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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
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
DISPLAY UNTIL JUNE 3, 2008
OUR IMAGE. YOUR STORY.
iStockphoto.com | Provocative royalty-free stock images as low as $1
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
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
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
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.
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
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
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-
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
ContentsApril/May 2008 | www.photoshopuser.com
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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
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
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
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.
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
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,
Editor and Publisher
“We just couldn’t
be more proud
to host this
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Jim DiVitale is an Atlanta-based
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Angela Drury isanaward-winning
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Daniel East is an author, freelance
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Dave Huss, with more than 25
years’experience as a photographer, has
authored more than 18 books on digital
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-
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in Digital Photography Department at the
was inducted into the Photoshop Hall of Fame in 2005.
Laurie Excell has28yearsofphoto-
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sales experience. Her images have been
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dars, Camping Life Magazine, Amtrak
publications, and BT Journal. Check out her website at
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
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
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
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
PhotoshopCD.com. Colin is also the founder of the online
Scott Onstott, author of Enhanc-
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has written and edited dozens of books
and videos on AutoCAD, Revit, 3ds Max,
Illustrator, and Dreamweaver. Subscribe
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check out his website at www.scottonstott.com.
Rob Sylvanis a trainer, instructional
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NAPP Help Desk Specialist, he’s a Senior
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Check out his Lightroom tips, tutorials, and presets at
Glen Stephens,developer of the
Tools for Television, Photoshop Toolbox
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video industry. His company, Pixel Post
Studios, provides training and design services for the
broadcast video industry.
Ben Willmore istheauthorofAdobe
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Up to Speed: Photoshop CS3, as well as
co-author of How toWow: Photoshop for
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
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Thin and light, the new Cintiq 12WX gives you the ﬂexibility to work directly on screen
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Adobe Stock Photos
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
According to James Alexan-
der, Adobe’s Director of Product
Management, “There is an on-
going additional cost factor, and
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
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.
onOne Software, known for
its imaging and design tools,
announced that it has acquired
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
For more details, go to
their website, www.onone-
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-
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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.
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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
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NAPP members can get a copy of Layers:TheCompleteGuide
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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 email@example.com.
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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
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.]
The following conferences and seminars are sponsored or produced by the National Association of
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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,
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.
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
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
color to black, choose a
small, hard-edged brush,
and paint the small areas
of white around the car.
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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
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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■ BY SCOTT KELBY AND FELIX NELSON
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.
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.
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.
■ 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.
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.
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.
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.
TOP LEFT BY MATT ADCOCK AND SOL TAMARGO;
TOP RIGHT BY CLIFF MAUTNER; BOTTOM BY DAVID ZISER
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
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
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.
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
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,
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
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-
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.
assistance of Photo Mechanic (www.camerabits.com), to complete a
tight edit for our clients.
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
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.
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
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
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
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
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,
out at you. Not all images need vignettes, but when used in a subtle
fashion, it’s an invaluable printing tool.
ALL IMAGES BY CLIFF MAUTNER
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
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.”
EXCLUSIVE LESSONS INCLUDE
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Keeping Your Subject Involved
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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.
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
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
brushwhen you run into a tight area, such
as a corner. If you leave the Hardness set-
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
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
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
asoft edge. If your brush Diameter is 100
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
resulting mask directly by holding the
Option (PC: Alt) key and clicking directly
on the LayerMaskthumbnailintheLayers
Using this technique, you can usually cor-
rect for those times when you forgot to
BenWillmoreisthebest-sellingauthorofAdobe Photoshop CS3 Studio TechniquesandUp to Speed: Photoshop CS3,aswellasco-authorofHow to Wow:
Photoshop for Photography.Benspendsmanyofhisdaysontheopenhighway,adigitalnomadinhis40'motorcoach.Learnabouthislatestadventureat
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).
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.
Winner: Den Cops London, UK
Title: The Mandrake
Winner: Susi Lawson Wytheville, VA
Title: “Hey! I’m Trying to Read Here!”
Winner: Deeneshen Sabapathee
Winner: Christopher Sellers Los Angeles, CA
Title: 1959 Dodge Royal Lancer
Winner: Karen Metrin Lake Mary,FL
Title: Oklahoma Homestead
Winner: EugeneYoung Richmond, CA
Winners:Johansen,Tyskerud&Lundvold Rælingen, Norway
Title: Inferno Angel
Winners: Jose Luis & Claudia Soleto
Title: Food for the Gods
Winner: MikeTompkins Sarasota, FL
Title: White Christmas
Winner: Jared Martin
Winner: Adam Daniels Tampa, FL
Title: Summer Keepsake
Produced by the National Association of Photoshop Professionals 800-738-8513 www.photoshopuser.com
Gregory and a guest of his
choice will travel to tropical
Maui, Hawaii, on an all ex-
penses paid, five-day dream
assignment to photograph
some of the most gorgeous
scenery on the planet for a
future cover of Photoshop
See all winning works at www.photoshopuser.com/winners.php
A W A R D S
We are honored to be sponsors of the only international competition dedicated to celebrating creativity,
pushing the boundaries of digital design and photography, and recognizing the limitless talents and
innovative vision of Adobe®
Winners: Jose Luis & Claudia Soleto
Title: Food for the Gods
Title: Inferno Angel
Winner: Adam Daniels
Title: Summer Keepsake
Winner: Christopher Sellers
Los Angeles, CA
Title: 1959 Dodge Royal Lancer
Winner: Den Cops
Title: The Mandrake
Winner: Jared Martin
Title: DawnWorkers, Dazhengzou, China
Winner: Karen Metrin
Lake Mary, FL
Title: Oklahoma Homestead
Title: White Christmas
Winner: Deeneshen Sabapathee
Winner: Susi Lawson
Title: “Hey! I’m Trying to Read Here!”
Best of Show
Winner: Gregory Carter
Santa Ana, CA
Title: Take the Field
Photoshop User magazine is the ofﬁcial sponsor of the Photoshop User Awards
From Bert’s Studio
Bert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has
served on the faculty of many well-known institutions, written many books, and appeared on hundreds of TV shows around the world.
the right to 249). Click OK.This softens the edges, making the
highlights look a bit more pleasing.
STEP SIX: Some sections of the background’s highlights weren’t
quite what we wanted so, using a soft-edged Brush (B), we
painted over those sections of the underlying layer with a color
that was darker than the current Blend If values.The result was
the happy couple you see here.
STEP SEVEN:To add that final touch and personalize the image,
use the HorizontalType tool (T) and a fancy font to add a“love
message.”Then rasterize the text (Layer>Rasterize>Type) so we
can use theWarp tool (Edit>Transform>Warp) and make the text
STEP EIGHT:We’re not done yet!The text needs to pop out a
little more so we’ll add some layer styles. Double-click on the
text layer and in the Layer Style dialog, lower the Fill Opacity
to 48%, click on the words“Inner Glow”in the Styles list, and
set the Opacity to 78%.
Now we’re done! Here’s our final image to show the happy
couple. What? They don’t drink? Start all over but this time,
use a coffee cup instead of a champagne glass. ■
BLEND IF EXPLAINED
The Blend If sliders in the Layer Style dialog are very pow-
erful controls. Take some time to practice with them and
see what they do.
Moving the This Layer sliders will hide the values con-
tained in the layer within the chosen range—especially
useful to eliminate white behind an image in a layer. Mov-
ing the white slider will hide the white in the background;
the black slider will eliminate dark values. What’s impor-
tant here is the nondestructive effect on the image. You’re
not erasing anything but rather hiding it, based on the
values chosen. This is one of the many ways of masking
available in Photoshop.
In the Underlying Layer, the sliders do the exact oppo-
site: Any values selected will not be hidden by the layer
■ BY MATT KLOSKOWSKI
Have you ever poured your heart into an image in Photoshop, saved it, and then placed it on a webpage
only to find the colors looked dull and muted? I knew it! Me too. That’s why I’m writing this article—because
it’s happened to me a million times.
color space, you end up getting a dull photo if you go this
route. Let’s fix this and automate the task at the same time.
STEP THREE: Go to the Actions panel (Window>Actions)
and click the Create New Action icon at the bottom of the
panel.When the New Action dialog appears, name it Save
forWeb and click Record. Now you have an action recording,
so everything you do from this point on will be recorded into
efore we jump in, let’s take a quick look at why this
happens. See, the color settings that most people use in
Photoshop are geared for printing. Yes, it’s important
that you’re working in the RGB color space but did you know
that there are multiple kinds of RGB? Yep, some of the most
common include sRGB and Adobe RGB (1998). If you have
Photoshop set to Adobe RGB (and chances are you do), then
you’re not getting a good representation of what your image
will look like on the Web (which displays things in sRGB).
Now for the good news: Not only is there a way to help fix
this problem, but there’s a way to automate the task so you
can do it quickly each time.
STEP ONE: Open a photo that looked great in Photoshop
but looked like crap when you put it on theWeb. Below is my
photo (left) and after I put it on theWeb (right).
STEP TWO: If you click the Edit menu and choose Convert to
Profile, you’ll see the Source Space profile does indeed read
Adobe RGB (1998). This means the photo might look dull
when it’s put on a website. Go ahead and click Cancel to
close the dialog since we’re not going to use it just yet.
So why can’t you just save the image as a JPEG and place
it on the Web? Because if you use the File>Save As command
and save as a JPEG, Photoshop leaves the color profile alone
(which is Adobe RGB at this point). Because Web browsers
ignore color profiles and assume every image is in the sRGB
continued on p. 60
On the Web
Photoshop Speed Clinic
the action. Now choose Image>Duplicate to make a copy of
the image you’re working on, enter a name when the dialog
appears, and click OK.
STEP FOUR: Now go to the Edit menu and choose Convert to
Profile.When the dialog opens, you should see that the Source
Space is Adobe RGB (1998). Change the Destination Space
Profile setting to sRGB IEC61966-2.1, then click OK to close the
dialog.This is really the key step and you should see most of
your color shift take place now.
Note: Notice I said “most” of the color shift takes place now.
All Web browsers and monitors handle color differently. Even
though you convert to sRGB in Photoshop, you may still notice
a shift in colors in your browser. Your final image, however, will
be closer to the original if you do the conversion in Photoshop
first instead of letting your browser do it later.
STEP FIVE: Next, we need to save the image as a JPEG. Go to
the File menu and choose Save As. Chances are you can leave
the name alone but feel free to change it in this step. Then
select JPEG as the Format setting. Finally, click the checkbox
next to Embed Color Profile to turn it off because most brows-
ers won’t read a color
profile. Click Save and
the JPEG Options dialog
will open. Choose a
Quality setting to suit
your needs (I typically
choose a setting of 7–8
here) and click OK.
STEP SIX: Now that the JPEG is saved, click the File menu
and choose Close for this image. Remember, it’s a duplicate
of the original, so you don’t have to save it. Return to the
Actions panel and click Stop Playing/Recording icon to end
your action (as shown above).
STEP SEVEN: Now you have this action recorded so you can
play it again on any photo you plan to put on theWeb. Just
open the photo, go to the Actions panel, choose the Save for
Web action, and click Play. Photoshop will save it and leave
your original alone because the first step of the action was
to create a duplicate.
If you want a preview of what your photo will look like
on the Web, try going to File>Save for Web & Devices.
What you see in the onscreen preview is typically the
closest to what you’ll see in your browser. Plus, the Save
for Web & Devices dialog automatically converts to sRGB
for you (as shown here). ■
If you have an idea for an action that you’d like to see in the
“Speed Clinic,” please send it to firstname.lastname@example.org.
ALL IMAGES BY MATT KLOSKOWSKI
Taking inkjet printing to the next level
■ BY JOHN PAUL CAPONIGRO
In French, bon à tire (BAT) means literarily “good to pull.” Classically, it’s used to refer to a final proof print.
To be definitive, a BAT must be printed as the final print will be printed, using the same image file, printer,
ink, paper, software, profile, and driver settings.
ANTARCTICA XVII - 3600 K - 2007-12-25
A visual contract
Only one item, arguably the most important one, needs to be
A majority of the items that it’s helpful to note on a BAT can
be recorded by taking screen shots as you navigate a printer
driver. A screen shot makes an image file of visible items
onscreen, including printer driver windows. Using Adobe
Photoshop, you can file these screen shots in the printed
digital image by placing them in an appropriately named
layer set—for example, printer settings.
To make a screen shot you can use any number of programs,
such as SnapZ Pro or Grab. On the Macintosh platform, how-
ever, a simple set of key commands will do the trick: Simultane-
ously hold Shift-Command-4 (PC: Shift-Ctrl-4) and when the
crosshair icon appears, click-and-drag over the area of the
screen you wish to capture. Select (Command-A [Ctrl-A]),
copy (Command-C [Ctrl-C]), and paste (Command-V [Ctrl-V)
the screen shot into the image file, then use the Move tool
(V) to position the screen shot and rename the layer appro-
priately (double-click on its name).
or centuries, it’s been a time-honored tradition to
keep a final proof on file to refer to when you evaluate
prints over the course of a large print run, or when you
reprint an image. And there are several practices that make
creating a BAT particularly easy when printing digitally.
Here are some that you might follow:
Notes, notes, and more notes
Take note of any choices you make that affect print quality.
If you don’t take good notes, you may not be able to retrace
your steps precisely. Items to include in notes on a BAT
include printer, ink (which may include the ink lot number
contained on the ink cartridge), substrate, color-manage-
ment settings, driver software, profile, rendering intent, ink
limit and print speed, print resolution, light temperature
under which the proof is intended to be viewed (5000K or
3600K), and the date the proof was created.
Print your notes along with the image to create the
final BAT so that when you look at the proof, everything
you need to know about the printing conditions can be
seen at a glance. While you could manually write these
factors on the proof, when you take the steps necessary
to make them printable, you also make them a part of
the image file. If the BAT is lost, the notes won’t be. And
anyway, notes taken this way also tend to be more legible.
Typical horizontal BAT
The Fine Art of Printing
ALL IMAGES BY JOHN PAUL CAPONIGRO
John Paul Caponigro is an internationally respected fine artist, a member of the Photoshop Hall of Fame, author of Adobe Photoshop
Master Class and the DVD series R/Evolution. Get more than 100 free downloads and a free subscription to his newsletter, Insights, at
Use the Text and Note tools
While this method will record a majority
of the items, several important factors
won’t be recorded; therefore, consider
recording these items: a specific printer
(if you have more than one printer of the
same model); an ink lot (number found
on the ink cartridges); the light tempera-
ture under which the print is intended to
be viewed—typically 5000K (daylight) or
3600K (halogen); and a date (unless you
date/time settings). Use the Text tool (T)
in Photoshop to take additional notes
that you intend to be printed on the BAT.
Additionally, the Notes tool (N)
in Photoshop is useful for recording
information you don’t intend to be
printed but nonetheless impacts your
printing process, such as impressions,
opinions, reasons for the decisions
to monitor, items to explore at a future
Retrace your steps
With these items recorded, you can read
the proof to help you identify relevant
factors that contribute to print quality (for
a specific image or for general purposes)
and you can efficiently retrace your steps
in subsequent printing sessions. If at any time a future proof
doesn’t match the original proof, you’ll be able to quickly iden-
tify the variables in the printing conditions that have changed.
Don’t print notes included in a BAT on the final print—at least
not in this way. You may want to annotate your finished prints
with information about their production that’s relevant to
collectors, but don’t include more information than is relevant
and certainly don’t include it in a way that’s visually distracting.
Make annotations manually if you choose to record them
on the back of the print rather than passing the print through
the printer twice and risking scuffing and burnishing.
Though not all of the proofs made during a printing session
are always made at full scale (proofing at a reduced scale can
save time, materials, and money), a BAT is typically made at or
near full scale, where detail, sharpness, edge quality, and noise
can be accurately assessed.
Adjustments for the subtle shift in appearance of an
image at various scales can also be accurately assessed.
Larger images appear to be lighter and contain less contrast;
while BATs made at reduced scales are still an extremely useful
reference for future printing, albeit slightly less accurate.
Filing and maintenance
File all of your BATs in an organized fashion so that you can
retrieve them quickly. Though you may wish to, it’s not neces-
sary to keep all the proofs from a proofing session. Consider
keeping the very first proof pulled without additional adjust-
ments, as this can be used to compare previous printing condi-
tions with current printing conditions separate from session-
specific adjustments. Always keep the BAT.
If a significant amount of time has passed since you initially
proofed an image, make a new proof using all previous proof-
ing conditions to confirm that conditions haven’t changed. If
slight shifts have occurred, continue proofing from that point
until you get the results you want. You may replace old BATs
with new BATs after each new proofing session. If you choose
not to discard old BATs, be sure to refer to the most recent BAT
as your mark to meet.
When reprinting, don’t be slavishly faithful to the BAT. It
simply sets a standard to meet. Hopefully you can exceed
it as media, your technique, and your vision evolves. ■
Typical vertical BAT
Photoshop from the creative to the practical
■ BY KATRIN EISMANN
Here’s a suggestion: Why don’t we take a page from GoldilocksandtheThreeBears and learn successful editing
by processing our images three times to create the “not too hot, not too cold, but ahhh, this is just right”
version of our images.
airytales have long been used to teach children the
ethics and morals of the society they live in and show
them how to behave. For anyone growing up in subur-
bia, taking Little Red Riding Hood or Hansel & Gretel too literally
may not seem relevant; but as an adult, the more images I
process, the more the story of Goldilocks and the Three Bears
rings true. If Goldilocks used Adobe Photoshop or Adobe
Photoshop Lightroom, she would process her images at least
three times to find the “just-right” version. I can hear her say-
ing, “This image is too flat, this image is too contrast-y, and
this image is just right.” Using the Goldilocks image-editing
method of processing your images several times will result
in more interpretations and discoveries as you explore and
wander off the beaten path.
The Goldilocks method
Using the Goldilocks method to create the just-right image
requires you to process the image at least twice in Adobe
Camera Raw or Lightroom and then create additional interpre-
tations in Photoshop. I call the first version “natural” and use it
to render the scene as I remember it with either Camera Raw
or as in this example, Lightroom, with white balance, exposure
refinement, and optical enhancements, such as input sharpen-
ing and chromatic-aberration removal.
Because of the late afternoon/early evening winter light,
white balancing the image on the white stripes of the flag cre-
ated the beautiful blue sky. The long exposures allowed the
American flags to portray the cool evening breeze while fram-
ing the Empire State Building. This gave me the inspiration
to continue experimenting and exploring with Photoshop
to combine variations of the “natural” and the “interpreted”
versions to create the final image (bottom of the page). This
image, in my opinion is “just right,” as it best portrays the
motion, light, and layers of the New York skyline at dusk.
Goldilocks in the classroom
As a teacher, I’m always trying to create relevant and excit-
ing homework assignments that promote learning and
experimentation. Using the Goldilocks method encour-
ages students to push themselves and not simply fulfill the
assignment with what they think the instructor wants to see.
For each assignment, students have to produce multiple
interpretations, which in turn persuades them to explore a
contemporary aesthetic and develop a look and style they’ll
call their own.
The flower image series shows the work of Heayeon Yoon,
to correct the white balance and remove lens vignetting and
ever so delicately. This imbued the image with a weightlessness
Martin Adolfsson, who is enrolled in the Photo Global
program at the School of Visual Arts in NYC, photographed
graphed 68 people in one day. The image processing is very
fitting and doesn’t require much explanation, while the final
This exercise of building up to the final image is exactly what
the Goldilocks method encourages students and artists to
explore. So the next time you launch Adobe Camera Raw
or Adobe Photoshop Lightroom, try the three-method
approach to discover and reveal the image you saw as you
were pressing the shutter. ■
As captured Natural Just right
As captured Natural Just right
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Photoshop à la Deke
■ BY DEKE McCLELLAND
In my last column, I demonstrated how you can exactly duplicate the effects of Unsharp Mask using Gaussian
Blur. This is because Unsharp Mask uses Gaussian Blur to produce diffused halos (hence the name “unsharp”),
and then applies the Add and Subtract blend modes to mask the halos along the original edges.
This is not a technique. It’s much easier to sharpen an image
using Smart Sharpen than build a custom effect with, say,
Lens Blur. So why am I showing it to you? My belief is that by
understanding the underlying mechanics of your tools, you
may learn how to better apply the tools to your own images.
Also bear in mind, Smart Sharpen didn’t come about until
Photoshop CS2. Prior to that, the only way to achieve Smart
Sharpen’s unique effects was to build the effect manually
using Lens Blur or Motion Blur. This means that you can use the
approach I’m about to outline with other blur filters—namely
Surface Blur and Radial Blur—to achieve still more image-
I showed you Gaussian Blur last column. So this time around,
we’ll focus our attentions on Lens Blur, with a footnote at the
end about Motion Blur.
STEP ONE: Open an image and copy it to a new layer by press-
ing Command-Option-J (PC: Ctrl-Alt-J), name the new layer
“Lens Blur,”and click OK. Choose Filter>Blur>Lens Blur. Option-
click (PC: Alt-click) the Cancel button to reset all the values to
their factory defaults. Change the Radius value (midway down
the list) to twice what you’d normally use as a sharpening radius.
For the sake of demonstration, I’ll go with a very high Radius,
24 pixels. Leave the other values alone and click OK.
STEP TWO: Make another copy of the Background layer by
clicking on it and again jumping it with Command-Option-J
(Ctrl-Alt-J). Name the layer“Orig minus LBlur,”and move it to
the top of the stack. Choose Image>Apply Image. Set the
Layer option to the layer from the previous step, Lens Blur, set
hich may have led one or two of you to ask, “what
about the Smart Sharpen filter (Filter>Sharpen>
Smart Sharpen)?” One of the key differences be-
tweenUnsharp Mask and Smart Sharpen is that while Unsharp
Blur),Smart Sharpen lets you change the style of sharpening
by choosing a setting from the Remove pop-up menu. These
settings include Gaussian Bur, Lens Blur, and Motion Blur.
So just as you can exactly duplicate Unsharp Mask with
Gaussian Blur, you can likewise duplicate the effects of each of
Smart Sharpen’s Remove settings using Gaussian Blur, Lens Blur,
or Motion Blur. I propose to show you how in this column. For
the sake of demonstration, I’ll use a graphic illustration, but you
can use any image or continuous-tone photograph you like.
Deke McClelland earned a 2007 Ava Platinum Award for his 32-hour online video series Photoshop CS3 Channels and Masks (www
.lynda.com/deke). He is also author of the full-color book Adobe InDesign CS3 One-on-One (Deke Press/O’Reilly Media).
Blending to Subtract,
and click OK.The lumi-
nous result appears
(lightened for print
purposes) at right.
STEP THREE:We need
lots of duplicates. So
click the Background
layer to select it, press
(Ctrl-Alt-J), and name
the new layer“Orig+
(O–LB).”Drag it to the
top of the stack. Again
Image. Set the Layer
option to Orig minus
LBlur (the layer from the
previous step). Change
the Blending option to
Add and click OK to get
STEP FOUR: Return
to the Background
layer. Press Command-
name the newest layer
click OK. Drag the
new layer to the top
of the stack. Choose
Set the Layer option to
Lens Blur, turn on the
Invert checkbox, set
Blending to Add, and
click OK.The minimal-
ist result appears on
the right (this time
darkened for print).
STEP FIVE: Now for
something a little
different. Select the
layer that you named
Orig+(O–LB) that you made in Step Three. Press Command-
Option-J (Ctrl-Alt-J), name this newest layer“Orig+(O–LB)–
(O+LBinv),”and click OK. Drag this newest layer to the top of
the stack. Choose Image>Apply Image and set the Layer option
to Orig+LBlur(Inv) from
Step Four. Keep Invert
turned on, set Blending
to Subtract, and click
OK. Here’s the sharp-
STEP SIX:To confirm
that the result matches
that of Smart Sharpen,
again duplicate the
Background layer, call it
“Test,”and move it to the
Sharpen. Make sure
Advanced is active and all Shadow and Highlight values are
set to their defaults (Fade Amount: 0%;TonalWidth 50%; and
Radius 1). In the Sharpen tab, set Remove to Lens Blur (best for
correcting digital photographs) and turn off the More Accurate
checkbox. Then apply an Amount value of 100%, a Radius
of 12 pixels (or half the Radius you applied in Step One), and
click OK. Assuming you nailed the right settings, the results of
Steps Five and Six are 99% identical. (The very slight luminance
difference—standard deviation: 0.54—falls well below the
To investigate Motion Blur sharpening—which is useful for cor-
recting camera shake—repeat the previous steps, but replace
all occurrences of the words “Lens Blur” with “Motion Blur,” with
a few caveats: (1) Smart Sharpen’s Radius value corresponds to
Motion Blur’s Distance value. (2) Distance and Radius should
be equal (no doubling, as with Lens Blur). (3) You can vary the
Angle values to taste, but again, match the Smart Sharpen
Angle when testing the effect in Step Six. And (4), unlike with
Lens Blur, the effect of your manual steps and the Smart
Sharpenfilter should be pixel-for-pixel identical.
For custom effects that go beyond anything you can achieve
with the conventional sharpening filters, change your approach
in Step One: You can vary the many settings in the Lens Blur dia-
log or substitute Lens Blur with Radial Blur, set to either Spin or
Zoom. You can even experiment with Median or Remove Noise.
Interesting stuff to be sure. But practical? I argue yes, if only
because these steps illustrate one of the most essential les-
sons of image editing: Photoshop’s sharpening functions do
not enhance focus. They create the illusion of sharpness by
Stay tuned for practical applications in my next column. ■
■ BY JAN KABILI
Using the improved Image Processor in Photoshop CS3 along with actions simplifies batch processing. The
processor waits to run an action until after it resizes an image, which makes it the perfect tool for automating
final image sharpening and other functions that depend on image size.
the size and
sharpening; Radius determines how many pixels out from an
edge are sharpened; and Threshold controls how different a
pixel must be before the filter will sharpen it.)
Click the Stop Recording button in the Actions panel.
OPTIONAL STEP: If the photos on which you plan to use the
Sharpening action aren’t similar, click the box to the left of
the Unsharp Mask step in this action to insert a modal control.
This will cause the Sharpening action to pause on each photo
so you can enter custom values in the Unsharp Mask dialog. If
your photos are similar, skip this step.
STEP THREE: Next,we’llcreateanotheractiontomakeawater-
and click Record. Select the Type tool, choose your font set-
tings in the Options Bar, and type your watermark anywhere in
the photo. Click the checkmark in the Options Bar to commit
Choose Select>All. Choose Layer>Align Layers to Selection>
Bottom Edges. Choose Layer>Align Layers to Selection>Right
Edges. Choose Select>Deselect. You can also use the Arrow
keys to position the watermark. Drag the Fill slider in the
he Image Processor is a serious productivity booster,
offering a simple way to batch-process images by con-
verting them to one or more common formats (JPEG,
PSD, or TIFF), resizing them, and adding copyright informa-
tion. But that’s not all the Image Processor can do: You can
extend its functionality by having it run a custom-built action
on multiple images.
In the following exercise, we’ll create two actions to sharpen
an image and add a watermark, then sequence the two actions
into one. Next, we’ll use the CS3 Image Processor with our
custom-built actions to automatically process, sharpen, and
watermark a batch of photos. [As always, NAPP members can
Create, sequence, and test action
STEP ONE: Open one of the photographs you plan to process.
Use Image>Image Size to resize the photo to the most impor-
STEP TWO: Now we’ll create an action that records our steps
as we sharpen this image. Open the Actions panel (Window>
Actions) and click the Create New Action icon. In the New
Action dialog, name the action Sharpening, choose an action
Set to contain the action (we created one called“My actions”),
and click Record.
Choose Filter>Convert for Smart Filters and click OK to
create a re-editable filter. Choose Filter>Sharpen>Unsharp
Mask. In the Unsharp Mask dialog, set Amount to 85%, Radius
to 1 pixel, Threshold to 4 levels, and click OK. Your settings
Photoshop For Educators
Jan Kabili is a popular Photoshop author and educator. View hermovieseries, Photoshop CS3 for the Web,atthelynda.comonline
movie training library. Watch her Photoshop podcast, Photoshop Online, on iTunes or at http://photoshoponline.tv.
Layers panel all the way to the left (0%), making the text disap-
pear temporarily. Click the Add a Layer Style icon (ƒx) at the
bottom of the Layers panel and choose Bevel and Emboss.
In the Layer Style dialog, set the Bevel and Emboss options to
your liking and click OK. Click the Stop Recording button in
the Actions panel.
OPTIONAL STEP: If you plan to output photos from the Image
Processor at very different sizes, insert a modal control on the
Make Text Layer step, so you can customize the font size and
click the Options Bar checkmark when the action runs.
STEP FOUR: Now we’ll sequence the two actions because
the Image Processor allows you to specify only one action to
run on a batch of images.To get around this limitation, we’ll
program our Sharpening action to automatically run our
Watermarking action. Here’s how:
In the Actions panel, select the final step (Unsharp Mask)
in the Sharpening action. Click the Record button. Select
the Watermarking action. Click the flyout menu icon at the
top-right of the Actions panel and choose Play. Click the Stop
Recording button. This adds a step at the end of the Sharpen-
ing action that invokes the Watermarking action.
STEP FIVE:Test your actions before using them with the Image
Processor. Choose File>Revert (F12). Resize the open image
to output size again. In the Actions panel, select the Sharpen-
ing action and press Play. If you inserted modal controls, the
actions will pause for you to enter custom settings.The result-
ing processed image should be sharpened and contain your
watermark. Close your test photo without saving.
Run the Image Processor
Open Bridge CS3 and select your target images, then choose
Tools>Photoshop>Image Processor. Alternatively, you can
launch the Image Processor from Photoshop by opening all
the target images (or place them in a folder), then choose
File>Scripts>Image Processor. The steps to follow in the Image
Processor are clearly marked:
1. You’ve already selected the images to process.
2. Choose to save the processed copies of the images in
the same location as the originals or in a different folder.
3. Choose one or more file types to which to convert each
image. If you choose JPEG, set the compression quality
to 8. If this doesn’t give you the quality you want, run the
Image Processor again with a different setting.
You can resize each file type separately. Check the Resize
to Fit dialog, and enter the pixel dimensions of an imaginary
box into which each image will fit. This doesn’t resize each
image to exactly these dimensions; it establishes the maxi-
mum height and width of each image, with the longest side
controlling the outcome. This allows you to resize horizontal
and vertical images at the same time. If you’re preparing
JPEGs to be posted to a website or viewed onscreen, check
Convert Profile to sRGB.
4. Check Run Action. Choose your Action Set (My actions)
and your Sharpening (watermarking) action. Enter some
copyright information to be included in the metadata of
each image. If you’re preparing images for the Web, don’t
check Include ICC Profile.
Click the Run button and watch as all your selected images
are quickly processed: converting them to multiple file types,
resizing them by file type, sharpening them, and adding your
watermark and copyright information to each image. ■
a microstock site
like no other
Instead, add a blank layer above the original layer and with
the Healing Brush selected, make sure All Layers is chosen
from the Sample menu in the Options Bar. Now the result
of the Healing Brush appears on a separate layer and, when
the Opacity of
that layer, the
are still there
but they’re a lot
has a permanent and nondestructive version. If you take
the Crop tool (C), drag out an area, and press Enter, you’ve
removed pixels from the image. Save the document and that
change is permanent. If you think there’s even the remotest
possibility that you might want to use the original, uncropped
photo, try this alternative:
First, double-click on the Background layer and rename
it. Then with the Crop tool, drag out the cropping area but
before pressing Return (PC: Enter), look in the Options Bar:
There are two choices, Delete and Hide. Choose Hide, press
Enter, and Save the document.
Even though you saved the file, the original pixels are still
there. To see the rest of the image, go to the Image menu and
choose Reveal All. (You shouldn’t crop every single photo in
this way, but at least consider the possibility.)
By nature, Camera Raw is nondestructive and that’s part of
its power. You can make some very dramatic changes to the
RAW file, but when you click on the Open button, it’s almost
like you’re making a copy of the original, because you can
always go to back to the “as shot” RAW file.
Why should you care?
Some of the more common reasons you should care about
building in some degree of flexibility include:
don’t always match, so having some flexibility lets you con-
tinue to edit the image to get the results you want.
having to save multiple versions of the same document,
build some variations into one document.
another, and if you’ve ever tried to extract something from
a flattened document, you know that keeping a layered
version is preferable.
they, or you, want.
There are plenty of other examples of working in a flexible,
nondestructive way: Saving a layered document rather than
flattening and saving; using smart objects and smart filters; and
using layer comps to save multiple versions of the same image
in one document, to name a few. In most cases it takes just an
extra step or two to create the flexibility, but compared with
starting over again and redoing your work, isn’t it worth it?
If you have an idea for a “Beginners’ Workshop” topic, please
send it to email@example.com; however, if you have
a question that you’d like answered immediately, go to the
Help Desk at www.photoshopuser.com. ■
Creative control with digital capture and Photoshop
■ BY JIM DiVITALE
For designers and art directors, using the Internet for job approvals has opened up a whole new way to work
with their photographers and illustrators. Photographers can quickly post websites for instant client feedback,
using just a few steps in Adobe Photoshop or Adobe Photoshop Lightroom.
ack in the day of shooting film, photographers needed
the client to be on the set to approve final Polaroids.
And then the client had to stay for hours waiting for
the transparencies to come back from the lab. In addition,
photographic sets had to be held in limbo sometimes for
days while the approval process reached the end clients for
the final okay.
High-end digital capture combined with the Internet
has changed all that. Designers can now work with anyone
either locally or long distance and they can art-direct right
from their office desktops, while continuing to work on other
projects. The final approval time has shortened too, because
hard-to-find clients who travel around can check their com-
puters for design updates from anywhere, making everyone’s
job a little easier. Good communication between all the play-
ers has always been the key to successful advertising projects.
So, adding Web camera communications, such as Skype or
Apple’s iSight, can get designers’ or photographers’ questions
answered quickly face-to-face on the set, so that projects can
finish up quickly and move on to their next stage.
Web Photo Gallery
The Web Photo Gallery (WPG) has been offered in Adobe
Photoshop since version 5.5, yet it’s one of the most under-
used features. Photographers using Photoshop, and now
Lightroom, can put together sharp-looking websites that
give all the information necessary for designers and clients
to make critical decisions while the sets are still live. Both
Photoshop and Lightroom have simple-to-use interfaces
with which you can create websites in either HTML or Flash—
without knowing how to use these applications.
Before starting the process of posting to the WPG, the
photographer (or designer) must first go through a few
steps: Start by contacting the Web
host to establish an FTP site. Then the
Web host will create a folder on an
established website and issue a secure
address, host name, and password to
access the FTP site. Next, you’ll need
software to upload the WPG to the FTP
site. Fetch, for example, is a popular
one for Mac users and is very inexpen-
sive. Once the site is established, you’re
ready to upload to it. Here’s how:
STEP ONE: From Adobe Bridge, open
a folder of images and select the ones
you wish to create into a gallery. You
can select all the files at once by press-
ing Command-A (PC: Ctrl-A).
STEP TWO: Then choose Tools>Photoshop>Web Photo
Gallery from the Bridge menu.This links over to the Automate
menu in Photoshop and opens theWeb Photo Gallery dialog.
In the dialog, first go to the SourceImages section and click on
the Use drop-down menu to choose where the original files
are coming from; in this case, we’ll chose Selected Images
from Bridge.Then click on Destination and choose where the
files should be placed.We had created a brand-new folder on
the Desktop, so we’ll choose that folder.
STEP THREE: Next, in the Site section, from the Styles drop-
down menu, pick what type of template you’re going to use.
Both HTML and Flash templates are listed. Click on the one you
different designs.We chose Dotted Border –White on Black.
Digital Camera Workshop
ALL IMAGES BY JIM DIVITALE
Jim DiVitale is an Atlanta-based photographer and instructor specializing in digital photography. His clients include Mizuno USA, Carter’s,
Genuine Parts Company, IBM, TEC America, Scientific-Atlanta, and Coca-Cola. Check out his website at www.divitalephotography.com.
How clients use the website
Clients can then view this website and make final choices on
the digital images. It’s that simple—an organized way to get
everyone who needs to see the files to visit the webpage for
quick review and approval.
I like using the HTML template because the client can drag
the enlarged images right from the site to their desktop. Then
they can open the copied images in Photoshop, add correc-
tions to the file, resave the images and email them back to the
studio with final instructions for enhancements.
It’s even easier to use Lightroom when it comes to creating
Web galleries and it has additional templates for a more
corporate look. It also has a different interface but it basically
asks for the same information. Just choose the Web module
and go down the dialog on the right to fill in both the client’s
and your name in the proper fields. You can pick Gallery type,
Site Info, Color Palette, Appearance, Image Info, Output Set-
tings, and Upload Settings.
The site can be built out into a folder to be uploaded in
Fetch or uploaded directly from the Web module—either
one will provide a great link to get your jobs approved
quickly. Good communication like this lets designers work
with anyone they want while at the same time getting more
work done back in the office. ■
Tip: When it comes to job approval, clean and simple
works best. When using very high-key images, I prefer a
simple black background so the images stand out. With
darker low-key images, a white background really makes the
images look good.
Adding your email address in that field makes it easy for
the viewer to click and create a quick direct email and get
final project info back to you.
STEP FOUR: In the Options drop-down menu, if you move from
General to Banner, you can add the Site Name, Photographer,
Contact Info, and Date.
The next item in the Options menu is Large Images, where
you choose the size and quality of the images. It’s very impor-
tant to check the
option to use the
Titles Use) so
everyone can be
option is Thumb-
you choose this
option, you can
adjust Size, how
and Rows, and
whether or not
to Use Titles.
you choose, some
options may be
If you’re not happy with the basic colors of the chosen
template, you can choose different colors from the Custom
Under the last option choice, Security, you can add a simple
Copyright watermark to the enlarged images.
STEP FIVE: When you’re finished with the selections in the
WPG dialog, click OK to start the process. Each of the original
files is opened, resized to both the large and thumbnail sizes,
and then saved to the destination folder along with all the
HTML or Flash info needed to run your new website.Then you
just upload this folder of information using Fetch to the sup-
plied FTP address.
You are now the only one who knows the password to
get to this site. The actual name of the website folder is the
final security to get into the site. The address is then added
to your email and forwarded to the awaiting client as a link
to click on.
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When you photograph in a public place, often it isn’t easy (or polite) to control the foot traffic that
runs through the scene as you try to shoot. But the Auto-Align Layers command in Photoshop CS3
makes it easy to eliminate passersby from the image after the fact.
Align Source Images checkbox at the bottom of the dialog
unchecked, as we’ll auto-align the layered images later (in
Photoshop Extended, there are two checkboxes; leave them
both unchecked). Click OK.
STEP THREE:When your new combined file opens, simply
select and remove any unwanted parts from the top layer.
For our image, we used the Lasso tool (L) to make a quick,
rough selection of the man (circled), then pressed the
Delete (PC: Backspace) key to remove him, and Command-D
(PC: Ctrl-D) to deselect.
Note: Although I almost always use masking (because
masking is nondestructive), deleting often seems to pro-
duce a better result when auto-aligning. Because we used
the Load Files into Stack command, we’re working on a new,
combined file so deleting doesn’t alter our originals.
n the old days of photography, when it took several minutes
to expose a photographic plate and make the picture, it
was easy to get an unobstructed photo of a building or
statue, even on a busy street—any carriages or pedestrians
moving through the scene didn’t stay long enough in one
place to be recorded as part of the image. As photography
advanced, taking such a picture required shooing people out
of the area beforehand or painstakingly compositing bits
and pieces from more than one photo. It occurred to me that
Align Layers command in Photoshop, so I took some tourist
photos in Budapest with the idea of trying out my theory.
STEP ONE: If you have one, use a tripod to maintain a consis-
tent camera angle while shooting your photos.Take enough
shots so that every part of your subject can be seen unob-
structed somewhere in the photo series.
Next, open your photos in Photoshop and select as few as
necessary. (Tip: Adobe Bridge can be a big help for viewing
and choosing the shots to include.) For this example, we
needed just two photos.
STEP TWO: Now we need to combine the photos into a brand-
new layered file: Choose File>Scripts>Load Files into Stack.
In the Load Layers dialog, Command-click (PC: Ctrl-click) the
names of any open files that you don’t want to include, and
click the Remove button. Leave the Attempt to Automatically
■ BY LINNEA DAYTON
The WOW! Factor
Linnea Dayton is currently at work on the 11th edition of The
Photoshop Wow! Book (Peachpit Press).
STEP FOUR: The lower layer is now showing through the
deleted area. Notice that the“fill-in”layer below is a little offset
To fix the alignment,
target all the layers in
your file (click the top
layer), and then choose
In the Auto-Align Layers
dialog, click OK to accept
the default Auto setting.
Photoshop will ignore
any transparent areas
createdby your deletions,
so alignment won’t be
based on something you
don’t want in the finished image.
OPTIONAL STEP:You may have to fix any tonal difference
between the fill-in and its surroundings (as we did) by choosing
When using more layers…
For our second example, we opened and stacked three
photos with the Load Files into Stack command (as in Step
Two but with one more image).
Starting with the top layer, which had lots of people in the
frame, we used the Lasso tool to remove them. Most of the
holes filled in with stonework from the middle layer, but one
girl showed through (top right).
STEP FIVE:We clicked on the middle layer’s thumbnail in the
Layers panel, selected the girl with the Lasso tool, pressed
Delete (PC: Backspace) to remove her from the image, and
Command-D (PC: Ctrl-D) to deselect.The“hole”was filled in
by stonework from the bottom layer. Next, we used Auto-Align
Layers as we did in Step Four.
STEP SIX:We wanted
to bring out some
detail in the dark statue,
so with all three layers
targeted, we turned
them into a Smart
to Smart Object)
and then chose
made the adjustments
in the dialog, and
clicked OK.We also
applied some sharpen-
ing to the Smart Object
Sharpen) and cropped
These two examples were
fairly uncomplicated but some composites may need more
attention. In one instance, after deleting and aligning, my
image still included a small, unwanted intrusion. I targeted
the top layer in the Layers panel, made a new composite layer
by pressing Command-Option-Shift-E (PC: Ctrl-Alt-Shift-E),
and then used the Patch and Clone Stamp tools on the
composite to fix the problem. ■
ALL IMAGES BY LINNEA DAYTON
STEP THREE: Now the highlight is ready to be animated
across the button. Click the Center Highlight thumbnail and
use the same technique that we used to animate the stars:
place the playhead at the beginning of theTimeline; click
the Stopwatch icon next to Position to create a keyframe;
click-and-drag the highlight outside the button area to the
upper left; drag the playhead to 1 second; and reposition the
highlight to the lower right. Create a keyframe for this posi-
tion, then 1 second later reposition the highlight outside the
button to the lower right. If you don’t like when the highlight
moves across the button, you can move the layer indicator
in the Animation panel to the right, which also moves the
keyframes for that layer.
The last element to drive home the realism of the anima-
tion is to animate the reflection at the bottom of the
image. To do this we’re going to render out the animation as
it stands right now, import it back into Photoshop as a smart
object, flip it upside down, and then position it over the
STEP ONE: Go to File>Export>RenderVideo to open the Ren-
derVideo dialog.The main setting that needs to be changed
from default is the QuickTime Export Settings. Click the Set-
tings button, then click the Settings button in the subsequent
dialog. Select Animation from the Compression Type menu,
Select Millions of Colors from the Depth menu, and drag the
Quality slider over to Best. Click OK twice to close the dialog,
enter Button Animation PreRender in the Name field, and
then click Render to render out the movie.
STEP TWO: Next, place
the QuickTime movie
we just created in the
Simply hit the Return (PC:
Enter) key after you place
the object to accept
its size and placement.
Now we need to use
Horizontal to flip the But-
ton Animation PreRender
layer. Add a layer mask
to this layer and use the
Gradient tool (G) to create a Black,White linear gradient on
the mask that looks like this.
STEP THREE: Click the layer thumbnail to select it and bring
up FreeTransform. Rotate and position the Button Animation
PreRender layer so that the posts at the bottom of both the
button and the reflection line up.
STEP FOUR: Now set the Opacity of this layer to 13% and apply
a Motion Blur (Filter>Blur>Motion Blur). In the Motion Blur
dialog, enter 81° for Angle, 98 pixels for Distance, and click OK.
That finishes the final animation. The PreRender QuickTime
layer is now covering the old reflection, creating a new, mov-
ing reflection. The only thing to keep in mind is that if you
make significant changes to the main animation, you need to
re-render the reflection PreRender layer and bring it in again
so that they match. ■
If you have a suggestion for a video topic that you’d like us
to cover in this column, or an idea for using Photoshop with
video, please send it to firstname.lastname@example.org.
Mastering Photoshop with Video
Glen Stephens, developer of the Photoshop plug-in Tools for Television PRO (www.toolsfortelevision.com), has more than 10 years’ experi-
ence in the broadcast video industry. His company, Pixel Post Studios, provides training and design services for the industry.
Practical tips for professional photographers
■ BY KEVIN AMES
It seems that successful portraits, especially of women, are all about smooth, silky skin no matter what the
reality might be. In our example, the semi-harsh light, which casts shadows to create a moody and mysteri-
ous portrait, also does a great job of showing any skin texture.
ew are blessed with flawless skin in real life. Reality…
meet the skin smoother. The light on model Catherine
Norcom is coming from her left side creating the Rem-
brandt effect of a triangular highlight on her right cheek
formed by the shadow of her nose.
to heal the texture from a
clear portion of skin—but
that’s way too much work.
There ought to be an easier
way and of course, Photo-
shop being Photoshop,
there is. The technique uses
remove dust and scratches
quickly from scans of film.
No matter how carefully a
piece of film was cleaned,
it was impossible to get rid
of all of the dust specks.
On scans, they showed up
as black marks. Nicks in
the emulsion appeared as
irregularly shaped black
a few minutes to an hour
to eliminate these pests
on a high-resolution scan
by cloning them out in Photoshop. The solution has been in
Photoshop since version 5. Best of all, it works to reduce skin
STEPONE: Open the file 2392-0355.tif in Photoshop. Duplicate
Tip: I always duplicate the Background layer this way
for every project because it makes it easy to compare the
retouching with the original. The untouched Background
layer also serves as a backup of the original pixels, in case a
mistake is discovered too far into a retouch to be recovered
using the History panel.
STEP TWO: Use the Healing Brush tool, located under the
Spot Healing Brush tool (J), to fix any blemishes larger than
the texture of Catherine’s skin. Soften any lines here as well.
Look at the strategy map (shown above right) for areas that
need attention (circled in green).When you’re finished healing,
press Command-J (PC: Ctrl-J) to duplicate the Retouch layer and
rename this layer Smoother Skin.
STEP THREE: From the Filter menu, choose Noise>Dust &
Scratches. When the dialog opens, click-and-drag in the pre-
view window to position it just under her left eye and then
click to set the sample area. Enter 7 pixels for the Radius. Her
skin looks so smooth it resembles plastic. Bring back some of
its texture by moving the Threshold slider to about 24. That
looks much better. Click OK.
STEP FOUR: Press Command-A (PC: Ctrl-A) to select the entire
image. Click the Edit menu and choose Define Pattern. Click OK
to accept the filename as the name of the pattern. Look at the
texture in the shadow area of her cheek; it still doesn’t look as
soft as it should. With that in mind, press Command-Option-Z
(PC: Ctrl-Alt-Z) twice to undo the Dust & Scratches filter.
Digital Photographer’s Notebook
ALL IMAGES BY KEVIN AMES
STEP EIGHT: Choose the second pattern from the menu and
work the shadow areas of her right cheek on both sides of the
strands of hair. Use a smaller, 20-pixel brush, being careful to
leave a buffer area of untouched texture next to her hair; use
the Left Bracket key ([) to decrease brush diameter as needed.
If the Healing Brush gets too close to the hair, the effect will
bleed into the hair resulting in a very unnatural look. Work on
the shadow side of her nose as well. Click the Eye icon on the
Smoother Skin layer to check the progress of the effect.
STEP NINE: Choose the Pattern
Stamp tool, nested under the
Clone Stamp tool (S). Select the
second pattern for the shadow
textures from the Pattern
menu. Using a 15-pixel brush,
clone through the buffer area
and well into the healed area
of shadow texture between
her hair and where the pattern
made with the Healing brush
ends.This reduces the texture
without affecting the hair on
her cheek.The Healing Brush
blends the Dust & Scratches
effect into the skin.The Pattern
Stamp tool lays a copy of Dust
& Scratches over the rough
areas. Blend any distinct lines
left by the Pattern Stamp by
using the Healing Brush to fill
in with the pattern.
Finally, switch to the Healing
Brush and change its options
back to the Source as Sampled
and uncheck the Aligned box.
Sample a smooth area of skin
then heal any of the places
the might appear blotchy. It’s
your choice whether or not to
remove her beauty mark.
is not only the speed of
the smoothing, it’s also the
small amount of texture left
behind, making Catherine’s
skin softer and believable at
the same time. The result is
subtle, pleasing, and no one
can tell that you’ve been over
the portrait in Photoshop. All they know is that you’re a great
photographer because their prints look amazing.
Next time, the Notebook shows what to do when the lipstick
she’s wearing in the photograph cries out for an eye-catching
shade of red (or any other color for that matter). Until then,
keep shooting! ■
STEP FIVE: Now we’ll create a pattern for the shadow area.
Once again, open the Dust & Scratches filter. This time click
the filter’s cursor box to the left of her nose. Start with a higher
pixel radius (we used 10). Slowly lower theThreshold number
until this area of skin in the shadow smoothes out, around 14.
Ignore the effect on any pixels in the highlights. Click OK.
(PC: Ctrl-A), then choose Edit>Define Pattern. It’s fine to let this
pattern have the same name as the first. Remember that the
first pattern is for the lighter areas of skin while the second
one is used in the shadows. Finally, press Command-Option-Z
(PC: Ctrl-Alt-Z) to undo Dust & Scratches.
STEP SIX: Choose the Healing Brush tool from the Toolbox.
Change the Source in the Options Bar from Sampled to Pattern.
From the Pattern menu, click the first thumbnail of Catherine to
select the one for smoothing the texture in the lighter portions
of her skin. Click the Aligned checkbox to turn it on.
STEP SEVEN: Heal
the pattern over her
forehead and then
work the turquoise
eye shadow using a
70-pixel brush; use the
Right Bracket key (])
to increase brush
Brushover the triangle
of highlight on her
rightcheek. Heal over
ture on her left cheek,
nose, and forehead.
STEP FIVE: Click the Add a Layer Style (ƒx) icon at the bottom of
the Layers panel and choose Stroke. In the dialog, set the Size to
5 px, Position to Outside, click on the swatch next to Color, set the
color to white and click OK, and then click OK again to close the
Layer Style dialog.
Press Command-T (PC: Ctrl-T) to enter Free Transform mode.
Notice the last two fields in the Options Bar: Set Horizontal
and Vertical Skew. Enter 15 in the H field and press Enter (PC:
Return) to commit the transformation. Press Command-D
(Ctrl-D) to deselect.
STEP SIX: Now we’ll desaturate our first photo and create a
clipping mask. Make the first photo layer (Layer 1) active and
click its Eye icon to restore its visibility. Press Shift-Command-U
(PC: Shift-Ctrl-U) to remove the color information. Hold down
the Option (PC: Alt) key and move your cursor between this
layer and the angled shape layer just beneath it. Click once
when you see the overlapping circles appear. Then change
the image layer’s blend mode to Linear Light.
STEP SEVEN: Let’s increase the contrast a little bit using Levels:
Press Command-L (PC: Ctrl-L). In the dialog, set the Shadow
Input Level to 100 and click OK.
STEP EIGHT: Begin repeating this process for the second
photo by clicking the shape layer and pressing Command-J
(PC: Ctrl-J) to make a copy of it.Then move it up the layer order
just beneath the second image. Select the Move tool and reposi-
tion the shape so it isn’t sitting on top of the other shape. Click
the LockTransparent Pixels icon next to Lock in the Layers panel
and fill the shape with R:13, G:47, B:110.
Now make the second photo layer active and visible then
desaturate the image and create a clipping mask as we did
in Step Six. Also repeat Step Seven if you want to bump up the
contrast a little.
STEP NINE: To finish off your design, just add some text.
Using clipping masks keeps all the elements on separate layers,
allowing us to edit them independently. You can also increase
or reduce the visibility of the images by scaling the shapes
they’re clipped to or by painting in more pixels, because clipped
images are only visible through the pixels of the layer they’re
clipped inside. ■
PeterBauerisDirectoroftheNAPPHelpDeskand a featured columnist at PlanetPhotoshop.com.Hislatestbookis Photoshop CS3 for Dummies.
available except Vanishing Point, Lens
Correction, Lens Flare, Lighting Effects,
and NTSC Colors. None of the commands
are available in Bitmap or Indexed Color
modes. Most are available in Duotone
mode and about half for images in Multi-
To: NAPP Help Desk
How come so many of the filters in Photo-
shop are no longer available? I never had
From: NAPP Help Desk
Actually, it’s probably not Photoshop that
changed; it’s your digital camera. I suspect
that in the past you captured your images
in the JPEG file format and now you’re
shooting RAW, and many Photoshop filters
aren’t available for use with images in
16-bit color. You’ll notice that when you
open a 16-bit RGB image in Photoshop,
entire categories of filters are grayed out
and not available.
RAW in 16-bit
have to make a
filters: When is
it more impor-
tant to remain
in 16-bit color
and when is it
tant to use a
If your artistic
one of the
filters not available for 16-bit color, use the
command to change the image to 8-bit
color. It’s important to keep in mind that if
you convert the image back to 16-bit color
after applying the filter, it does not restore
the lost color depth; it merely increases
your file size. So my advice is once you
convert to 8-bit color, stay in 8-bit color.
In the Photoshop CS3 Filter menu you’ll
find six special features—Convert for Smart
Filters, Extract, Filter Gallery, Liquify, Pattern
Maker, and Vanishing Point—as well as 105
Through the Image>Mode menu, Photo-
shop supports eight color modes and
three bit depths (the number of bits of
data recorded for each color channel for
each pixel). Only when you’re working in
8-bit RGB mode are all of the filters avail-
able. For an image in 8-bit Grayscale mode,
all commands under the Filter menu are
In addition to 8-bit RGB and Grayscale,
the modes you’re most likely to employ
include 16-bit RGB, 16-bit Grayscale, CMYK,
and LAB. Each of these color modes has
a unique set of filters available. In the fol-
lowing table, you can see which features
and filter sets are available (green), which
are unavailable (gold), and which sets are
partially available (blue).
RGB image and have selected only
one channel in the Channels panel,
the filter menu availability matches
that of 16-bit Grayscale mode rather
than the list shown under 16-bit RGB.
When two channels are active in a 16-
images, you’ll also lose Liquify, Lens
Blur, Fibers, and De-Interlace.
For CMYK images, you can apply
any filter available for 8-bit Grayscale to
an individual channel, then repeat that
filter for each of the other channels, one
at a time. ■
An in-depth look at common Help Desk questions
■ BY PETER BAUERFromtheHelpDesk
Filter 16-bit RGB 16-bit Grayscale CMYK LAB
Extract No No Yes Yes
Filter Gallery No No No No
Liquify Yes Yes Yes Yes
Pattern Maker No No Yes Yes
VanishingPoint Yes No No No
Artistic None None None None
Blur Not Smart Blur Not Smart Blur All All
Brush Strokes None None None None
Distort Only Lens
None Not Diffuse Glow,
Glass, Lens Correc-
tion, Ocean Ripple
Not Diffuse Glow,
Glass, Lens Correc-
tion, Ocean Ripple
Noise All All All All
Pixelate None None All All
Render Not Lighting
Only Clouds and
Sharpen All All All All
Sketch None None None None
Stylize Only Emboss,
Texture None None None None
Video Both OnlyDe-Interlace Neither OnlyDe-Interlace
Other All All All All
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his article discusses the procedure for selecting data
points, which builds upon setting measurement to scale.
In Photoshop CS3, Select Data Points (the second item in
the Analysis menu) gives users the ability to choose which data
points are collected and added to the Measurement Log panel.
You can extract quantitative data in Photoshop when
using Selections, the Ruler and Count tools, the Histogram,
and other interfaces. These data are lost if they’re not
manually entered into other spreadsheets or statistical
analysis programs. When using the Select Data Points fea-
ture, many of these numbers are collected into a table that
can be exported as a text file, which is easily imported into
other applications. To use this new feature, it’s important
to understand each of the data points Photoshop collects
and how they work.
The Common section
Begin by opening the
Select Data Points dia-
Data Point) so we
can review the data
Photoshop is able to
collect. You can see
four data families in
the dialog. The first
section, Common, is
data about the data,
which is pretty self-
a brief description of
the data points in the
Label field keeps track of the data. During any mea-
surement session, a running total of data points is tracked
and labeled as to which numbers relate to the different
Date and Time option inserts the system’s time informa-
tion, which lets you keep track of when the data was col-
lected. This field is especially helpful if multiple analyses are
conducted on the same image.
Document records the file’s name, and associates that data
with the image from which it was collected. As measure-
ments are acquired in a single measurement log for all
images, it’s important to use this option to keep track of
which image contributed the data.
Source relates to what tool was used to collect the data. The
field will read one of the following: Selection, Ruler tool, or
Scale provides the calibrated measurement of how many
pixels are equal to a known standard length. If the default
measurement scale was used, then the dimension will be
reported in pixels (e.g., 1 pixel = 1 pixel). When custom
measurement scales are created and applied, all data will be
converted automatically to that scale.
Scale Units displays the units of measure in terms you define.
If you used the Set Measurement Scale option (from the
Analysis menu), then whatever you entered in the Logical
Units field will be displayed here.
Scale Factor reports exactly how many pixels are in the unit
of measure. There are some redundant values but when the
information is exported, it can save steps when working in a
Data about your selections and more
The next three groups in the Select Data Points dialog relate
to data extracted from content using Selections, the RulerTool,
and the CountTool. The best way to explain these is to provide
Shown are four circles of different sizes (next page at
top). We used the Count tool (nested under the Eyedrop-
per tool) to number our circles by clicking each of them
once and then opening the Measurements Log panel
(Window>Measurement Log). When we click the Record
Document, analyze, extract, and present medical and scientific data
■ BY ERIC J. WEXLER
A revolution has occurred with the introduction of the analysis features in Photoshop CS3 Extended. You can
now use Photoshop to present and export image-analysis data natively without plug-ins. The ability to collect
analytical data is basic; however, complex questions can still be answered.
Measurements icon, we see that each circle is identified
with Feature 1–4 in the Label field. If multiple measure-
ment areas are acquired simultaneously while a master
feature is displayed, the individual features (listed as
children) will display as part of the total feature.
Next we selected the circles using the Magic Wand tool
(while pressing the Shift key to add to our selections). In the
Options Bar we turned off the Contiguous checkbox, then
opened the Measurement Log panel, and clicked the Record
Measurements button at the top left of the panel. You’ll
notice the measurements populate in the panel, which pro-
vide a value for each data point selected earlier in the Select
Data Points dialog.
Because the circles differ greatly in size, it’s easy to identify
which measurement goes with each circle. But while the
features are individually numbered, there’s currently no way
to automatically label the selection to relate with its measure-
ment. If objects aren’t easily discernible, then you’ll need to
conduct measurements manually to keep track of individual
objects and their related data (see chart below).
The Ruler Tool section provides three things: Count, Length,
and Angle. Data populated by the Count section can help you
keep track of which instances the Ruler data points are used.
Length displays the distance between points when the
Ruler tool is used. The information is relayed in pixels, or if
you’ve calibrated the calculated length using the Set Mea-
surement Scale, it will display the units of the measurement
scale. Hover your cursor near the end point of your measure-
ment and press the Option (PC: Alt) key—you’ll notice the
cursor change to an angle icon. Simply click-and-drag from
that end point to create a second line of measurement.
The Angle field will report data from either a single line or
using the two-line technique mentioned above. When two
ruler lines are used, three angles will be reported: The first will
be the angle between the two lines; the next two angles are
the orientation of each line to the horizon.
The last option is the Count Tool section, which provides a
single value—Count. This is the total of individual markers
placed using the Count tool—it’s the only way to keep a
record of this result. The picture of four circles with each circle
labeled provides a data point count of 4.
Depending on your needs and workflow, Photoshop CS3
Extended can be helpful in quantitative image analysis. It’s
up to you to find the creative and practical uses for the data
you collect. Much can be accomplished with these powerful
tools but if you find limitations hampering your work, there
are plug-ins that expand these new analysis features. In some
cases, these plug-ins (such as Fovea Pro from Reindeer Graph-
ics, www.reindeergraphics.com) improve Photoshop as an
investigational tool. ■
Photoshop CS3 Extended for Research
Eric J. Wexler is a Research Scientist in the pharmaceutical industry with 20 years’ experience researching cardiovascular disease, cancer,
and stroke. Currently, he’s a member of Adobe’s Biomedical Image Advisory Group and can be reached at email@example.com.
Photoshop CS3 Extended For Engineering
Scott Onstott authors books and records video tutorials for
architects, engineers, and builders. Check out his Photoshop
for Architects DVD and The Digital Architect video podcast
its edges with the visual cues on the Perspective lines layer.
When everything looks good, click the Commit button in the
Options Bar. Increase the Opacity of the 3D Building layer to
100% and turn off the Perspective lines layer’s visibility by click-
Mask the 3D layer
Even though the model’s perspective looks good now, the
building appears to be floating in space above the rest of
the photo. With the
3D Building layer
active, click on the
Add Layer Mask icon
at the bottom of the
Layers panel and you’ll
be able to hide por-
tions of the layer that
should be obscured
by other objects.
Build up a selection
you want to mask. The
Polygonal Lasso tool
is good for straight
and the Quick Selec-
tion tool (W) is great for looser selections, like those around
cars and people. When you complete your selections, target
the 3D Building layer mask thumbnail and choose Edit>Fill.
Filling the selection with black completely masks those
selected portions of the 3D layer.
In some situations it’s easier to paint directly on the mask to
reveal portions of the Background layer. For example, we set
in the potted plants so they appear in front of the 3D Building
Faking light and shadow
At this point the
building fits within
the photo but still
looks artificial. You
improve the appear-
ance of the 3D layer
by rendering light
with the Lighting
Effects filter. Target
the 3D Building
layer thumbnail and
Smart Object. Now
choose Filter>Render>Lighting Effects, adjust as needed
until you get an appealing look, and click OK. The beauty of
this smart filter technique is that you don’t have to get the
lighting right the first time. Double-click Lighting Effects in
the Layers panel and return to the Lighting Effects dialog for
Surfaces in 3D models often look too smooth to exist in
the real world. A little bit of noise roughs up surfaces and can
make them more believable. Choose Filter>Noise>Add Noise
and add just a little, say 2% Uniform noise.
Shadows are the final touch to give your 3D model added
punch. Paint shadows on a new layer or use my preferred
technique of drawing paths with the Pen tool (P) and selecting
Shape Layer mode in the Options Bar. The advantage of using
paths for shadows is that their boundaries retain crisp edges
and vector editability. Add a layer mask to the shadow shape
layer and you can fade away the far shadow edge with the
Gradient tool (G). ■
tion tool (W) is great for looser selections, like those around
Faking light and shadow
choose Filter>Render>Lighting Effects, adjust as needed
Using Vanishing Point Exchange with Photoshop
CS3 Extended and After Effects CS3
By Rich Harrington
First off, the technique you are about to learn is not easy. Nor will it work on every photo. And it takes
some trial and error. Still reading? If so…it’s now time for something very cool!
Through the Vanishing Point filter in Photoshop CS3 Extended, you can create a Vanishing Point
Exchange (VPE) file and convert photos into a series of still objects that import and reassemble a
3D space inside After Effects. This can allow for some pretty cool moves “within” a photo.
Note: You’ll need both Adobe Photoshop CS3 Extended and Adobe After Effects CS3 to pull off this
technique. Special thanks to Bob Donlon at Adobe who first showed me this. This tutorial is adapted
from my book, Photoshop for Video, Third Edition, from Focal Press.
STEP ONE: Begin by selecting a photo with 3D perspective. Not
every photo will work well for this type of animation. After sev-
eral attempts with many images, I’ve found that VPE works best
when the subject of the photo has a clean angle of about 45˚. You
should also try to keep the frame as clear as possible so you have
less cloning and masking to perform.
[NAPP members may download the file used in this tutorial
from www.photoshopuser.com/members/aprmay08.html. All files
are for personal use only.]
STEP TWO: Next, we’ll apply the Vanishing Point filter. With the
photo layer selected in the Layers panel, choose Filter>Vanishing
Point. The Vanishing Point filter window opens. You now need to
draw a series of grids (or planes) that represent your subject. The
first grid should be drawn to encompass the largest surface of the
object. Here are some general pointers to help you: (1) Look for a
straight line to use as reference; (2) extend the grid a bit beyond
the boundaries to deal with roof peaks or extruding objects; and
(3) remember, you can tweak the first plane as much as needed.
STEP THREE: Now you need to define the four corner nodes of
the first plane. The Create Plane tool (C) is selected by default
when the filter window opens, so click at the four corner points of
your surface in the preview image to define the nodes. Try to use
a rectangle-shaped object in the image as a guide when creating
the plane. You can zoom in with the controls in the bottom-left
corner. Be sure to adjust the corner points to line up each edge
of the plane with the perspective of the photo. Take your time on
this step, as it is the most crucial part and sets the standard for
the rest (look closely at our sample below left for guidance).
STEP FOUR: Once the first plane is created, you’ll need to generate
a second for the other wall. Press the Command (PC: Ctrl) key and
then click-and-drag from the center of the existing plane’s edge
to create a new plane. It’s crucial that you “tear off” planes from
other planes rather than create new ones so the model can stay
attached. For this example, drag from the right edge of the initial
plane to create the second wall (as shown below). Drag to the right
until the plane extends beyond the edge of the wall on the photo.
STEP FIVE: Next you’ll need to adjust the angle of the new grid
so the lines in the plane match the wall in the photo. (Option-
click-and-drag [PC: Alt-click-and-drag] the center control point
on the right to change the angle of the new plane to its parent.) By
changing the plane so its top edge now aligns with the object,
you’ll create a perspective plane. Depending on your image and
initial plane, the angle may vary. Be sure to take your time and
make small adjustments as needed to get the best results. After
rotating, you may need to resize the plane by dragging its edge.
Look to the top left of the screen for Grid Size and Angle guidance.
STEP SIX: You may want to tear off planes to build the floor (or
parking lot in this case). Tear off planes like you did in Step Four
and be sure to adjust the two planes so they overlap. For this
task, you’ll find it easier to zoom out until you see some of the
gray canvas space surrounding the image. This makes it easier
to extend the planes beyond the edge of the canvas. Drag the
trial version from the Adobe System Inc. website (www.adobe
.com). After launching After Effects CS3, create a new project
(File>New>New Project). Then choose File>Import>Vanishing
Point (.vpe). Navigate to the folder you created in Photoshop,
select the VPE file, and click Open.
STEP TEN: Poof, the 3D model appears! After Effects creates a new
composition and reassembles the 3D objects based on the VPE
file we created earlier. It arranges all the planes (each an individual
layer in PNG format) and positions them in 3D space. (Double-click
the Filmstrip icon in the Project panel to open the composition in
the Timeline.) Note:Don’t touch the 3D layer switches down in the
Timeline panel or you’ll disable the 3D object.
STEP ELEVEN: You can use the Orbit Camera tool (C) to rotate
around your scene in After Effects. Here are a couple of things
to keep in mind as you position the camera: (1) You can rotate
about 40˚ left or right before the scene begins to look too fake;
(2) the object doesn’t have a roof so be careful not to pull the
camera too high—if you want a roof, you can create and manu-
handles and resize the planes as needed until it resembles the
STEP SEVEN: You can now export the information about the
planes as well as the images that will be mapped to each plane.
In the upper-left corner you’ll see a small right-facing arrow; click it,
and choose Export for After Effects CS3 (.vpe). Create a new folder,
which will serve as a destination for the PNG files and 3D data that
Photoshop will generate. Name the VPE file and click Save.
STEP EIGHT: After the VPE export is complete, click OK to store
the Vanishing Point information and close the window. You can
then save and close the Photoshop file. If you need to revisit the
planes for tweaking, just open the PSD file and run the Vanishing
Point filter again; your previous planes will be there for editing.
STEP NINE: You’ll need the latest version of After Effects CS3 to
try out this effect. If it’s not at your disposal, download the free
Turn off planes to build the parking lot.
Richard Harrington is owner of RHED Pixel (www.rhedpixel.com),
a visual communications company in Washington, D.C. Author of
Photoshop for Video, Third Edition, and co-author of Broadcast
Graphics on the Spot and Producing Video Podcasts, Richard is
Program Manager for the NAB Post-Production World Conference
and a regular speaker at Photoshop World.
ally position a Photoshop layer; and (3) use keyframes to create
a useful animation. Remember you must turn the stopwatch on
for each property that you want to keyframe by clicking the Stop-
watch icon. You can animate properties like the zoom, position,
and point of interest for the camera to create an animation.
STEP TWELVE:You may find that you need to fix your layers
because they fall short of filling the frame. The individual PNG
files can be easily cleaned up in Photoshop. Click each layer in
the Timeline to select them one at a time and press Command-E
(PC: Ctrl-E) to edit them. In Photoshop, use the Clone Stamp (S)
and Eraser (E) tools to clean up unwanted pixels or fill in blank
areas. After fixing the images, close and save them to return to
After Effects. Note:Don’t change the Canvas Size when touching
up your PNG files. Rather,ifyouwanttoextendthephoto’sedges,
STEP THIRTEEN: You’ll want to add either footage or a photo of
the sky to complete the scene. You can get away with leaving
this as a 2D layer if you want, and place it behind the building.
Note: If you downloaded the materials mentioned earlier, you’ll
find a photo that you can use for this purpose. This is what your
Timeline panel should look like at this point (below left).
STEP FOURTEEN: The After Effects composition is nearly ready.
For safety, we recommend duplicating your composition and
storing a copy for the future before rendering it. To duplicate
the comp, select it in the Project panel and press Command-D
(PC: Ctrl-D). Finally, click the flyout menu icon at the top right of
the Timeline panel, and select Composition Settings. Enter your
preferred video output format and click OK. Tweak the animation
as needed and then render the completed project. ■
Poof, the 3D model appears
Use the Orbit Camera tool to rotate around your scene
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others it’s a challenge. Some users have thrown in the towel and just print their images using Photoshop.
While these extra steps might solve the problem, it complicates the workflow. The Print module in
Lightroom can produce quality prints and the focus of this article is how to achieve quality prints without
resorting to Photoshop.
In the Print module, you can lay out the image as well as print it. We won’t concern ourselves with the
layout portion, which is extensive, but rather begin by reviewing some basics on how the Lightroom print
engine is designed to print.
STEP FOUR: Click the Page Setup button at the bottom right of the
Preview area. In the dialog that appears, select the printer, size of
paper, and orientation (portrait or landscape). Make sure you select
your printer first as it controls what paper size choices are available.
You can’t pick the type of media you’re using in this dialog. There’s
also an option to Scale the image but I recommend leaving it at
100%. If you need to resize the image, the best way is to jump back
to the Layout panel in the Print module.
By Dave Huss
printing (default) and Lightroom-managed printing. Using printer
sends the printer a tagged file, which it uses to define how the printed
colors will appear on the paper. In Lightroom-managed printing, you
select a printer profile before printing. These profiles are designated by
printer type and paper type, provided by the printer or paper manufac-
turer. When it’s time to print, Lightroom controls allaspectsofthecolor
don’tforgettoturnoffthecolor-management option on your printer.
Which choice is best for you? Don’t be too quick to dismiss the
printer-managed color option. Printers have come a long way in
the past few years, and my tests confirm that allowing the printer
to manage the color can produce good results. If you’re not sure,
Regardless of which print-management method you choose,
the process begins the same way. The Print module can
print a lot of images in a single job, but for the sake of this
article, we’ll look at what it takes to print a single photo.
STEP ONE: To produce consistent quality prints in Light-
room, you need to calibrate your monitor using a third-
party calibration device (they’re relatively inexpensive).
STEP TWO: IntheLibraryorDevelopmodule,selectthe
STEP THREE: How the image appears in the Print
module depends on which template is selected
in the Template Browser panel. If the photo
orientation is incorrect, there are no rotation
arrows in the Print module, but we’ll fix it in
the next step.
you have any issues, check at www.epson.com and make sure you
have the latest printer driver. If you’re using Windows, you don’t
have to do anything except look smug.
STEP THREE: Now, click Print Settings (you don’t have to close
the Print dialog) and make sure you have the correct paper type
selected. Click Save to return to the Print dialog.
STEP FOUR: Click the Print button. To save some ink, look at the
photo as the paper begins to exit the printer and kill the print job
if it looks out of whack. The paper is already history but by killing
the job you can save some ink.
Lightroom-controlled color management
To make the best possible prints, you need to use Lightroom to man-
age the color. This method uses ICC profiles that are made for specific
papers for your printer that you need to download from either the
printer or the paper manufacturer’s website.
Not all printers have profiles. Typically, profiles are only offered
for high-end consumer and professional printers. So, if you bought
a photo printer that only cost $60, odds are that you won’t find a
profile and you should print using printer-managed color.
STEP ONE: The first step is to download and install the profiles for
the printer and paper you’re using. For example, Epson provides,
free of charge, four different ICC color profiles for my Stylus Photo
R1800. Why four? Because Epson makes four different paper types
for use on this printer: glossy, matte, fine art, and canvas. (Note:
Canon and HP also offer ICC profiles.)
What if you want to use a paper made by a different manufacturer?
Go to the paper manufacturer’s website and download an ICC profile
that matches their paper with your specific printer. If you’re using a
STEP FIVE: After completing Page Setup, go to the Print Job panel. If
Draft Mode Printing is selected, all other options are grayed out and
Lightroom uses the thumbnail as a print source. The resulting photo
prints fast and it’s relatively ugly.
The default Print Resolution setting is 240 ppi. This setting will
make an adequate print but if you’re using an Epson printer, a
setting of 360 ppi (which is an even divisor of the maximum ppi) is
often recommended. I doubt you’ll see any difference in either print
time or appearance. Generally speaking, larger images can get by
with lower resolution settings.
STEP SIX: Turn off Draft Mode
Printing to enable the other
options in the Print Job panel.
Print Sharpening is a feature
that confuses some users. It has
three settings: Low, Medium,
and High. What causes confu-
sion is that when the setting is
changed, nothing appears to
have changed in the preview
photo. That’s because nothing has
changed.The sharpening is applied
to the image file that’s sent to the
printer and the original image is
unchanged. Which Print Sharpen-
ing setting should you use? It’s such
a mild, albeit good, sharpening
algorithm that you can use the High setting on nearly every photo
without blowing out the edges of objects in the photo.
Note: You don’t need to go through this setup every time. Once
you have the print settings the way you want, save them as a Print
Template (click the Add button at the bottom of the left-side panels
area) and you can call them all up immediately with a single mouse
click in the Template Browser panel.
Printer-controlled color management
This is the simple solution, as long as you make sure everything is
set up correctly.
STEP ONE: In the Print Job panel, choose Managed by Printer (it’s
STEP TWO: Click the Print button. We’re printing to an Epson Stylus
Photo R1800, so we’ll click the drop-down menu below Presets,
choose Color Matching, and click the ColorSync button. Windows
users need to click the Properties button in the Print dialog, then
click the Advanced button or tab and choose ICM Method for Image
Color Management. This ensures the correct printer driver software
is applied before printing the image.
Note:The location of features in the Print dialog will vary greatly,
depending on your printer. The important thing is to locate the
ColorSync (in the printer color management section) and ICM set-
tings in the Print dialog and use the settings listed above right.
As of press time and depending on your printer, Epson users
running Mac OS X Leopard may not be able to change the Color
Matching to ColorSync—the option may appear grayed out. If it is,
finish the steps in this section and the photo will still print nicely. If
Set the resolution and sharpening
in the Print Job panel
ALL IMAGES BY DAVE HUSS
definition, here are some generally accepted guidelines: For images
that don’t have large areas of bright saturated colors, choose Relative;
if you’re printing fine art photos on matte paper or printing images
with lots of dark colors, consider Perceptual.
STEP FIVE: Click the Print button. The most important step is to
If you leave it on, both Lightroom and the printer will attempt to do
color management and the usual result is a light magenta cast on the
you save the settings as a template in the Template Browser panel.
The cardinal rules are to ensure that the ICC color settings
are correct for printer-managed printing and to make sure when
using a profile that color management is turned off. If you’re still
experiencing problems with a specific printer, make sure that you’re
using the most current profiles and check the Lightroom section of
the Adobe User to User Forums (www.adobeforums.com/cgi-bin/
webx/.3bc2cf0a) to see if someone else is having the same issue. ■
Selected profiles in the Print Job panel
printer that’s several years old, consider buying a new printer. It’s far
better to buy a new printer than to curse the fact that the manufac-
turer doesn’t upgrade the ICC profiles for its older printers.
STEP TWO: Now that the profiles are installed, your next step is
to click Profile in the Print Job panel. If this is your first time, your
choices will be Managed by Printer and Other. Click on Other to
see the profiles available. Are any of the profiles checked? You most
likely downloaded the profiles but didn’t install them. When you
see the list of profiles, check the ones that you want to appear in the
Color Management area of the Print Job panel and click OK.
STEP THREE: The profiles you selected will appear in the Color
Management area. Choose the profile that matches the printer
and the media that you’re using for your print.
STEP FOUR: The last step is to choose the Rendering Intent; the two
choices are Relative and Perceptual. Rather than provide a technical
With more than 25 years’ experience as a photographer, Dave Huss has authored more than 18 books on digital photography and
photo editing. His latest book is Adobe Photoshop Lightroom 1.1 for the Professional Photographer. Dave is a popular confer-
ence speaker in the U.S. and Europe.
Q. Can you give us a short list of the equipment you use?
I use Canon EOS 5Ds with Canon 17–24, 24–70, 80–200, and 100–400mm lenses; (12) 4-GB SanDisk media cards; a 17" MacBook
Pro; tripod with Really Right Stuff ballhead; Quantum Qflash; Canon Speedlite; and studio/mobile Dyna-Lites. I also have a
Lightroom and Photoshop.
Q. When did you know you wanted to be a photographer? Who influenced you?
I knew very early on when I had a compulsion to put time in a bottle, and photography seemed like the best way to do it.
My influences include the Family of Man exhibit, Ansel Adams, Brett Weston, Henri Cartier-Bresson, and Warren King.
Q. What’s your favorite feature in Adobe Photoshop Lightroom?
After tagging the best selects, I can easily move everything to a Web gallery that my clients and friends can view. It really
only takes a few minutes to upload the files, and then it’s ready.
Q. You’re adept at many photographic styles. Do you have a favorite style or subject?
I love being able to photograph different subjects. As a photographer, you don’t have to niche yourself unless you choose to,
and I don’t buy into that philosophy. I’m having fun and enjoy the creative flexibility. It feels good.
Q. The colors in many of your images are quite vivid. Do you let the scene speak for itself and reproduce it faith-
fully or do you enhance the color?
I see vivid colors everywhere. Film isn’t able to record the full range of color
because of the limits of emulsion. There are also limits of the auto read-
ing of the RAW digital file. I don’t bother setting a white balance before
I photograph because I always shoot RAW, and normally the Kelvin of light
in my shoots changes rapidly. I just set the camera to 5600 Kelvin. The
RAW file isn’t different if you set it to Auto or put in a base Kelvin like I do.
The RAW is the RAW is the RAW—the camera sensor just records one way.
After saving the file, I open it in Lightroom and adjust to what I saw. From
the time photography was invented, this is what has been done in postproduc-
tion. Lightroom is a postproduction tool that frees me, and I feel confident that
Icancapture the details of the scene as I saw it. When I go into post, I think of
how it felt to be there. One of the other beauties about photographing digi-
tally is I don’t have to think black and white or chrome or negative before
the shoot—I can decide later in post.
Contact Maggie Hallahan at www.maggiehallahan.com
Maggie Hallahan’s award-winning work has been published in hundreds of newspapers and magazines worldwide.
After a decade as a freelance foreign correspondent based in San Francisco and Tokyo, she worked for the Ger-
man magazine Focus as a global correspondent. Since 2000, Maggie has merged from editorial to corporate,
photographing for companies such as AMO USA, Disney International, Electronic Arts, and Microsoft. For the
past two decades,Maggiehasusedherexpertisetohelpnonprofitsandfoundationstelltheirstoryandiscurrently
a chapter in the book called WhatMatters (September 2008).
Lightroom users, if you’d like to be considered for the “Featured Photographer,” email firstname.lastname@example.org.
Chris Orwig X YX Y
LIGHTROOM Tips &Tricks
Recently, I was privileged to have lunch with the legendary photog-
rapher Douglas Kirkland (see www.chrisorwig.com/douglas_kirk-
land for photos). We were looking at his work and he stopped on
an amazing, iconic photo of Audrey Hepburn. Douglas said, “Ya
know, sometimes you just need to keep it simple.” Those words
resonated with me. So enjoy some simple Lightroom tips.
Filter out the clutter
Photographers need to edit to find the best images from a group
of images—no easy task! In fact, many argue that image editing is
an art. To keep things simple, here’s what I recommend:
First, import the images into Lightroom and scroll through
them in the Library module’s Grid view (G) to get a feel for the
image set. Next, click on the first image of the set and press the
Caps Lock key (I’ll tell you why in a second). Then use the Arrow
keys on your keyboard to navigate through the images. When
you find an image you like, press 1–5 for Star ratings or 6–9 for
Label ratings. I recommend you pick a rating convention and
stick with it. For example, use one star to mark all the images that
are the best. Because you pressed the Caps Lock key, when you
add a Star or Label rating, it will rate or label the image and auto-
matically advance to the next image. Finally, press Command-L
(PC: Ctrl-L) to turn on the Library Filters and click on the one star
in the Toolbar. Click to the left of the stars and choose Rating Is
Equal To from the list. Now you’ll see the images that are rated
with one star.
Most creative photographers I know see mistakes as a vibrant
part of the creative process. Personally, I figure if I’m not making
mistakes, I’m probably not trying hard enough. So, if you make
a mistake when processing your images in the Develop module,
press-and-hold the Command key (PC: Ctrl key) and then tap the Z
key to Undo multiple times. If you’ve gone back too far, press Shift-
Command (PC: Shift-Ctrl) and tap the Z key to Redo multiple times.
Move like a butterfly, sting like a bee
When you process your images in the Develop module, it’s critical
that you stay nimble, fluid, and free. One of the best ways to do
this is to navigate between the different Develop module panels.
First, Option-click (PC: Alt-click) on any of the triangular arrows
that are used to open and close the panels. This will change the
panels to Solo mode, which means only one panel will open at a
time, thus getting rid of the need to scroll up and down to find the
right panel. Next, access the panels with shortcuts. Press Com-
mand-1 (PC: Ctrl-1) for Basic; -2 for Tone Curve; -3 for HSL/Color/
Grayscale; -4 for Split Toning; -5 for Detail; -6 for Lens Corrections;
and -7 for Camera Calibration.
Prepared and preplanned
Backpacking in the High Sierras is one of my favorite pastimes.
When you go to the high country, it’s critical to be prepared and
plan for different contingencies. When you’re working on your
images, this is equally true. In Lightroom, one of the best ways to
be prepared is to download and install presets for the Develop
module (including presets for sharpening and image process-
ing). Some of you may be reticent about using presets because
you don’t like the idea of “canned” settings. I’m with you. As
a photographer, I want all of my images to be 100% unique;
therefore, I use presets to get me started and to give me ideas
for potential Develop settings.
If you’re new to using presets, check out Matt Kloskowski’s preset
tips, downloads, and instructions on www.lightroomkillertips.com.
Another noteworthy preset site is www.inside-lightroom.com. ■
. . . .
X YX Y
The Export dialog was given a substantial upgrade in Lightroom 1.3. Along with
a new look and better preset management came the ability to extend export
functionality through third-party plug-ins. Let’s take a look at this new and
Exciting Export Options
UNDER THE LOUPE
he Export dialog is now comprised of three main areas:
On the left are the presets; to the right of that are the
export settings panels; and on the bottom are the “ac-
tion” buttons—Add, Remove, Export, and Cancel.
The left side of the dialog is reserved for presets, which are
used to save a configuration of settings for reuse. Three
preinstalled presets fall under the Lightroom Presets: Burn
Full-Sized JPEGs, Export to DNG, For E-Mail, and these
cannot be removed or updated. In addition, you’ll find the
default User Presets folder, which is one location where you
can save custom presets.
You can create a folder for storing presets two ways:
Control-click (PC: Right-click) the User Presets heading
and choose New Folder, or click the Add button (bottom
left of the panel) and create a new folder in the process of
saving your preset.
To delete custom presets and folders, just highlight them
and click on the Remove button. Note: Removing a folder
will delete any presets inside it.
To share presets with other workstations, Control-click
(PC: Right-click) the preset and choose Export. Copy the
preset to the destination
(PC: Right-click) the folder
you want to keep it in, and
choose Import. Presets can
be updated with new set-
tings by adjusting the set-
clicking (PC: Right-clicking)
the preset and choosing Update with Current Settings from
the contextual menu. Note: As mentioned above, you can
no longer update the preinstalled Lightroom Presets with
Many export plug-ins have become available since the
release of the Adobe Export Software Development Kit
(SDK). Here’s where to find some that I’ve used:
Timothy Armes created Mogrify and Transporter.
Mogrify leverages ImageMagick to allow additional
image modification on export (such as watermarking,
image resizing, borders, and more). Transporter can
pull metadata from your images to create companion
text files for each exported image. Both plug-ins are
free to use for a limited number of images per export,
and unrestricted versions of each plug-in are available
for a donation of any amount.
Jeffrey Friedl created plug-ins for exporting to Picasa
Web, Zenfolio, Flickr, and SmugMug, as well as the
functionality that allows plug-ins to work together
(called “piglets”—more on this later). These plug-ins
are offered for free.
This is the home of the SDK, where you can download it
and discuss it in the forum. More on the SDK in the sec-
tion entitled “Exporting extended” later in this article.
The section above the export settings is where you can
access your installed export plug-ins. Only Export Files
to Disk comes packaged with Lightroom. Just click the
drop-down arrow to see the list of your installed plug-ins
and choose the one you want. Of course, you’ll first have to
install the plug-in.
Installing a plug-in is as simple as putting the plug-in file
(it will have a .lrplugin extension) into the Modules folder
(you may need to create this) at the following location:
Adobe Photoshop Lightroom Section
Windows XP: Documents and Settings[Username]
Windows Vista: Users[Username]AppDataRoaming
Note: A plug-in, such as Mogrify, also requires the
installation (free) of ImageMagick to function. Check the
specific installation instructions offered by each plug-in
developer to make sure you’ve covered all the bases.
After you’ve installed an Export plug-in, you can cre-
ate presets using your favorite settings for that plug-in.
When you choose that preset, it will invoke the plug-in
and settings—a real timesaver!
The export settings panels behave just like the panels
found in the rest of Lightroom, which means they’re col-
lapsible: Click a panel label to collapse and expand that
panel. Command-click (PC: Ctrl-click) any panel label to col-
lapse and expand all panels. Option-click (PC: Alt-click) any
panel label to enable and disable Solo mode. When a panel
is collapsed, you’ll see a summary of its settings displayed
in the header.
Tip: Some of the export plug-ins and piglets add many
panels to the dialog, so I find Solo mode reduces the need
to scroll and allows me to see all of my settings at a glance.
Export Location, File Naming, File Settings, Metadata,
and Post-Processing: These are pretty self-explanatory
so we won’t go into them in detail.
Image Settings: The image resizing function for JPEG,
PSD, and TIFF was given a considerable overhaul. The old
Constrain Maximum Size checkbox has been replaced by
Resize to Fit to make its job a little more clear. There are
now four different
options for resizing
& Height, Dimen-
sions, Long Edge,
and Short Edge.
I recommend experimenting with exporting test images
using each option but here’s a brief explanation of what
height (H) define the maximum amount each side can be
resized to fit while maintaining original aspect ratio.
within the entered dimensions while maintaining aspect
ratio. When this option is selected, height and width are
no longer associated with the values fields; you just enter
the maximum dimensions you want the images resized to
fit and Lightroom does the rest, regardless of orientation.
same manner: You set the maximum value for the edge in
question and Lightroom resizes all images to fit accordingly.
Lightroom can resample images smaller or larger than
the original image using the same resampling method as
Camera Raw (Lanczos’ algorithm). To prevent an image from
being resampled at larger than its original pixel dimensions,
check the Don’t Enlarge box. You can still choose pixels,
inches, or centimeters for units.
The release of the Adobe Export SDK opened the door for
third-party developers to extend export functionality in a
variety of ways. Instead of only exporting copies to your
desktop, you can now export directly to sites such as Flickr,
Zenfolio, SmugMug, and Picasa Web or your own Web
server. You can perform additional image manipulation
(such as converting to other color spaces, watermarking,
addingborders, etc). You can even export metadata from
your catalogs into text files. And this is just the beginning!
For an example of what’s possible, I exported an image
directly to my Flickr account and in the process (beyond
default export options), configured all my Flickr settings,
applied a little output sharpening, stripped the profile (after
and colors, applied a graphical watermark, and pulled the
image title from the IPTC and displayed it on the border.
I could have done more!
I leveraged Jeffrey Friedl’s Flickr plug-in in conjunction
with Timothy Armes’ Mogrify piglet. You’re probably ask-
ing, “What’s a piglet?” A piglet is the name coined by Jeffrey
Friedl for a plug-in that plugs into another plug-in. You can
read about his piglet process in his blog. The beauty of a
piglet is that it allows different plug-ins to work together
in a single export. So for my example, the Flickr plug-in
handled the Flickr parts of the process while the Mogrify
piglet handled the image-manipulation parts.
and all the plug-in developers! ■
. . . .
X YX Y
The Camera Calibration panel is typically used to achieve accurate color in digital
images by making adjustments for specific camera sensors. While this is inter-
esting and important for some purposes, the Camera Calibration panel is more
functional and a lot more fun when used as a creative tool.
Getting Creative with Camera Calibration
WORKING CREATIVELY IN LIGHTROOM
et’s start with a brief discussion of the Camera Cali-
bration panel before we get into the fun stuff. Camera
sensors respond to and represent color differently,
and can even vary within the same camera model. Tradi-
tionally, the Camera Calibration panel was used in Adobe
Camera Raw, and now Lightroom, to adjust and compen-
sate for these camera color variances.
for this particular camera. Then you can create a preset of
the calibration and apply it to images shot with that camera
to compensate for the color shift. We could get very techni-
cal and detailed about measuring and adjusting color, but
for this article we don’t need to get too deep because our
focus is creative color adjustments and stretching the limits
of the Camera Calibration panel.
Before Lightroom, the Camera Calibration panel in Adobe
Camera Raw was the best way to apply creative color treat-
ments to RAW images. The Camera Calibration panels in
Lightroom and Camera Raw are actually the same, but now
with the more intuitive HSL/Color/Grayscale panel, they’re
not necessarily the first place photographers go to adjust
color. Although it attracts less attention these days, the
Camera Calibration panel is still very effective as a creative
tool. There are many instances when it yields the best
results over other panels.
Our flower photo
isn’t a great image
by any means, but
it illustrates the vari-
ous treatments that
can be achieved in
relatively few steps
using the Camera
well in conjunction
with White Balance
Temp and Tint slid-
ers to create vivid,
can achieve subtle effects depending on what’s right for the
image but because this image is a bit bland, we’re going for
STEP ONE: The original image needs some help. The flat light-
ing and oversaturated petals make the image somewhat dull,
but the background is interesting and could be emphasized to
add drama. In the Basic panel, we increased the Blacks slider,
lowered the Saturation slider, and addedVibrance.These adjust-
ments give it a tiny boost, but it definitely needs more.
STEP TWO: To add contrast and emphasize the background,
we decreased the Darks slider in the Tone Curve panel. This
brings down the dark tones in the background, and although
the petals are too dark and saturated, the image is starting to
look more interesting.
STEP THREE:We’re using the Camera Calibration panel for this
image because of the petals and the background.We can easily
target the isolated color of the petals and also make dramatic
adjustments to the
dark tones of the
here is an intuitive
To create interesting black-and-white tones, simply lower
the Basic panel’s Saturation slider to –100 and adjust the
Camera Calibration panel’s sliders to get different mono-
chromatic tones. [For a complete tutorial on this method,
see Photoshop User, December 2007, p. 102.—Ed.]
Adobe Photoshop Lightroom Section
ALL IMAGES BY ANGELA DRURY
process and you have to make bold adjustments to every slider
to see what works. For the petals, adjustments to the Red and
Green Hue and Saturation controls softened the color and added
a slight shimmer. Slight moves of the Blue sliders further enhance
the color and now the image looks much better.
STEP FOUR: Because of the shadowy background, this image
illustrates the dramatic color changes you can make using
the Shadows slider. Dragging the slider to either extreme
completely changes the background tone, giving the image
a completely different appeal.You can further alter the colors
by revisiting the other sliders and pushing them around until
you come up with something interesting. Be sure to make
Snapshots so you don’t lose track of effects as you move the
colors around! [For more information on using Snapshots,
see p. 118.—Ed.]
Exposure and Contrast.You can always go back to the Cam-
era Calibration panel to correct any settings that become
too extreme, as we did here by lowering the Red Primary
STEP SIX: One last step is to lower the Basic panel’s Satura-
tion slider to see how the image works in black and white.
This one looks pretty good and we can continue making
adjustments to perfect the monochromatic tones.
Angela Drury is an award-winning photographer with 18 years’ experience shooting film and digital. She has received numerous
awards and has been featured in several group and solo shows. Angela lives in San Francisco and works at Adobe Systems Inc.
To see her photography, visit www.angeladrury.com.
As you can see, the Camera Calibration panel can be a lot of
fun and very creative. It also works well with landscapes and
other types of scenic imagery. I’ve also used it to enhance
the mood of travel images and portraits. Experiment and
have fun! ■
Result of setting
Shadows Tint slider
to –100 (green)
Result of setting
Shadows Tint slider
to +100 (magenta)
STEP FIVE: As previously mentioned, the Camera Calibration
panel works well with the White Balance controls. We created
the final color variation of this image using the White Balance
Temp andTint sliders, shifting the overall color balance to blue.
After changing the white balance, we made adjustments to
. . . .
X YX Y
There are many reasons to use Lightroom in your workflow; however, one of the
most compelling reasons is not what it does for one photo, but what it does for
you when you have a lot of photos to edit. The Sync function makes short work
of editing an entire shoot.
Change One Photo, Change ’em All
UNDER THE HOOD
et’s assume a typical editing session where you’re
working on your photos in the Develop module. You
make changes to one photo and it looks good but you
have a bunch of other photos shot under the same lighting
conditions. They don’t need the TLC that you gave the first
photo because they’re all basically the same. What you
want is a quick, easy way to apply the changes from the first
photo to all the others. Oh, and you don’t want to go in and
manually change each one; you want Lightroom to do it for
you. No sweat, here’s how:
STEP ONE: Begin in the Develop module with the first photo
of the group and develop this photo as you normally would.
Here, we’ve adjusted theWhite Balance, Exposure, Recovery,
Blacks, Clarity, and even theTone Curve.
STEP TWO: Because this photo could use a little cropping,
we’ll do that now, too. Just press the R key to enter Crop
mode and make your changes. When you’re done, press R
again to return to Loupe view.
Adobe Photoshop Lightroom Section
ALL IMAGES BY MATT KLOSKOWSKI
From one to many
Okay, we’ve made some changes to one photo; however,
there are a bunch of other photos from this shoot that were
shot in the same exact light, using the same exposure. So
whatever changes we had to make to the first photo will
need to be made to the rest of them. Let’s continue.
STEP THREE:Take a look down at the Filmstrip.You should
see the rest of your photos next to the one you’re currently
working on (the highlighted one). Once you identify the
photos to which you want to apply the same settings, you
have to select them so Lightroom knows which ones you
want to target: Command-click (PC: Ctrl-click) or Shift-click
on the other photos now.
STEP FOUR: At the bottom of the right-side panels area in
the Develop module, you’ll see a Sync button. Click on it to
open the Synchronize Settings dialog and here’s where you
choose which settings you want to synchronize.You may be
asking,“What is there really to choose from?”Well, here’s a
good example: Remember, we cropped the photo back in
StepTwo. Chances are the crop you used for that first photo
won’t work for all of the others (unless it’s a product shot
taken on a tripod where nothing moved). So you’ll probably
want to uncheck the Crop checkbox so Lightroom won’t
apply those settings.
If you don’t have to synchronize a large number of pho-
tos but still want a quick way to apply changes from one
photo to another, then you can try the copy-and-paste
method. Here’s how it works.
First, find the edited photo in the Library module
from which you want to copy the settings. Then click
on it and choose Photo>Develop Settings>Copy Set-
tings. You can also use the keyboard shortcut, which is
Shift-Command-C (PC: Shift-Ctrl-C). The Copy Settings
dialog will open (it looks just like the Synchronize Set-
tings dialog). Choose which settings you want to copy
and then click the Copy button.
Next, click on the photo (or Command-click [PC: Ctrl-
click] to select multiple photos) onto which you want to
paste the settings. Click the
Photo menu and choose
the settings you copied
from the source photo onto
the selected photos.
In the end, it does
exactly the same thing
as Synchronize; it’s just
a different way to do it.
There’s really no right
way: Use whichever
method is easiest and
works best for you at
the time. ■
STEP FIVE: Now make sure that everything else you want
to synchronize is checked and anything that you don’t want
synchronized is unchecked in the dialog.When you’re ready,
click the Synchronize button. If you look in the Filmstrip,
you’ll see the thumbnails of all the photos being updated to
reflect the new settings.
Note: If you’ve used the Quick Develop panel to make adjust-
mand in the Library module, and it will do the same thing as
photo editing in the Develop module, where the majority of
If you have a Lightroom question you’d like to see published
in this column, please send it to email@example.com.
If, however, you’d like your question answered immediately,
go to the Help Desk at www.photoshopuser.com.
Q. I can’t find a way to rename my photo. Can you help?
module. Click on the photo and choose Library>Rename Photo
appears, make your selections and click Done. Or if you need to
rename a single photo quickly, open the Metadata panel, click in
Q. How do Snapshots differ from the History panel?
When you import an image into Lightroom, the program starts
the modifications that you’ve made to the image. On the other
moment in time that you can go back to (click the plus sign [+] in
as a starting point of an edit. If you click on a Snapshot and make
Q. I’ve heard people talk about the “rule of thirds.” What’s that?
The rule of thirds is a compositional aid employed by photogra-
tal and two vertical lines intersect. When composing your photo,
To illustrate, let’s use a photo from my friend Timothy White.
When we select the Crop Overlay tool (R), Lightroom displays
the rule-of-thirds crop overlay. Notice the area of interest at the
But it doesn’t end there! In addition to the rule of thirds,
photographers and artists also make use of Divine Proportion
inspired golden spiral. Those overlays are also in Lightroom.
Click on View>Crop Guide Overlay>Golden Spiral and Light-
roomautomatically replaces the rule-of-thirds overlay with the
graphical representation of the Fibonacci sequence. With the
spiraloverlayin place, crop so the most important areas in the
image follow the curve, and the image will be more interesting.
While they’re no substitute for getting the composition right
in camera, crop overlaysletyouseeyourimageindifferentways.
Q. How can I use Keyword Shortcuts in an image?
To set a Keyword Shortcut, go to the Library module and choose
Metadata>Set Keyword Shortcut, or press Command-Shift-K
(PC: Ctrl-Shift-K). In the Set Keyword Shortcut dialog that appears,
you can to enter a series of keywords that you can apply to your
image or images. When your keywords are set, select the image(s)
and press K to apply the keywords to those images. Keyword
Shortcuts appear in the Keyword Tags panel of the Library
module. Click the tag in that panel and Lightroom displays
only the images assigned to that keyword. ■
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The seduction is the high
quality of its RAW files, how
much they yield, and the
large, stunning prints they can
produce. Despite the sensor’s
higher pixel density, there’s a
noticeable reduction in noise
when shooting at higher ISOs,
such as 1,600, making it practi-
cal to print blowups of cropped
areas. A 16-bit RAW file opens
in Photoshop at 120MBs and
without any resampling, it
produces a 20.8x31.2" print at
180 dpi. Files sharpen beauti-
fully and if anything, are easily
Combining the Mark III with
one of Canon’s L-series lenses
lets you capture textures and
resolve detail not possible on
the Mark II. The new Highlight
Tone Priority feature is very
effective at preventing clipped
highlights and retaining detail
by reducing the brightest
areas by approximately 1 stop,
and smoothing the gradation
between midtones and high-
instantaneous and accurate—
even in low light. The Mark III
can shoot 5 frames per second
(fps) RAW with burst rates of 11
ing it’s processing 21-mega-
pixel files at 14 bits.
Although the new, bigger
3" LCD holds up well in bright
light, I’m still not a fan of Live
View and prefer to compose
using the optical viewfinder.
Unlike Canon’s 40D, Live View
on the Mark III sadly has no
autofocus option: Focusing is
totally manual. A useful, 5–10x
image-magnification assist fea-
ture combined with the image
stabilizer does a remarkable
job of locking the image steady
for critical focusing. Live View’s
live histogram option is great
for exposing for the widest
Canon has solved the per-
sistent sensor-dust problem
of the Mark II with an effective
built-in dust-removal system,
practically eliminating dust
touchup in Photoshop. The
Mark III uses a new long-
lasting li-ion battery that’s
half the size and weight of
the Mark II’s antiquated NiMH
battery. Comprehensive bat-
tery data, such as shot count,
remaining capacity, and over-
all battery life, is now tracked
as a menu feature.
The Mark III operation has
been streamlined by eliminat-
ing the Mark II’s annoying
need to press two buttons to
access some camera functions.
Menus have been reorganized
to diminish scrolling, making
navigating easier. Annoyingly,
Canon still has no dedicated
as a compromise, a great new
feature called “My Menu” lets
you select, save, and then
quickly access any menu item
including customized func-
tions, such as mirror lock-up,
to your own personalized
menu list. Like the Mark II, the
Mark III has slots for CF and SD
memory cards. The new pro-
cessor allows you to automati-
cally save files to one card and
simultaneously back up the
files to the other card in either
RAW or JPEG format.
If you can handle the price
and size, the Mark III is a work-
horse and brings an exciting
new level to digital SLRs. ■
At first, Canon’s new top-of-
the-line, full-frame, 21.1-mega-
pixel EOS-1Ds Mark III camera
looks physically the same as
its predecessor, the 16.7-
megapixel EOS-1Ds Mark II.
files. The Mark III also has a
new dual-image processor
up data handling and a new
14-bit, A/D converter result-
ing in more subtle colors and
magnesium-alloy body is
exceptionally strong and
kinds of weather and harsh
heavy. It’s the camera equiva-
lent of Dirty Harry Callahan’s
.44 Magnum and for many, its
size, weight, and $8,000 price
tag might be a deal breaker.
$8,000 (body only)
Canon USA, Inc.
◆ ◆ ◆ ◆
Full-frame, 21.1-megapixel digital SLR
Photoshop cutout tool
few weeks, it appears the third
generation of this plug-in offers
major improvements over Fluid
Most selection software
requires the user to draw an
outline or select the colors
of the subject to be selected.
When you launch Fluid Mask
either from Photoshop as a
plug-in or as a standalone
application, it detects all of
the edges in the image, giving
the appearance that it has
converted your photo into a
kidding). Using the tools, you
can quickly select the back-
the option to automatically fill
in the foreground.
Like all software I test,
I installed it and jumped right
in to see if I could figure it out
without reading the documen-
tation. The first time I used
Fluid Mask (version 2), I imme-
diately closed the software
and returned to the excellent
tutorials and documentation
provided on the Vertus website.
When I wrote this review, there
were only two tutorials that had
been updated for version 3, but
the existing version 2 tutorials
explained the essentials.
Fluid Mask 3 takes advan-
tage of multicore processor
architectures to noticeably
speed up the startup time as it
automatically performs the ini-
tial edge detection. “The devil
that was surely made by some-
one attempting to isolate the
subject from the background.
Since the dawn of Photoshop,
users have spent countless
hours in their quests to remove
subjects from backgrounds
in photos. For almost as long,
companies have been offering
software that promises to
perform the pixelated exor-
cism in a fast and painless
manner. Often the software
solution turns out to be only
a little better than the manual
method. So it was with a little
skepticism that I began evaluat-
ing the Photoshop plug-in by
Vertus called Fluid Mask 3. It’s
described by the company as
the “#1 Still Image Cutout Tool,”
and after working with it for a
To that end, Fluid Mask has
added or improved a variety
of tools to make this tedious
job of defining and blending
edges even faster and easier.
Fluid Mask allows you to isolate
edge detection and blending
operations to specific areas
using Patches (called Regions
in version 2). My favorite is the
to view the results instantly
by dragging the tool over the
image. This instant feedback is
essential when isolating stray
hairs and fine detail. Fluid Mask
has intelligence built into the
edge detection that deter-
mines which edges should be
hard and which require softer
blending. All aspects of the
edge detection and blending
operations are configurable.
Fluid Mask allows selection by
color, which is a godsend for
anyone who needs to replace
an overcast sky in a landscape
with another one.
In all, Fluid Mask 3 is a
powerful application that can
get the job done—after you
master it. The truth is it takes
time to become familiar with
the different tools and options.
(Hey, you didn’t learn Photo-
shop in a day.) You’ll also have
to allow some time to develop
proficiency with Fluid Mask. Fol-
lowing the tutorials, you can do
simple cutouts in a few minutes;
executing exotic cutouts with
hair flying in the breeze will
functional demo version avail-
able from their website.
◆ ◆ ◆ ◆
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Convert your old camera to IR
time I had my converted D70
back and suddenly, a whole
new world opened up….
to see what rendered good IR
and what didn’t. For example,
portraits take on a very dreamy
look with soft skin tones—very
cool. Overcast days weren’t
so effective but bright, sunny
days worked very well, extend-
ing shooting time far beyond
the golden hours of sunrise
and sunset. Green foliage is
an excellent subject for IR,
turning various shades of gray.
Blue skies become black with
white clouds—a stark, beautiful
contrast. The possibilities are
endless and the results some-
Life Pixel offers three
different conversions to suit
your style: Standard Color IR is
similar to a duotone look and
can be converted to B&W IR in
Photoshop; Enhanced Color IR
can give you some crazy ’60s
effects or you can convert it
to B&W IR in Photoshop; and
Deep B&W IR gives you the
effect of B&W IR straight out
of the camera. If you like the
effect of IR, find an old digital
camera and have it converted.
There’s nothing like a new toy
to get you all jazzed up about
photography again. ■
Currently, digital cameras
are sensitive to IR light, and
manufacturers place a hot
mirror over the sensor to block
IR light from affecting normal
images. By simply removing
the hot mirror and replacing it
with a custom IR filter, a digital
camera becomes an IR camera
that can be handheld, without
the need for any IR filters.
Life Pixel IR Conversion
Services, a company based in
Redmond, WA, will either sell
you a kit to do your own IR
conversion or they’ll do it for
you. So I dug out an old D70
camera and sent it along with
$300 for the conversion. In no
Starting at $250
Life Pixel IR Conversion Services
◆ ◆ ◆ ◆ ◆
Protective covers for camera lenses
equipment from nicks
and dings if it should get
bumped. It also provides
a thermal barrier to protect
hands from extreme cold,
which I put to the test on a
recent trip to Yellowstone
in –31° weather. My right
hand got very cold hold-
ing the camera but my left
hand stayed warm having
the LensCoat cover on the
200–400mm lens. I also felt
comfortable having my lens
exposed in adverse weather
as the neoprene protected
it from the elements.
I really like the fact that the
inside of the LensCoat is made
of a gripper material, eliminat-
ing the need for using glue or
some other sticky substance
on valuable lenses.
LensCoat makes covers for
a variety of Nikon and Canon
lenses, as well as a few others.
They also make Hoodies (lens
covers to replace lens caps),
covers for tripods, and even a
cover to protect my Wimber-
ley II head. You can select
from a variety of camouflage
patterns or plain black, which
I prefer. You can even order cus-
tom covers for your rare lens
or piece of camera equipment
that you want to keep pristine.
I’m sold on LensCoat! ■
As a working profes-
I have a consider-
able investment in
equipment. I believe
in preventive mainte-
nance and take care of
my equipment. But in the
field the conditions are some-
times less than ideal. So when
I learned about the folks at
LensCoat and their protec-
tive covers, I checked them
out. Now I have a LensCoat
cover on every piece of equip-
LensCoat products are
made from closed-cell
neoprene that protects
Varies by product
Lenses, tripods,Wimberley heads
◆ ◆ ◆ ◆ ◆
Photo repair plug-ins
Alien Skin Software, LLC
◆ ◆ ◆ ◆ ◆
interface, the ability to work
support for Intel-based Mac
For those new to Image
Doctor, here’s a rundown
of the tools and what they
do. Smart Fill, arguably the
coolest tool, lets you remove
unwanted objects from a
photo and blend those empty
spaces seamlessly into the
background. For example,
when the best photo of the
bride includes her ex in the
background maintaining his
court-ordered distance, you
could manually clone this
nightmare out of existence,
but with Image Doctor 2, sim-
ply make a quick selection and
launch the Smart Fill tool. The
results appear in the preview.
In most cases the Auto setting
does the job perfectly and Mr.
Nightmare is history.
Recently, I needed to
remove several ugly high-
way signs from an otherwise
pristine nature photo. After
getting the best setting for the
first sign, I only needed to draw
a selection around each of
the remaining signs and press
Command-F (PC: Ctrl-F) in
Photoshop to repeat the filter’s
action—a big time saver.
The Dust and Scratch
remover works like the built-in
Photoshop filter except it
provides you with much more
control. My favorite use of this
jewel is to remove long, narrow
areas from photos, such as
power lines and telephone
poles. While it’s possible to
do the same with the Clone
Stamp tool in Photoshop,
I could remove all of the
unwanted artifacts much
faster using this tool.
The next two tools, Blem-
ish Concealer and Skin Soft-
ener, are essential for doing
portrait or wedding work.
like the Spot Healing Brush
tool except it’s obviously
fine-tuned for working on
texture of the skin, whereas
the Spot Healing Brush often
makes the skin look like plas-
tic. The name Skin Softener
doesn’t adequately describe
what this outstanding tool
does best—remove flash
too powerful strobes. It does a
great job of that.
JPEG Repair takes a low-
quality image that suffers
from artifacting around the
edges and attempts to clean
it up. It won’t take a low-
quality image and make it
perfect, but it does a nice job
of making it better.
but if you shoot weddings
or portraits (even part time),
it will pay for itself in time
saved in short order. The
Alien Skin site has an excel-
lent before-and-after gallery
that shows what Image Doc-
tor 2 can do. There’s also a
fully functional, 30-day demo
Image Doctor 2 by Alien Skin
successful Image Doctor
plug-ins that first shipped in
Image Doctor, it’s a set of five
plug-in filters for Photoshop
Scratch Remover, Blemish Con-
cealer, Skin Softener, and JPEG
tools is to fix specific problems
with photos instead of acting
as a general image enhancer.
Each filter includes presets and
ement in Image Doctor 2 is
Photo effects plug-in
$259.95 (Standard edition $159.95)
onOne Software, Inc.
◆ ◆ ◆ ◆ ◆
Software created a cool set
of Photoshop filters and then
enlisted the services of Mr.
Wow—Jack Davis—to take
these tools, combine them
with the set of filters already
in Photoshop, and develop
presets that produce dazzling
effects. Then they took it a
Photoshop actions developed
by award-winning wedding
photographer Kevin Kubota
into the same filter. It’s as if
you have these two pros at
The result is a plug-in that
allows you to convert a set of
so-so wedding photos into
a stunning artistic collection.
I know this sounds like the hype
you find on brochures, but
PhotoTools is that good.
Edition creates a wide range
of general image enhance-
ments that adds pop to almost
any image. It also reproduces
camera filters such as polariza-
tion, neutral density, and color
correction, plus traditional
darkroom techniques like solar-
ization and cyanotype.
When you launch Photo-
Tools, it fills the entire screen
with a preview of the image.
Users can preview their
selected effect before applying
it, and each effect is applied
as a layer in the control area
of the dialog, which allows
you to stack multiple effects
on top of each other. After
applying an effect, you can
modify its strength by using a
Fade slider. Many of the effects
provide modifiers that control
the intensity of effects. On top
of this, you can control the
order of the effects and how
they interact to produce a look
that’s uniquely yours. When
you’ve found that unique comb-
ination of effects, you can save
and reuse them.
PhotoTools also includes
an easy-to-use and powerful
batch-processing engine to
apply the desired effects to an
entire folder of images. When
working with the tsunami of
photos that are the result of a
wedding, PhotoTools speeds
the editing process with its
ability to batch process files
with multiple output formats,
including differing sizes,
color spaces, names, and
For the record, I tested this
product on wedding photos
I shot the week before and
probably spent as much time
exploring all of the effects as
I had saved in using them. There
were more than a dozen shots
that were typical flat indoor
flash images that PhotoTools
turned into real jaw-droppers.
I began applying the filters to
all of the photos I take, and the
more familiar I become with
the myriad effects, the more it
speeds things up. If you take
photos professionally, you
need this filter. Your clients will
PhotoTools 1 Professional
Edition includes 250 effects;
onOne Software also offers
PhotoTools 1 standard that
includes more than 150 effects,
corrections, and styles. Both
are available as free, fully func-
tional 30-day demos. ■
Recently, onOne Software
released PhotoTools 1 Profes-
plug-in for Photoshop. The
name PhotoTools might seem
familiar to some of you as it
was the name of a plug-in
previously offered by Exten-
sis. While onOne Software’s
PhotoTools uses the name,
Photoshop plug-in is new.
The idea behind PhotoTools
is appealing—a filter that gives
your photos a wide variety
of professional effects with
the click of a mouse button.
Yeah, yeah, many plug-ins
claim to do the same thing, so
what makes this one differ-
ent? The difference is onOne
To complement the AF-S
14–24mm f/2.8G ED, Nikon also
introduced the AF-S 24–70mm
f/2.8G ED lens to cover the
midrange area. It begins where
the AF-S 14–24mm leaves off
and takes you through normal
into the beginnings of the tele-
photo range, covering an angle
of view from 84–34° with a
minimum focus distance of 1.2'
for getting close and personal
with your subjects.
It’s nice that Nikon has two
new lenses, but how sharp are
they? What about distortion?
Are they fast? These lenses are
so sharp and fast that I dare
say they rival their fixed-focal-
length companions! I was
blown away by the clarity of
my images from both lenses.
Distortion, what distortion?
And fast? Hang onto your hat;
before you can say “click.”
Both lenses have
(ED) glass to minimize
and produce sharp,
snappy images. But
it doesn’t stop there.
There are aspherical
elements in both lenses
that further reduce
aberration, even at the
widest apertures. If
a Nano Crystal Coat
to eliminate internal
reflections to prevent
ghosting and flare for
optimum clarity and
sharpness. They even
have Nikon’s Super
Integrated Coating for
of flare and ghosting. In other
words, Nikon has exceeded
even their own high standards
of quality and resolution with
this pair of wide zooms.
AF-S (Silent Wave) motors
make both lenses fast focus-
ing and virtually silent. Plus
you can quickly reach up and
take control of the focus ring
without taking time to change
to manual focus. Quick, quiet,
easy to control—that’s the way
I like my lenses.
The AF-S 14–24mm has a
prevent light hitting the bul-
bous front element. The AF-S
77mm diameter filter size.
standards, you can expect
both lenses to resist dust
and moisture while standing
up to the test of time with
heavy, daily use. Neither lens
is a lightweight, literally, yet
they fit in my hand comfort-
ably and allow quick and easy
adjustments to either the
focus or zoom.
Designed to go with the FX
format, the AF-S 14–24mm and
AF-S 24–70mm work equally
well on DX-format bodies. With
the effective focal-length mag-
nification, the AF-S 14–24mm
is equivalent to 21–36mm
and the AF-S 24–70mm to
By adding this dynamic duo
to my already existing AF-S
70–200mm f/2.8G ED, I have
three incredible lenses that
cover a range from 14–200mm.
Now that’s a package I won’t
leave home without. ■
When Nikon introduced the
D3 with its full-frame FX sen-
sor, it stood to reason that
there would be new lenses
to complement it. Boy, did
Nikon step up to the plate!
I nearly dropped my camera
the viewfinder with the AF-S
14–24mm f/2.8G ED set at
14mm. It felt like I could see
from near to eternity. I’m used
to the DX format on my AF-S
12–24mm f/4G IF-ED (18–36mm
equivalent on DX bodies), but it
just doesn’t compare. With an
angle of view covering 114–84°,
I’m back in the super-wide-
angle business. The minimum
focus distance of .9' allows me
to move in really tight on the
foreground and get a visual
depth that doesn’t end.
AF-S 24–70mm f/2.8G ED: $1,699.95
◆ ◆ ◆ ◆ ◆
AF-S 14–24mm f/2.8G ED & AF-S 24–70mm f/2.8G ED
Reviews by Peter Bauer
There’s more Photoshop than nighttime
anything about night photography,
this book might be of some use. But be
warned!The author gives some question-
able advice about purchasing RAM (“the
most you can afford”even though Photo-
shop won’t be able to use more than 3
GB), brush hardness (100%“for most
painting situations”), and color settings
sRGB”).You’ll also find a number of typos
(for example, a 20" monitor doesn’t have
a resolution of“168 by 1050”and thesec-
If you’re a graphic design teacher (or
worth a second look. The great big
spiral binding permits this large, fat
textbook to lay flat on a desk (or lap)
while working, which is a good thing
in a book designed for classroom use.
Project-oriented, each section starts
with specific goals and uses specific
techniques to accomplish those goals.
(Project files are on the CD.) Some of
these projects would be better suited
for Illustrator, but this is a good way
to learn those aspects of Photoshop
Take a walk with Kevin Ames through
his workflow, from capture through
archiving and presentation. In his
friendly, chatty way, the author dis-
cusses some of his favorite photo shoots
and digital projects, as well as some
common (and not so common) lighting
problems and how to overcome them.
You’ll also get a guided tour of some
of his favorite Photoshop retouching
techniques and a look at his approach
to black-and-white conversions. Many
of the photos used in the book are
available for download so the reader can
walk through the same steps, using the
by John Carucci
by Erika Kendra and Gary Poyssick by Kevin Ames
◆ ◆ ◆
Against the Clock, Inc.
430 pages with CD
◆ ◆ ◆ ◆
◆ ◆ ◆ ◆ ◆
Photoshop Q & A
If you have a Photoshop question you’d like to see published
in this column, please send it to firstname.lastname@example.org.
If, however, you’d like your question answered immediately,
go to the Help Desk at www.photoshopuser.com.
Q. Every time I create a Solid Color fill layer, a shape appears
on the screen? What am I doing wrong?
A. It’s not so much that you’re doing something wrong; you’re
just advanced in your Photoshop skills. Normally, if you cre-
ate a Solid Color fill layer, it fills the area with the color you
chose and creates a vector mask that spans the width and
height of the document. If you’ve made a path or selection
in your document, every time you create a fill layer, it will
bind that layer to the path or selection.
Q. I’m using the Butterfly brush from the set of Special Effect
Brushes in the Brushes panel. Is there a way that I can
control how clustered the butterflies are?
A. A great way for you to put your own personal touch
on a specific brush is to use the Brushes panel. Go into
Window>Brushes and you’ll notice that there are a ton
of different settings to control your brush’s behavior. To
change the overall spread of the butterflies (or any brush
tip), click on the word“Scattering”in the list on the left
and drag the Scatter slider to either the right or left (right
scatters them more, left clumps them closer together).You
can also make additional modifications by clicking on the
words“Shape Dynamics”on the left and altering the Size
Jitter, Angle Jitter, and Count. Once you’ve made all of the
changes that you want, you can click on the Create New
Brush icon at the bottom of the panel (circled) and save
that brush with those settings. ■
Q. I love the Lens Flare in Photoshop! Is there a way that I
can control where it’s placed in the document?
A. Everyone loves the Lens Flare (Filter>Render>Lens Flare) in
Photoshop—ranking it right up there in“overuse”with the
Trajan font. A lot of people don’t know, however, that in the
Flare Center preview you can click-and-drag the crosshair
to move the lens flare around. Now you can have some real
custom lens flare going for your next space project.
Q. What is Global Light and how can I use it in an image?
A.There are a series of layer styles that are affected by light-
ing: Drop Shadow, Inner Shadow, and Bevel and Emboss.
When Global Light is active (it’s on by default), all of
these layer styles behave as if they’re being affected by
a single light source. You can control the Angle of this
singular light source in the layer style dialog or both the
Angle and the Altitude by selecting
Layer>Layer Style>Global Light.
This issue, let’s explore helpful Option
(PC: Alt) key options:
1. Hold the Option/Alt key as you
for a much stronger contrast.
2. Hold the Option/Alt key and choose
Layer>Merge Visible to merge all the
layers into a new layer, but keep your
original layers intact.
3. Hold the Option/Alt key as you click
the Add Layer Mask icon to hide the
selection or, if nothing is selected,
give you a black layer mask.
4. Hold the Option/Alt key as you click
the Create New Snapshot icon in the
History panel to give you the New
Snapshot dialog with more options.
5. Holding the Option/Alt key as
you click the Create a New Layer
icon allows you to name the layer,
change its blend mode, or add it to a
clipping mask. ■
Lots of users get confused over the differ-
ence between the Save As and Save As a
Copy commands. The File>Save As com-
mand allows you to save the working file
under a new name and possibly a new file
type. After you’ve saved the file, the name
of the open file in Photoshop changes to
When you Save a Copy (accessed in the
Save As dialog), the name of the working
filedoesn’tchange at all. You’ve created a
totally new and unlinked file on your hard
drive and that file isn’t open. The title bar
continues to display the original filename
and recent file list doesn’t include your
saved copy. If you choose File>Save after
making changes to your current image,
you save the version that’s open in Photo-
shop, which doesn’t affectyourcopyatall.
Don’t touch the default
I don’t like the default colors in Bridge.
The Bridge Preferences (Command-K
[PC: Ctrl-K]) allows the user to control
the shade of black-to-white for the User
Interface Brightness and the Image Back-
drop. I prefer to keep the User Interface
Brightness at almost white; however,
the sliders and slider bars don’t change
color quite the same way. As you can see
here, I almost need a magnifier to see the
slider bars now because the color of the
tabs and the sliders is almost the same.
If you make the User Interface Bright-
ness lighter than 60% gray, your sliders
become nearly invisible. The lesson is
don’t mess too much with these inter-
Around the Layers
panel in one tip
Where you click the
can rename the layer.
opens the Layer Style
the layer thumbnail
on a fill or adjustment
layer opens the cor-
responding dialog. If you
double-click a text layer
thumbnail, it opens the
type for editing. Command-clicking
(PC: Ctrl-clicking) the layer thumbnail
selects the contents of that layer in the
on the layer’s name or surrounding white
space makes that layer active or makes it
part of a group of layers that are currently
the “active” layers.
Fix the marquee
Fixed Size). For example, if you want an
132 ALL IMAGES BY SHERRY LONDON
Some quick tips to make your Photoshop life easier
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4clr7x4.5_R1.pdf 6/18/07 5:28:47 PM
Photoshop CS and CS2 introduced so many
brand-new tools — and unprecedented control
— to designers and photographers, it took nearly
800 pages to cover it all!
Featuring a new, easy-to-follow page design
and extensive art changes, The Photoshop CS/
CS2 WOW! Book follows its famous format of
detailing innovative new approaches through
concise explanation and examples of real-world
solutions. Learn the newest aspects of input,
output, automation, masking & blending,
improving color & contrast, photo retouching
& tinting, painting, drawing, layer styles, and
web work, including techniques of some of the
bright new names in the design industry.
In-depth Exercising & Anatomy sections
demonstrate the features new to CS & CS2:
layer comps, Edit History Log, multi-layer
operations, Match Color, Color Replacement
tool, type on a path, Spot Healing Brush,
Photo Filters, Vanishing Point, Lens Correction,
integrated Camera Raw & more.
Find out why even the experts are saying
“WOW!” when they open The Photoshop
CS/CS2 WOW! Book
Photoshoptrainingvideosavailablefrom PhotoshopCD.com. Colin is also the founderofPhotoshopCAFE.com.
transformation properties, such as move,
scale, and rotate. It’s a great process to use
for making spirographic images.
Let’s look at some tips that will increase
your efficiency and help you to unlock
your creative genius.
I’ve been asked many times how to load
brushes, patterns, etc. into Photoshop.
You can load all your assets through the
various tools’ panels, but the fastest way
is to go to Edit>Preset Manager. From the
your Brushes, Swatches, Gradients, Styles,
Patterns, Contours, Custom Shapes, and
Tool presets. If you reset your preferences
file, you’ll lose all these settings, so go to
the Preset Manager and make backups
on a regular basis. To do this, pick your
choice from the Preset Type menu, press
Command-A (PC: Ctrl-A) to select all the
presets below, click the Save Set button,
and save the sets in a backup location.
Repeat for each preset and when the time
comes to load them, click the Load button
and navigate to your backup area.
Have you ever had to repeat the same
transformation several times? An example
would be rotating multiple layers at the
same angle each time. Instead of making
the transformation and then repeating it
over and over (a laborious task), try using
the Transform Again command. Make your
initial transformations using Free Trans-
form (Command-T [PC: Ctrl-T]), and then
press Command-Shift-T (PC: Ctrl-Shift-T)
to Transform Again. This repeats the previ-
ous transformations. It works on multiple
checkbox and enter a password. You can
now control different aspects of your
photos with a password.
Online photo galleries
How would you like to be able to post
your photos on the Web for all to see?
Good news, this functionality is built into
Photoshop. Choose File>Automate>Web
Photo Gallery. Now all you need to do is
choose a style for your gallery (you can
even choose Flash galleries), select a folder
of images, choose the Destination, and
click OK. Photoshop will go to work and
create the gallery for you. If you’re Web
savvy, you can incorporate the gallery into
your existing site, as well as modify the CSS
and create your own look.
Print all my shortcuts
Did you know that you can print all of
the keyboard shortcuts from Photoshop
or keep an electronic version on your
desktop? You can. Choose Edit>Keyboard
Shortcuts, or press Command-Option-
Shift-K (PC: Ctrl-Alt-Shift-K). Click the Sum-
marize button, choose a location, and click
Save. An HTML page will open for you to
print (File>Print). You can also Print As PDF
so you have a portable cheat sheet. ■
Some quick tips to get you started in Photoshop
■ BY COLIN SMITHPhotoshopBeginners’Tips
The Filter Gallery, located under the Filter
menu, is a great place to experiment with
many different filters in Photoshop. You can
get a good idea of how they’ll affect your
image before applying them. The problem
to expand and collapse each group to see
what filters are available. Here’s a tip to
speed all of that up: Hold down the Option
(PC: Alt) key and click one of the tabs. This
causes all the tabs to open or close in a
single click, speeding up browsing.
Prevent people from stealing
A big issue for photographers is finding a
way to email quality photos to clients for
approval. If you send photos that are too
high quality, they may be used without
payment. Send low-quality images and
you can’t sell them to the client. Sound
familiar? Here’s the solution: Create a high-
resolution PDF that people can view but
make them enter a password to extract
or print the photos. (I go into this in great
detail on my Special OPS disk on photo-
choose File>Save As, and select Photo-
shop PDF. For multiple images, choose
File>Automate>PDF Presentation. In the
Save Adobe PDF dialog, choose Security
from the list on the left, and check the
ALL IMAGES BY COLIN SMITH