that when I’m done, I don’t smell like fixer. ■ Cliff Mautner’s photography career spans 26 years. After working 15 years as a photojournalist, he launched his wedding photography career; 600 weddings later he hasn’t looked back. He’s been recognized by Wedding & Portrait Photogra- phers International as, “one of the top photogra- phers and educators in the world.”
  46. 46. EXCLUSIVE LESSONS INCLUDE Closeness and Direction of the Light Source Keeping Your Subject Involved Studio Hardware The Model and the Light Size and Distance of the Light Source And many more! My training is CAPTUREDLIVE,onlocation, as I work,INREALTIME. I’m Joe McNally and I’m a teacher at KelbyTraining.com. Internationally acclaimed American photographer, long-time photojournalist, and former LIFE magazine staff photographer. Everything is shot,explained and solved,minute to minute, with the video cameras rolling. The Best Teachers on the Planet–Online–All in One Place Mastering Adobe® Photoshop® , digital photography, and the entire Adobe® Creative Suite® has never been easier or more affordable. Gain unlimited access to our online training catalog, featuring exclusive classes from the industry's most talented and gifted teachers…like Joe McNally. You can only get these lessons, from this amazing teacher, at just one place... www.KelbyTraining.com/online Napp Members pay only $ 17999 Yearly Napp Members pay only $1799 Monthly $199 $1999YEARLY MONTHLY or
  47. 47. ONE NAME...INFINITE POSSIBILITIES at kelby training we share your passion for photography and creativity. that’s why we’re your premier source for instructional dvds, books, online training and live training events that will boost your skills and take your work to that next level. w w w . k e l b y t r a i n i n g . c o m o r c a l l 8 0 0 - 2 0 1 - 7 3 2 3 PhotocourtesyofMattKloskowski
  48. 48. Taking Photoshop to the next level When painting on a layer mask, brush hardness and diameter are critical to producing an accurate mask— changing one without the other is a recipe for failure. Think about the relationship between these two settings and you just might want to go back and rework your old images. BrushSettingandMasking PhotoshopMastery ■ BY BEN WILLMORE half (again 50 pixels) will cause the brush to fade out with a soft edge. Switch to a 50-pixel brush and you end up with half as much space used for the fadeout because 50% of 50 pixels is 25 pixels for the opaque region and an equal amount for the fade- out zone. Larger brushes have softer edges because more space is available for the fadeout zone. Working with various brush sizes This can cause problems when you’re using a semihard-edged brush because you might use a large brush for most of your paintingandthenswitchtoasmaller brushwhen you run into a tight area, such as a corner. If you leave the Hardness set- F or this tutorial, we’ll assume that you already know how to create and use layer masks. That way, we can concen- trate on the details of which brush settings should be used when editing a mask. Determining hardness settings The hardness setting of a brush should matchtheedgequalityoftheobjectyou’re attempting to mask. If the edge of the object is crisp and in focus, you need a Hardness setting near 100%; on the other hand, if the object is out of focus or in motion (causing motion blur), you’ll need a lower hardness setting. The blurrier the edge of the object, the softer the edge of your brush should be to match the edge quality of the object. I rarely use the Brush Preset Picker that you access by clicking the Brush Preview in the Options Bar at the top of your screen. Instead, I use keyboard shortcuts, which are faster and more efficient. For instance, to increase or decrease the Diameter setting for the active brush, type ] (right bracket) or [ (left bracket), respectively, and to change the Hardness setting, add Shift to the above keyboard shortcuts. With these keyboard shortcuts, you can cycle through Hardness settings of 0%, 25%, 50%, 75%, and 100%. Changing diameter affects hardness When you change the Diameter of a brush,itwilllookasifitsHardnesshasalso changed—even though the actual Hard- ness setting hasn’t. Here’s why: Consider that the Hardness setting is expressed as a percentage, where 50% means that 50% of the brushwidthwillbeopaquebeforeit startstobecometranslucentandproduce asoft edge. If your brush Diameter is 100 pixels andtheHardnessissetat50%,then halfthewidthofthebrushwillbeopaque (50%of100pixels=50pixels)andtheother ting the same, there will be a visual differ- ence between the areas created with the larger and smaller brushes. To solve this problem, consider reduc- ing the Hardness of your brush when you switch to a smaller brush. For instance, when switching from a 100-pixel/50% Hardness brush to a 50-pixel brush, be sure to switch the Hardness setting to 0% to maintain the same apparent hardness. Here’s the math: 50% of 100 pixels is 50 opaque pixels, leaving 50 pixels for the fadeout. To get 50 pixels of fade-out on a 50-pixel brush, you’d need a Hardness setting of 0% to allow all those pixels to be used for fadeout. Fine-tuning the results Anytimeyoupaintonamaskwithdiffer- entsizedbrushes,Isuggestyouviewthe resulting mask directly by holding the Option (PC: Alt) key and clicking directly on the LayerMaskthumbnailintheLayers panel.Then,ifyounoticeanytransitionsin theareaswhereyouchangedbrushsizes, considerpaintingoverthemwiththeBlur tool(R)tobluranyareasthatlooktoocrisp. Using this technique, you can usually cor- rect for those times when you forgot to adjust theHardnesssettingtocompensate forthebrushsize. ■ BenWillmoreisthebest-sellingauthorofAdobe Photoshop CS3 Studio TechniquesandUp to Speed: Photoshop CS3,aswellasco-authorofHow to Wow: Photoshop for Photography.Benspendsmanyofhisdaysontheopenhighway,adigitalnomadinhis40'motorcoach.Learnabouthislatestadventureat www.WhereIsBen.com. Same size brush with Hardness settings of (from top to bottom): 0%, 25%, 50%, 75%, and 100% From top to bottom: 50-pixel brush/50% Hardness; 100-pixel brush/50% Hardness; 50-pixel brush/0% Hardness Mask created using three brush sizes with identical hardness settings (left); result of touching up the mask with the Blur tool to produce a more consistent edge (right). ››photoshopuser›april/may2008 050
  49. 49. ››www.photoshopuser.com 051 PhotoshopUserand the National Association of Photoshop Professionals (NAPP) are excited to announce the winners of the 2008 Photoshop User Awards. After several rounds of judging by a creative panel led by Felix Nelson, the NAPP Creative Director, the winners were selected from more than 1,200 creative entries in 11 categories. Check out their marvelous images on the next two pages. And the prize for“Best of Show”goes to Gregory Carter for his creative entry,“Take the Field.”He’s won an all-inclusive five-day assignment to Maui, Hawaii (with an assistant) to create a future cover for PhotoshopUser. Congratulations also to the winners in each category who will receive a product package worth more than $2,500 from contest sponsors B&H, Peachpit Press, Imagenomic, KelbyTraining, and Layers magazine. Title:TaketheField SantaAna,CA
  50. 50. General Photoshop Winner: Den Cops London, UK Title: The Mandrake 052 ››photoshopuser›april/may2008 Wedding/Portrait Winner: Susi Lawson Wytheville, VA Title: “Hey! I’m Trying to Read Here!” Student Work Winner: Deeneshen Sabapathee Vocoas, Mauritius Title: Mr General Photography Winner: Christopher Sellers Los Angeles, CA Title: 1959 Dodge Royal Lancer Restoration Winner: Karen Metrin Lake Mary,FL Title: Oklahoma Homestead
  51. 51. Illustration Winner: EugeneYoung Richmond, CA Title: Ash ››www.photoshopuser.com 053 Artistic Work Winners:Johansen,Tyskerud&Lundvold Rælingen, Norway Title: Inferno Angel Advertising Design Winners: Jose Luis & Claudia Soleto Tecamachalco, Mexico Title: Food for the Gods Retouching Winner: MikeTompkins Sarasota, FL Title: White Christmas Landscape/Travel Winner: Jared Martin Philadelphia, PA Title: DawnWorkers, Dazhengzou, China Composite/Collaging Winner: Adam Daniels Tampa, FL Title: Summer Keepsake

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