Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
DYNAMIC
RANGE
H O W -T 0 M A G A Z I N E
M a r c h
201 6
PROVING
GROUND
PHOTOSHOP
WORLD 2016
THE CONFERENCE THAT WILL
CARRY YOU AWAY TO NEW
WORLDS OF CREATIVITY,
INSPIRATION, AND FUN
TABLE OF CONTENTS
March 2016
FEATURE
34
Photoshop World:
The Conference Created
for KelbyOne Members
Every year as Photoshop World draws nearer,
Scott Kelby gets more and more excited. In
this feature article, he explains why he gets so
excited and why attendees love this show so
much that they keep coming back year after
year. This 3-day educational conference is
created for KelbyOne members, and if youve
never attended one before, be sure to read
Scotts article to learn all the reasons why you
shouldnt miss it this year.
Kevin Newsome
Scott Kelby
Departments
How-To
Contributing Writers
Nesting Heads
KelbyOne Community
066 LIGHT IT
DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it means
there are either downloadable practice files or additional content
for KelbyOne members at http://kelbyone.com/magazine.
KELBYONE.COM
Lightroom Magazine
DYNAMIC
RANGE
52
Portraits with
Depth & Dimension
Manipulating the light, contrast, and sharpness in
Photoshop can help you create portrait images with
a three-dimensional look and feel, as if the subject
is coming toward you from the canvas. Glyn Dewis
shares all of his techniques for retouching portraits to
achieve these incredible results.
Glyn Dewis
Reviews
096
097
098
099
100
Scott Kelby
Imagenomic Portraiture
SCOTT KELBY
Its been about a month, so I wanted to update you on some of the cool stuff happening at KelbyOne, and in the magazine. Of course,
the big news is that registration is now open for the 2016 Photoshop World Conference in Las Vegas, where you can meet and learn
from the same KelbyOne online instructors. But, its different classes, its all live, and youre right there in the middle of it. Thousands of
KelbyOne members will come together for this event from all around the world. This conference was created for you, so youve gotta
be there.
More on that in a minute, because first I want to jump into some other cool stuff, starting with the KelbyOne app update. When we
launched our new Web experience back in November, it created kind of an unexpected, well, I think disaster wouldnt be too strong a
word. While it didnt affect all members, even if it affects two, thats too many. The good news is the apps completely fixed and running
better and faster than ever, which is awesome (and long overdue).
The next phase, updating the Android version, has already begun. In the meantime, we aired a live, members-only webcast to do
two things: (1) teach people how to use the app (its incredibly easy), and (2) get direct member feedback on what they want to see
in it, because now that its updated, we can start adding cool features again (you can see the webcast replay here). One thing were
working on is including the magazine right in the app, making it really convenient to read. Ill let you know when that feature goes live,
so stay tuned.
Also, I hope youre enjoying the new platform were serving up the magazine in now. Its a huge upgrade from what we were using.
We can add all sorts of new and cool interactive features, like the interactive polls and quizzes youll find throughout this very issue. This is
just the beginning, and an important step in making the digital version of Photoshop User magazine the very best it can be. My hats off
to our Managing Editor, Chris Main, who worked tirelessly to find just the right fit of features, ease-of-use, and a platform that addressed
what our members were asking for most (high-five, Chris!).
I just alluded to another thing were focusing on this year, which are live, private members-only webcasts, where we bring you people
and topics you wont find anywhere else. We kicked this off with a special broadcast featuring two of Canons top tech gurus, Brent
Ramsey and Rudy Winston, in a live Q&A about Canons just-released EOS-1DX Mark II. Brent and Rudy fielded questions on all sorts
of topics, and they totally crushed it. Were archiving these webcasts, so if you miss one, you can still catch the replay. I hope youll take
advantage of them.
One more thing Im sure youll notice is some of the improvements weve made to the backend of our new site. In particular, I hope
youre digging the improved overall speed, where pages load faster, videos load faster and are smoother, and its just a much more
enhanced experience overall. Were working on lots of new things to make your membership more valuable and more useful, and to
make you more productive and creative all without raising the cost. Not only are we glad youre here with us, were working hard to
make your experience even better, here in the magazine, and on the site.
Lots of cool classes are coming up, as well as lots of great tutorials and articles here in the magazine, including our cover story on the
p h ot o s h o p u s e r m a r c h 2 0 1 6
2016 Photoshop World Conference in Las Vegas (starting on page 34). As a KelbyOne member, you get $100 off a full-conference pass.
006
Plus, if you register now, you can save $100 on the early-bird special. So, you can get a full-conference pass, for the full three-days, for
just $599 (if youve ever attended a three-day conference of any kind, in any industry, you know thats an incredible steal)! Weve also
negotiated special room rates at Mandalay Bay (our host hotel, and where the conference is held). All the details are at Photoshopworld
.com. So, come join us July 1921. Youll learn more in three days than you have in three years!
All my best,
Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Photoshop User
EDITORIAL:
Contributing Writers
GRAPHICS:
MARKETING:
WEB:
PUBLISHING:
ADVERTISING:
COLOPHON:
This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.
All contents COPYRIGHT 2016 KelbyOne, LLC. All rights reserved. Any use of the
contents of this publication without the written permission of the publisher is strictly
prohibited. Photoshop User is an independent journal, not affiliated in any way with
Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom,
and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in
the United States and/or other countries. All other trademarks mentioned belong to
their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 2470-7031 (online)
Contributing
Writers
STEVE BACZEWSKI
is a freelance writer, professional photographer, graphic designer, and
consultant. He also teaches classes in traditional and digital fine arts photography.
His company, Sore Tooth Productions, is based in Albany, California
COREY BARKER
is an award-winning designer and illustrator. A featured instructor at the Photoshop
World Conference and an Adobe MAX Master Instructor, he has produced numerous
training titles for KelbyOne. Look for his upcoming The Photoshop for Designers Book.
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select
group of corporate clients. His latest book is Photoshop CC for Dummies. He was
inducted into the Photoshop Hall of Fame in 2010.
TOM BOL
is an editorial and commercial photographer specializing in adventure sports,
portraits, and outdoor lifestyle photography. His images and stories are used
worldwide. You can see more of his work at www.tombolphoto.com.
PETE COLLINS
is an education and curriculum developer and website overseer for KelbyOne.
He is one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts
background, Pete is well versed in photography, graphic design, and illustration.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker
and international workshop leader. Learn more at www.michaelcorsentino.com.
GLYN DEWIS
is a photographer, retoucher, trainer, and author based in Oxford, UK. His clients range
from athletes to the BBC. An Adobe Influencer and Photoshop World Dream Team
Instructor, he teaches around the world, including at his own series of workshops.
SEN DUGGAN
DANIEL EAST
is an author, freelance writer, presenter/trainer, and consultant with more than
20 years experience in photography, pro-audio, and marketing. Daniel is also founder
and president of The Apple Groups Team support network for user groups.
SEAN McCORMACK
is the author of Essential Development: 20 Great Techniques for Lightroom 5.
Based in Galway, Ireland, he shoots subjects from musicians, models, and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com.
COLIN SMITH
is an award-winning digital artist, photographer, and lecturer who has authored
18 books and has created a series of training videos. Colin is also the founder of
the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
LESA SNIDER
is the author of Photoshop CC: The Missing Manual, Photos for Mac and iOS:
The Missing Manual, several eBooks, and more than 40 video courses. She also
writes a weekly column for Macworld. For more info, visit PhotoLesa.com.
ROB SYLVAN
is the Lightroom Help Desk Specialist for KelbyOne, on staff at the Digital Photo
Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
SCOTT VALENTINE
is an Adobe Community Professional and Photoshop author. His latest book
is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
ERIK VLIETINCK
founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education,
Erik has been a freelance technology editor for more than 20 years. He has written
for Macworld, Computer Arts, Windows NT Magazine, and many others.
k e l b yo n e . c o m
009
Photoshop User
Magazine
Photoshop User magazine is the official publication of
KelbyOne. As a KelbyOne member, you automatically
receive Photoshop User ten times a year. Each issue
features in-depth Photoshop, Lightroom, and photo
graphy tutorials written by the most talented designers,
photographers, and leading authors in the industry.
About the Cover: DomQuichotte won a Photoshop
World 2014 Guru Award with this amazing image in
the Photo Montage category.
About KelbyOne
KELBYONE
Member Benefits
PHOTOSHOP USER MAGAZINE
p h ot o s h o p u s e r M a r c h 2 0 1 6
010
MEMBERS-ONLY WEBSITE
MEMBER DISCOUNTS
Save anywhere from 23 times your membership cost by using our many
industry-related discounts.
TECH SUPPORT
MEMBER COMMUNITY
KelbyOne members range from beginners to pros and love to lend each
other a hand. Together, we have built the friendliest, most knowledgeable
Photoshop and photography community on the Web.
MONTLY E-NEWSLETTER
FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 MondayFriday, 9:00 a.m. to 5:30 p.m. EST.
KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
By Ajna Adams
Peter Hurley
in the House
Ajna Adams
p h ot o s h o p u s e r m a r c h 2 0 1 6
012
k e l byo n e . c o m
013
KelbyOne Community
Whos Who
in the KelbyOne Community
Kaylee Greer! The dog portraits she gets are stunning. Having
said that, Im a big Glyn Dewis fan and Ive learned a lot from
and hybriddave.com.
k e l byo n e . c o m
Dave Williams
Dave Williams hides behind the alias Hybrid Dave. Hes a travel
and wedding photographer based in London. His professional
affiliations are with the Guild of Photographers, the Society of
Wedding and Portrait Photographers, the Society of International
Travel and Tourism Photographers, and hes a proud contributor
for Getty Images. He loves a photographic challenge, and to say
that hes a travel photographer is a clear sign that he shoots a
huge range of styles.
015
p h ot o s h o p u s e r m a r c h 2 0 1 6
016
Topaz Announces
DeNoise 6
Topaz Labs recently announced the availability of DeNoise 6, their application for
eliminating noise in digital images. The latest version can now run as a standalone
application, but it still works as a plug-in for both Photoshop and Lightroom. It
includes dozens of new camera-specific presets based on various camera profiles,
with multiple ISO presets for each camera. These presets can help remove noise in
just one click. DeNoise 6 now also supports High-DPI monitors, and batch processing is available in the standalone edition. For more information, click on the blue
product name above or visit www.topazlabs.com.
e x p o s e d: i n d u st ry n e w s
Sigma Introduces
New Cameras, Lenses, and Off-Camera Flash
In February, Sigma announced two new mirrorless cameras, two new lenses, and a
new off-camera flash. Starting with the two cameras, the new Sigma sd Quattro
features an APS-C sized Foveon sensor, while the Sigma sd Quattro H has a larger
APS-H sized sensor for even better image quality. Both cameras are designed to take
full advantage of all Sigma Global Vision lenses, and they use a two-mode autofocus
detection system that combines Phase Detection for focus speed and Contrast Detection for focus accuracy.
The two new APS-C format lenses include the Sigma 50100mm F1.8 DC HSM
Art Lens and the Sigma 30mm F1.4 DC DN Contemporary Lens. The 50100mm
is based on the same engineering as the Sigma 1835mm F1.8 DC HSM Art Lens
but has a new Hyper Sonic Motor thats 30% slimmer and provides fast and accurate
AF. According to Sigma, the new 30mm Contemporary Lens is the first affordable
f/1.4 lens for the mirrorless market and is a versatile enough for both photo and video
applications. The 50100mm lens will be available in Canon, Nikon, and Sigma mounts,
while the 30mm will be available in Sony E-Mount and Micro Four Thirds mount.
And finally, the new Sigma EF-630 Electronic Flash is a multifunctional offcamera flash designed to work with current DSLR cameras. It features TTL exposure
control, high-speed sync, wireless flash functions, and auto-zoom, which adjusts for
focal lengths of 24200mm. For more information on each of these new products
from Sigma, click on the blue product names above or visit www.sigmaphoto.com.
Tamron has launched a new accessory that will allow users to update the firmware and
customize setups for selected Tamron lenses. Up until now, firmware updates for Tamron
lenses could only be performed at a Tamron Customer Service Center. Now you can attach
the new TAP-in Console to a compatible Tamron lens and then run the Tamron TAP-in
Utility software on a Mac or PC connected to the Internet. In addition, you can customize
functions such as focus and VC (vibration compensation).
The two new lenses include the SP 85mm F/1.8 Di VC USD and the SP 90mm F/2.8
Di Macro 1:1 VC USD. According to Tamron, the 85mm is the first f/1.8 lens with VC for
full-frame cameras. It uses LD (Low Dispersion) and XLD (Extra Low Dispersion) glass
elements to minimize color fringing and to capture sharp images with high color fidelity.
The Nikon mount will now employ an electromagnetic diaphragm system, which has been
standard in Canon mounts.
The 90mm lens is built on the optical performance of Tamrons previous 90mm
Macro. Image stabilization has been improved by adding XY-Shift compensation to the
VC functionality, and advancements in the USD (Ultrasonic Silent Drive) control software
have increased AF speed and accuracy. Both of the new lenses will be compatible with
the TAP-in Console. For more information, click on the blue product names above or visit
www.tamron-usa.com.
k e l byo n e . c o m
017
HOW TO
Down
&Dirty
Tricks
Adobe Stock/Beboy
Step One
Step Two
Step One: Start by opening the image of the light bulb thats
part of the exercise download. This image has good detail in the
round area of the bulb, which will make for a good brush.
[KelbyOne members may download the files used in this
tutorial at http://kelbyone.com/magazine. All files are for personal use only.]
Step Two: First, remove the color in the image by using the
Gradient Map method: Press D to set the default colors, then
go under the Image menu to Adjustments and choose Gradient Map. The black to white gradient should automatically be
selected, so just click OK.
Step Three
Step Four: Press Command-L (PC: Ctrl-L) to open the Levels dia-
k e l b yo n e . c o m
log. Push both the white and midtone sliders to the left quite a
bit to make the background around the bulb pure white and
to boost the contrast in the bulb. Click OK. Finally, we used the
Eraser tool (E) set to Brush in the Options Bar to remove some of
the stem near the bottom right of the bulb.
Step Four
021
Step Five: Go under the Edit menu and choose Define Brush
Preset. Give the new brush a name when prompted and click OK.
Step Five
Adobe Stock/Zbyszek Nowak
p h ot o s h o p u s e r m a r c h 2 0 1 6
Step Seven
022
Step Eight: Click on the wood texture layer in the Layers panel
to make it active, and make a duplicate of it by pressing Command-J (PC: Ctrl-J). Place this duplicate layer above the text layer
in the Layers panel. Press Option-Command-G (PC: Alt-Ctrl-G)
to clip the wood texture layer inside the text layer. Activate Free
Transform and then press Command-0 (PC: Ctrl-0) to expand
the window so you can see the entire bounding box. Hold down
Shift and click-and-drag outside the bounding box to rotate the
wood texture 90 inside the text. Then, hold down Option (PC:
Alt), grab one of the side control points, and scale the texture out
horizontally to fill the text. Press Enter when done.
Step Eight
Step Nine: Now well use a couple of layer styles to add more
dimension to this text. Click on the type layer in the Layers panel
to make it active, then click the Add a Layer Style icon (x) at
the bottom of the Layers panel and choose Bevel & Emboss. Use
the settings shown here to get a nice sharp edge. To change
the Gloss Contour, click on the down-facing arrow next to the
preview thumbnail and choose the Cone Inverted preset from
the Contour Picker. Dont click OK yet.
Step Ten: Next, activate Drop Shadow in the list of Styles on the
left. The settings shown here work well on the wood texture.
Notice the color we chose for the shadow is a dark burgundy
color we sampled from the wood itself. (Note: To sample a color
from the wood, click on the color swatch to the right of the
Blend Mode drop-down menu, click on a color in the image that
you want to use, then click OK to close the Color Picker.) Click
OK to close the Layer Style dialog. Finally, drop the Opacity of the
clipped wood layer to 50%.
Step Nine
Step Eleven: Select the Brush tool (B) in the Toolbox, click on
the brush preview thumbnail in the Options Bar, and locate the
bulb brush that we created at the beginning of this tutorial; it
should be at the very bottom of the Brush Preset Picker. Open
the Brush panel (Window>Brush), and in the Brush Tip Shape
section, set the brush Size to around 45 px and then set the Spacing to around 160%.
Step Ten
Step Twelve
Step Fourteen
Step Thirteen
k e l b yo n e . c o m
023
Step Fifteen
Step Sixteen
Step Seventeen
Step Eighteen
p h ot o s h o p u s e r m a r c h 2 0 1 6
024
Step Nineteen
Step Twenty
Adobe Stock/Vidady
Step Twenty-One
k e l b yo n e . c o m
Step Twenty-Two
025
Final
HOW TO
Down
&Dirty
Tricks
nesting heads
BY PETE COLLINS
This type of imagery has been around for a while and it always
reminds me of Monty Python. Its a unique look that conveys
complexity, depth, mystery, or just being mental. Some folks
may find it a bit creepy; I find it a lot of fun.
Step One: This technique can be used with just about anyones
head, but if you want to make your job easier, use a head thats
a bit follicly challenged. This will make selecting and nesting
easier. This image was found on Adobe Stock.
[KelbyOne members may download the file used in this tutorial at http://kelbyone.com/magazine. All files are for personal
use only.]
Step Two: First, we need to select the head. Whether you have
a head with hair or not, one of the best tools to use for this is
the Quick Selection tool (W). Click-and-drag your cursor around
the inside edge of the head and it should do a pretty good job
of making a selection. Hair will require a little more patience and
maybe youll need to hold down the Option (PC: Alt) key to subtract any areas that you accidentally selected.
Step Two
Step Three: Once you have the head selected, and before you
do anything else, go up to the Options Bar and click on the
Refine Edge button. The Refine Edge dialog will open and youll
probably have an image that looks something like this. You can
change the look of the background in the View drop-down
menu. I find that when working with lighter images, a black
background shows up the best, so choose On Black (B).
Step Three
Step Four: Youll see the selection is pretty good but a little
jagged in places. Check on the Smart Radius box and drag the
Radius slider to around 2.7 px. Now, use the Refine Radius
tool (E) to paint around the edge of the head to help refine the
selection. You may also want to drag the Smooth slider a bit
to help smooth out any bumps. Set the Output To drop-down
menu near the bottom to Selection, and Click OK to close the
Refine Edge dialog. Press Command-J (PC: Ctrl-J) to copy just the
k e l b yo n e . c o m
029
Step Four
Step Five: Now grab the Elliptical Marquee tool (nested under
the Rectangular Marquee tool [M] in the Toolbox) and drag across
the forehead where you would like to make the cut. This will give
you a clean cut, so if you want a more organic look, you could
freehand it with the Lasso tool (L). The ellipse you drag out will
probably be too small to cover the entire top section of the head,
so hold the Shift key and drag out a second ellipse to include
everything above the cutline. Command-X (PC: Ctrl-X) will now
cut off that part of the head, and Command-V (PC: Ctrl-V)
will paste the cut section on a new layer.
Step Five
Step Six: Youll want to use the cutoff section as the back area
of the head. To better see what youre doing, click the Eye icon
next to the original Background layer to hide it, click the Create
a New Layer icon at the bottom of the Layers panel, drag this
new layer above the Background layer, press D then X to set the
Foreground color to white, and then press Option-Delete (PC:
Alt-Backspace) to fill the layer with the Foreground color.
Now, simply drag that cutout (or skull) layer below the head
layer in the Layers panel, press Command-T (PC: Ctrl-T) for Free
Transform, Right-click inside the bounding box, and choose
Rotate 180. Youll want to rotate it instead of flipping so that the
shadowing matches up (the light from the right causes shadows
on the left side of the face and vice versa for the inside of the
p h ot o s h o p u s e r m a r c h 2 0 1 6
head). Now drag the skull layer into place so that it matches the
030
Step Six
Step Seven
Step Eight: Using Free Transform, resize and position the head
near the bottom of the image. Make sure that both layers are still
selected and then press Command-J (PC: Ctrl-J) three times to
make three more copies of the head and skull. In the Layers panel,
select the second set of copies from the top, and use the Move
tool (V) to drag the head and skull straight up. Using Free Transform, hold Shift-Option (PC: Shift-Alt) and transform this second
head so it looks like it will fit inside the bottom head. Now, work
your way down the Layers panel and do the same for the third
and fourth group. Youll now have all of the heads stacked, but
k e l b yo n e . c o m
Step Eight
031
Fotolia/csp_Alkestida
Step Ten: Now youll want to add a background that fits with
what youre trying to convey. Since this image is pretty surreal,
well give a little nod to Salvador Dali with this desert image. The
sign was taken out in the final image. You can use any image
p h ot o s h o p u s e r m a r c h 2 0 1 6
032
Step Ten
Step Eleven
Once you have this simple technique down, you can add more
stuff like plants, tentacles, or anything you can think of coming
out of the top heador even all of the heads. This can be especially fun when you find a picture of that girl in high school who
broke your heart and you create your own totem of her that will
k e l b yo n e . c o m
033
p h ot o s h o p u s e r M a r c h 2 0 1 6
034
OKAY, DRUMROLL PLEASE (WAIT FOR IT, WAIT FOR IT)the 2016 Photoshop World Conference
(in Las Vegas, July 1921, 2016, at the Mandalay Bay Resort & Casino) is on! And, official registration
is now open! Thats right, were back in Vegas, baby! Awwwww, yeah!
Now that I have that out of my system, welcome to this quick look at Photoshop World. Since we have
so many new KelbyOne members out there (whoo-hoo!), I wanted to put this together so youd know
what its all about it, and most importantly, that youre invited!
Photoshop World is the worlds largest Photoshop training event (but its more than just Photoshop)
and members come from all over the world to learn from an extraordinary roster of instructors (but
I guess if theres any one thing Id want all of you awesome new members to know its this: this is your
conference. It was created for KelbyOne members to have a place to come together once a year to
learn all the latest stuff; make new friends and connections; meet the instructors; get inspired, faster,
better, and more efficient; and just have the best time ever doing it all. If youre a KelbyOne member,
we really want you to be therewe built this for you.
k e l b yo n e . c o m
its also way more than just education). Everybodys herefrom beginners to seasoned pros, from
students to educators, from amateurs to wizardsand we all come together to share, connect,
and engage.
035
LAS VEGAS
PHOTOSHOP WORLD
CONFERENCE 2016
with Adobe (the official Photoshop World sponsor) to create an entire 3-day track dedicated to learning
036
Adobes new mobile apps, such as Photoshop Fix, Photoshop Sketch, Adobe Comp, Adobe Capture, and
Photoshop Mix, among others. Youll find the full schedule on the Photoshopworld.com site.
One more thing about the sessions that I think is particularly cool is that you create your own custom
training experience. We dont make you register for your sessions in advanceyou can attend any class,
or any track, at any time, and change classes whenever you like. You just show up at the class you want to
take so you can focus on exactly the topics that interest you most.
Imagine getting your portfolio reviewed by some of the industrys best-known names. Theyre
there to help you tweak your presentation, advance your career, and help you stand out from
the crowd (and this is one thing we do year after year because our attendees have told us this
was a life-changing, career-changing experience).
k e l b yo n e . c o m
037
LAS VEGAS
PHOTOSHOP WORLD
CONFERENCE 2016
things, so you dont wind up at the blackjack table. (Wait! Who said that?)
038
One of my favorite events is one weve been doing for yearsits called Dinner with a Stranger,
and its about getting people who come to Photoshop World by themselves to meet up with other
people just like them over dinner. Heres how it works: Weve picked eight yummy restaurants.
You sign up for the type of dinner youd like (Italian, Chinese, burgers, etc.), and then get a red button
that says, Im a Stranger. You head to the restaurant and look for other people wearing the Im
a Stranger button. You then all get one big table, share a meal, some stories, a few laughs and
whammo!its the first night of the conference, and youve already met like 11 new people.
MIDNIGHT MADNESS
This has been a tradition at Photoshop World for about 16 years and our attendees love it, because
this is where we let our hair down, play a bunch of silly games, give away a bunch of cool prizes,
and well, you just have to experience it for yourself (though, seating is limited, and you have to get
a special free ticket in advance). The first few years we did it, it literally started at midnight. Then,
over the years, we moved it back to 11 p.m. Now, it starts at 10 p.m. If this keeps up, soon well be
starting at 5:30 p.m., and well call it Early Bird Dinner Madness.
Anyway, theres lots of other fun stuff, all throughout the conference, from our famous Meet Up
the night before the conference at the Eyecandy Sound Lounge to our Evening Inspiration session
with Gregory Heisler (its going to be a very special night) to our attendee party thats always
loads of fun.
Okay, lets do it! Its new this year, and the plan is to go to some of the best bars in Mandalay
Bay and the Shops at Mandalay Bay (yes, it has its very own mall), and youre invited to come
along, have a fine lager, and meet some new people.
LAS VEGAS
PHOTOSHOP WORLD
CONFERENCE 2016
This competition is open to any full-conference attendee (in fact, its only open to our attendees
040
only people at the conference can enter), and you can submit images in all sorts of categories from
retouching to photography, from illustration to compositing, among others. Our panel of judges
picks the winners who then come onstage to accept their Guru Award trophy. So many careers have
been launched from winning a Guru awardthe stories we hear are just amazing, and we want you
to enter. Hey, ya never know.
>>
k e l b yo n e . c o m
If you want to come a day early, we offer a series of optional in-depth workshops, where you can
041
p h ot o s h o p u s e r m a r c h 2 0 1 6
042
Fashion Photography
Bryan ONeil
Hughes
Dave Black
Daniel Gregory
Alan Hess
Master FX Live
Corey Barker
Joe McNally
Corey Barker
Frank Doorhof
Julieanne Kost
Moose Peterson
Scott Kelby
Kaylee Greer
Terry White
Joel Grimes
TBA
Dave Black
Katrin Eismann
Daniel Gregory
Lighting Track
12:00pm 1:00pm
Lightroom Track
Photography Track
Photoshop Track
Inspiration Track
Lightroom Track
3:00pm 4:00pm
Photography Track
Photoshop Track
Lighting Track
Lightroom Track
4:30pm 5:30pm
Photography Track
Photoshop Track
Inspiration Track
k e l b yo n e . c o m
043
Terry White
Katrin Eismann
Dave Black
Kristina Sherk
Glyn Dewis
Stacy Pearsall
Dave Cross
Katrin Eismann
Dog Photography
Kaylee Greer
Bryan ONeil
Hughes
8:30am9:30am
Photography Track
Photoshop Track
Photoshop Track
Inspiration Track
Photography Track
10:00am 11:00am
Dave Cross
Jay Maisel
Intro to Illustrator
TBA
Daniel Gregory
Joe McNally
More Photoshop 3D
Corey Barker
Richard
Harrington
Jay Maisel
p h ot o s h o p u s e r m a r c h 2 0 1 6
Lightroom Track
044
Photography Track
11:30am 12:30pm
Photoshop Track
Inspiration Track
Terry White
Scott Kelby
Joe McNally
Glyn Dewis
Video in Photoshop CC
TBA
Joel Grimes
Dave Cross
Scott Kelby
Concert Photography
Alan Hess
Corey Barker
TBA
Peter Hurley
Lightroom Track
Photography Track
2:30pm 3:30pm
Photoshop Track
Photoshop Track
Inspiration Track
Lightroom Track
Photography Track
4:00pm 5:00pm
Photoshop Track
Inspiration Track
Julieanne Kost
Terry White
Moose Peterson
Kristina Sherk
Bryan ONeil
Hughes
Frank Doorhof
Lightroom Track
Photography Track
6:15pm 7:15pm
Photoshop Track
Inspiration Track
k e l b yo n e . c o m
045
TBA
Tim Wallace
Richard
Harrington
Lighting Track
9:00 am 10:00 am
Lindsay Adler
Lightroom Track
p h ot o s h o p u s e r m a r c h 2 0 1 6
TBA
Roberto
Valenzuela
Glyn Dewis
TBA
Intro to InDesign CC
Terry White
Lindsay Adler
Scott Kelby
Roberto
Valenzuela
Printing in Photoshop CC
TBA
046
TBA
Julieanne Kost
Video Track
1:00pm 2:00pm
Katrin Eismann
Printing in Lightroom CC
10:30am 11:30am
Moose Peterson
Lightroom Track
Photoshop Track
Richard
Harrington
Attend conference sessions in any track and move between them as you like. Instructors, classes and class materials may change without prior notice. Visit www.
Photoshopworld.com for the latest schedule and information. Adobe, The Adobe Logo, The Creative Cloud, Photoshop, Lightroom, InDesign, Illustrator, Premiere Pro,
and Muse are registered trademarks of Adobe Systems, Incorporated.
k e l b yo n e . c o m
a feel for it, head over the Photoshopworld.com site and watch the video on the homepage, and youll
047
HOW TO
Beginners' Workshop
how to smooth skin realistically
LESA SNIDER
If your subject has an uneven complexion, acne scarring, wrinkling, or excessive freckling, then that can
be the first thing you notice in a portrait. Sure you could use the healing tools in Photoshop to remove
problematic areas, but that takes time and may result in unnatural-looking skin. In this column, youll learn
how to quickly smooth skin while retaining texture.
Adobe Stock/dubova
Step One
p h ot o s h o p u s e r m a r c h 2 0 1 6
048
Step Two
BEGINNERS' WORKSHOP
Step Three: Just like a high pass filter in the audio world can
be used to remove high frequencies (the treble) in an audio track,
the High Pass filter in Photoshop can be used to remove high
frequencies (fine, small, and sharp details) in an image, which
produces a blurring (smoothing) effect. Choose Filter>Other>
High Pass, and in the resulting dialog, enter 10 pixels into the
Radius field, and click OK.
Step Three
Step Four: Choose Filter>Blur>Gaussian Blur and in the resulting dialog, drag the Radius slider all the way to the left and then
slowly drag it rightward until youre happy with the way the skin
looks (3 pixels was used here, but if youre using the practice file,
try 1.5 pixels).
Step Four
Step Five: Now lets use a layer mask to hide the blurring
(smoothing) from everywhere except the skin. Since we want to
hide the blur from the majority of the image, Option-click (PC:
Alt-click) the circle-within-a-square icon at the bottom of your
Layers panel to add a layer mask filled with black. Photoshop
hides the blurring from the imageremember, in the realm of
Step Five
k e l b yo n e . c o m
049
BEGINNERS' WORKSHOP
Step Six
Step Seven
p h ot o s h o p u s e r m a r c h 2 0 1 6
050
Step Eight
HOW TO
Dynamic Range
GLYN DEWIS
In this tutorial, I want to take you through the retouching steps that I currently use to give my
portraits added depth and dimension, almost as if the face of the person is coming forward
from the screen or page.
away from the viewer. Areas that contain more contrast also
draw the viewers attention, as do areas of sharpness.
So throughout these retouching steps, youll see how
light, contrast, and sharpness can be used in combination to
boost the depth and dimension in a portrait and give a very
distinctive look.
p h ot o s h o p u s e r m a r c h 2 0 1 6
Before
052
After
DYNAMIC RANGE
Step One
Step Two
k e l b yo n e . c o m
053
DYNAMIC RANGE
p h ot o s h o p u s e r m a r c h 2 0 1 6
Step Four
054
Step Three
DYNAMIC RANGE
Of course theres nothing that beats photographing a shallow depth of field in camera, but we can do a pretty good
job faking it using blur in Photoshop. To add to this depth
and dimension, add another merged/stamped layer to the
top of the layer stack and rename it IRIS BLUR. Then, go
to Filter>Blur Gallery>Iris Blur and position the oval so that
it fills the main face area and extends just beyond the chin.
Click on the small dots on the outer circle to rotate the oval,
and click-and-drag the white line to resize the oval. Adjust
the transition points (the four larger dots inside the oval)
individually by holding down the Option (PC: Alt) key and
clicking-and-dragging them to ensure that none of the areas
you want to be in focus have any blur over them. Increase the
Blur amount to around 16 px in the Blur Tools panel and click
OK in the Options Bar.
Step Six
Step Five
k e l b yo n e . c o m
055
DYNAMIC RANGE
Step Eight
p h ot o s h o p u s e r m a r c h 2 0 1 6
056
Step Seven
Step Eight
DYNAMIC RANGE
Before/After
If you have any questions or comments please dont hesitate to drop me a line at glyn@glyndewis.com. To check out more
of my work, visit my blog over at www.glyndewis.com which I update up to five times each week with lots of behind-thescenes information. Theres also my YouTube channel over at www.youtube.com/glyndewis.
k e l b yo n e . c o m
Ive always been one for trying to get as many different looks
as I can when using the same lighting setup. This can often
be achieved by a simple control of the shutter speed. When
were using off-camera flash, its the shutter speed that
controls how much ambient light is in our picture, and the
aperture that controls the power of the light coming from
the flash. Therefore, if we slow the shutter speed down
(commonly referred to as dragging the shutter), we can
increase the amount of ambient light in our pictures without affecting the exposure from the flash. In this example,
I wanted more of the background to show through to give
greater separation.
057
ALL IMAGES BY GLYN DEWIS
HOW TO
SCOTT VALENTINE
Last issue, we got into some technical details about layers and how Photoshop passes information through
the layer stack from bottom to top. We also introduced Opacity, Blend If, and masks as alpha channels. Whew!
p h ot o s h o p u s e r m a r c h 2 0 1 6
060
Step One: Start with two blank layers in a new, square document. Grab your Gradient tool (G) and choose a Spectrum
style of gradient from the Gradient Picker in the Options
Bar. Also make sure that you have the Linear Gradient icon
selected in the Options Bar.
Step Four: Press Shift-Command-Option-E (PC: Shift-CtrlAlt-E) to stamp a copy of the results to a new layer, then
click its Eye icon to turn it off (I named it A in my example).
Finally, set Layer 2s blending mode back to Normal.
Step Two: On the bottom layer (name it Layer 1), drag from
Step Five: Drag Layer 1 above Layer 2, and now set it to Sub
the upper-left corner down to the lower right (hold Shift once
you start dragging to constrain it to 45). On the top layer
(name it Layer 2), do the same thing from the upper right to
the lower left.
Remember that Photoshop is actually doing math. Blending modes are functions that take in values from the lower
layer, combine them with the values on the current layer
according to some math, and show you a result on the canvas. Subtract does just what it implies: It subtracts the current
layers value from the lower layers value. When two values
are similar, the result is black, or at least very dark.
If you remember basic subtraction, order matters because
10025=75 (in this example, 100 is a value on the lower layer,
and 25 is a value on the blended layer). But 25100= 75,
which is what you get if you reverse the order of the layers.
Now a pixel value of, say, 75 is dark, but not black; however, 75 is tricky. Photoshop doesnt know how to display
negative color values, so anything less than zero becomes
black: 0, 75, or 255 all show up as black on the canvas.
Not all of the blending modes behave this way, though.
One way to tell which ones dont care about order is to
look at their names. Multiply is a good example. Both
10*20 and 20*10 give you 200. But you can prove this
in Photoshop itself. Repeat the above experiment with the
Multiply blend mode. What do you notice right away? Now
try Hard Mix.
k e l b yo n e . c o m
061
Curves 1 and Black & White 1 layers are set to Luminosity blend
mode. (Note: Luminosity blend mode allows the adjustment
layer to ignore color information and only look at brightness.)
To wrap things up, layers are the foundation of Photoshops power. They have some special properties that let
you control how they interact with each other, so its vital
to understand that theyre more than little pixel buckets.
Think of them as another kind of control, a physical way to
work on your images.
p h ot o s h o p u s e r m a r c h 2 0 1 6
062
ALL IMAGES BY SCOTT VALENTINE
D E PA R T M E N T
Photoshop Tips
COLIN SMITH
Batch Rename
Layers as Files
reason you may have, its easy! Open Bridge and select all the
ing each one of these to a new file and naming them. Its easy:
layers because the filenames will be the same as the layer names
Files as Stacks
Did you ever find yourself with a whole heap (not that digital files
can actually be heaped) of images that you wanted to load into
Photoshop in the same document? Maybe you wanted to make
a grid or a collage. You could open them all into Photoshop and
drag them onto a new canvas one at a time. Or you could try
this: File>Scripts>Load Files into Stack, and Photoshop will do it
p h ot o s h o p u s e r m a r c h 2 0 1 6
064
PHOTOSHOP TIPS
change all the blocks of type at the same time. Select all the type
layers in the Layers panel, then change the font, the size, or any
top of the Filmstrip in ACR theres a flyout menu where you can
property, such as color, and youll see that all the text changes at
choose Select All so all the images will change together in real
time. You can also adjust one of the images to your liking and
then, from the same flyout menu, choose Select All, followed by
Sync Settings. You can also click on any of the thumbnails on the
You may already be aware that you can duplicate a layer right
you think Im nuts? Quick, before you answer that, let me show
Option (PC: Alt) key, and dragging out a duplicate. What you
may not have known is this: You can duplicate multiple layers
If you hover over Develop Settings, youll see a list of all the pre-
sets currently loaded into ACR. Click one to apply it to the image.
You can select multiple images and apply the preset to all of
(PC: Alt) and drag on the page. All the selected layers will now
be duplicated.
ing Photoshop.
k e l byo n e . c o m
065
>>LIGHT IT
FILM
NOIR:
A CLASSIC STYLE WITH
A MODERN TWIST
OKAY, ILL ADMIT I WASNT EVEN BORN WHEN FILM NOIR WAS IN
ITS HEYDAY; BUT AFTER WATCHING CURRENT FILMS INFLUENCED
BY FILM NOIR SUCH AS NIGHTCRAWLER, THE DARK NIGHT, AND
SIN CITY, I WAS HOOKED. THERES SOMETHING ABOUT THAT
BLACK-AND-WHITE CINEMATIC STYLE OF THE 1940S AND 50S THAT
By
Tom Bol
LIGHT IT
k e l b yo n e . c o m
067
LIGHT IT
p h ot o s h o p u s e r m a r c h 2 0 1 6
On just about every shoot I do, nothing seems right until I take
the first shot. But once I take that image, then the photo shoot
flows smoothly. I decided the best packs for this shoot were
Elinchrom ELB 400s. These compact battery-powered packs
have more than 424Ws of power, are lightweight, and can be
easily controlled at the camera using the EL-Skyport Plus HS.
This transmitter shows each unit on the LCD, allowing intuitive
power control of multiple packs.
068
Cree Bol
LIGHT IT
k e l b yo n e . c o m
069
LIGHT IT
070
Cree Bol
p h ot o s h o p u s e r m a r c h 2 0 1 6
LIGHT IT
k e l b yo n e . c o m
Cree Bol
071
LIGHT IT
p h ot o s h o p u s e r m a r c h 2 0 1 6
072
I knew from the beginning I wanted muted color, not full black
and white for the images. There are numerous ways to convert
color images to black and white in Photoshop and Lightroom,
but for this shoot I converted the images using ON1 Effects 10.
Their black-and-white conversions include Bogart Cool and Ingrid
Warm, subtle references to the stars of some classic film noir
movies. I used Bogart Neutral to convert the images to black and
white, and then reduced the Opacity to 60% to bring a touch of
color back into the image. Film noir meets neo-noir.
LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE
MAGAZINE
LIGHTROOM WORKSHOP
ISSUE 19
UNDER
THE LOUPE
MAXIMUM WORKFLOW
Sen Duggan
Sean McCormack
Rob Sylvan
Scott Kelby
&
&
BY SEN DUGGAN
Tips Tricks
BY SCOTT KELBY
Questions Answers
Maximum Workflow
BY SEAN McCORMACK
imagenomic portraiture
B Y R O B S Y LVA N
Lightroom Workshop
BY SCOTT KELBY
retouching portraits
Rob Sylvan
75 80 86 92 94
Lightroom
Workshop
lightroom magazine
retouching portraits
BY SCOTT KELBY
lightroom magazine
step one:
p h ot o s h o p u s e r m a r c h 2 0 1 6
076
SCOTT KELBY
step two:
Here, Ive zoomed in to a 1:2 view, so we can really see what
were doing (just select this zoom ratio from the pop-up menu
at the top right of the Navigator panel, at the top of the left
side Panels area). Click on the Spot Removal tool (in the toolbox near the top of the right side Panels area or just press
the letter Q). This tool works with just a single click, but you
dont want to retouch any more than is necessary, so make
the brush Size of the tool just a little bit larger than the blem-
ish youre going to remove. Move your brush cursor over the
blemish and then just click once. A second circle will appear
showing you from where it sampled a clean skin texture. Of
course, its not always 100% right, and if for some reason
it chose a bad area of skin to sample from, just click on that
second circle, drag it to a clean patch, and it will update your
blemish removal. Go ahead and remove any blemishes now
using this tool (as shown here).
lightroom magazine
step three:
Now, lets remove some wrinkles under
her eyes. Zoom in tighter (this is a 1:1
view), then take the same Spot Removal
tool weve been using (make sure its set
to Heal) and paint a stroke over the wrinkles under her eye on the right (as shown
here). The area youve painted over turns
white (as seen here), so you can see the
area youre affecting.
step four:
k e l b yo n e . c o m
077
lightroom magazine
step five:
Now that the blemishes and wrinkles are
removed, lets do some skin softening.
Switch to the Adjustment Brush (also in
the toolbox near the top of the right side
Panels area, or just press the letter K),
then choose Soften Skin from the Effect
pop-up menu. Now paint over her face,
but be careful to avoid any areas that you
dont want softened, like her eyelashes,
eyebrows, lips, nostrils, hair, the edges of
her face, and so on. This softens the skin
by giving you a negative Clarity setting
(its set at 100). Here, Ive only painted
over the right si de of her face, so you can
see the difference. This is quite a lot of
softening, so once youre done, back off
the Clarity amount so you can still see skin
detail (I raised my amount to 55).
p h ot o s h o p u s e r m a r c h 2 0 1 6
step six:
078
lightroom magazine
step seven:
Now, click the New button once again,
and lets brighten the highlights in her
hair. Start by resetting your sliders to zero,
then drag the Exposure slider to the right
a little bit (I dragged mine to +0.35), and
then paint over the highlight areas to bring
them out. Lastly, one of the retouches
I get asked the most to do by subjects is
to slim them up a bit. I dont think our
subject here needs it at all, but if youre
asked, heres how its done: Go to the
Lens Corrections panel; click on Manual
(at the top right of the panel), then drag
the Aspect slider to the right (as seen
in the overlay here). As you do, it compresses (narrows) the photo, giving you
an instant slimming effect. The farther
to the right you drag, the more your subject gets slimmed (here, I dragged to +28).
A before/after is shown below.
The After photo has clearer and smoother skin (plus its desaturated a little bit), the eyes are brighter, have
more contrast, and are sharper, weve enhanced the highlights in her hair, and weve slimmed her face a bit
k e l b yo n e . c o m
079
Under
the
Loupe
The objects were most likely to grab on the way out of a burning
building are our family photos. Here are some tips to help you get
the most out of Lightroom when trying to make corrections to the
most common issues youll encounter with older digital photos.
lightroom magazine
Our favorite and most cherished photos may not be the best
ones weve ever taken, but rather those where the moment
or the people captured within them are more important than
camera settings. As I look back through thousands of my family photos, I see so many examples of bad lighting, on-camera
pop-up flash, incorrect white balance, horrible framing choices, red eyes, and other problems that can diminish the impact
of these photos. The obvious solution for many of these photos may be to simply delete them. But, if a certain photo is too
sentimental to send to the trash, then lets look to Lightroom
to see what can be done to improve or outright fix the most
common problems plaguing our family photos.
process version
If youve been using Lightroom for awhile, then you may have
some photos that were originally imported into a much older
Lightroom catalog, and that catalog may have since been
upgraded to the latest version. For example, I have photos that
were originally imported into Lightroom 1, and that catalog
has been upgraded to each subsequent new version since.
However, while the catalog itself is upgraded to the new
version, Lightroom doesnt change the processing applied to
these older photos. So, photos imported and processed (or
not processed) into a Lightroom 1 catalog would have the
original Process Version used at the time.
The reason this is important to know is that as Lightroom
has evolved, so has the Process Version. When Process Version
2010 was introduced, it brought improved sharpening and
noise reduction algorithms. With Process Version 2012 (the current default), we saw some old adjustments evolve (Brightness,
Recovery, Fill Light) into new ones (Highlights, Shadows, Blacks,
and Whites). To get the most out of Lightrooms current suite
of tools, you want to be using the latest Process Version when
you tackle these old photos. Newer adjustments, like Dehaze,
wont even work with the older process versions.
Looking at the right side Panels, you can see a few clues as
to the Process Version applied to a given photo. First, look in
is telling you this photo is using an older Process Version. If you
look in the Basic panel and see the old adjustment sliders, thats
another clue. The same would be true if the local adjustment
tools were only showing old adjustment sliders, or if Dehaze
(in the Effects panel) was grayed out.
k e l b yo n e . c o m
081
lightroom magazine
You can upgrade that photo to the new Process Version by clicking on the lightning bolt icon,
which will open the Update Process Version dialog.
Here, you can update the selected photo, or even
all photos in the Filmstrip. Its recommended to only
update one photo at a time to get a feel for how
this can change a photo, but if youre dealing with
a lot of previously unprocessed photos, then you
may just elect to update all of them at once.
Alternatively, clicking the Reset button (at the
bottom of the right side Panel area) will reset the
photo to the current default settings, which does
include the current default Process Version. You
can also change the Process Version using the Process pop-up menu in the Camera Calibration panel.
camera calibration
On the topic of the Camera Calibration panel, you
may also want to consider the Camera Profile being
used, as that can have a big impact on the color and
contrast of the initial rendering of the photo. That
said, a great many of my oldest family photos are
in JPEG format. If you expand the Camera Calibration panel and see Embedded selected in the Profile
pop-up menu, it means you have a non-RAW photo
selected. As such, you cant change the camera profile. Theres still plenty Lightroom can do to adjust a
JPEG, but youll not have the same latitude for adjusting white balance, recovering highlights, or dealing
with noise as you would with a RAW original.
If you do have a RAW photo selected, then you
should see some other Profile choices, such as Adobe
Standard, Camera Standard, Camera Landscape,
p h ot o s h o p u s e r m a r c h 2 0 1 6
082
lightroom magazine
cropping
With your Process Version updated, and potentially
a better camera profile, I often find that a lot of older
photos are vastly improved with a good crop. Cropping can remove distracting elements around the
edges, can be used to straighten lopsided photos,
or maybe you just need to change the aspect ratio
to fit the print size you want to make. Its also worth
noting that the histogram reflects the area within
the crop, so cropping out an area with blown-out
highlights will change the histogram accordingly.
For example, heres a photo of me and my son gazing at each other. The photo is totally crooked, full
of noise, poorly exposed, and has blown-out highlights, but I love it. This was taken back in 2001 on
our first digital camera (a 3MP Kodak), so the file
size is small and the noise is high even though its
only ISO 400. I dont care about the noise, but lets
see what a little cropping can do.
Pressing the R key is the fastest way to jump to
the Crop Overlay tool, but you can also click its icon
under the Histogram panel. Because this photo is
so crooked, my first move is to click the Auto button in the Crop & Straighten options to see if Lightroom can automatically straighten it out, which will
also crop the photo as part of the process. With
one click I straightened the photo and cropped out
the blown-out highlights in the upper-right corner,
which resulted in a tighter composition on the most
important elements in the scene.
Another good use for cropping is when you find
a photo with a dead-center subject in a landscapeoriented photo and feel it would work better as
a tight portrait-oriented photo, instead. With the
Crop Overlay tool selected, press the X key to swap
the orientation of the aspect ratio (this works for
k e l b yo n e . c o m
083
lightroom magazine
rotating
These days, digital cameras have a built-in means
to determine which orientation the camera was held
when the photo was taken. The information is written into the photos metadata so that programs like
Lightroom can automatically rotate the photo to
display it correctly; however, this was not true of
early digital cameras. If you scan through Grid view
in the Library module, and come across photos lying
on their sides, you can easily rotate them all together.
Just select all of the photos that need to be rotated
the same amount in the same direction while in
Grid view (press-and-hold the Command [PC: Ctrl]
key to select non-contiguous photos, or press-andhold the Shift key to select the first and last photo in
a continuous row). Then, click the correct rotational
arrow that appears on the thumbnail, or choose
the desired option from the Photo menu, to quickly
rotate them all at once.
p h ot o s h o p u s e r m a r c h 2 0 1 6
084
the adjustment. Once Ive done the first eye, I usually just click on the second eye to use the same
size circle I created previously.
lightroom magazine
k e l b yo n e . c o m
the correction.
085
ALL IMAGES BY ROB SYLVAN
Maximum
Workflow
imagenomic portraiture
BY SEAN McCORMACK
lightroom magazine
installation
Portraiture has a straightforward installa-
getting started
with portraiture
Portraiture is great for skin smoothing and
provides a fast way of improving portraits.
to Portraiture, you need to do general
cleanup on the skin in Lightroomremove
major blemishes and do any basic corrections to the image, like Exposure and Contrast, giving Portraiture the best file possible
to work with.
k e l b yo n e . c o m
087
lightroom magazine
layout
As with most plug-ins, Portraiture has a central
image area surrounded by panels. The left panel
area is where the settings and presets reside, while
the right panel area shows the mask preview,
images in a batch process, and the Navigator panel.
Use the Navigator panel to move around the image
once zoomed in. At the top, there are Preview controls (which well cover later) and, at the bottom,
theres a Zoom slider and a drop-down menu with
fixed zoom levels. Use these to zoom into the image.
presets
At the top of the left panel area, under Settings,
is the Preset drop-down menu. From here, you can
choose from a range of predefined settings based
on their descriptions. Default or Smoothing: Normal
make for a good start when youre getting familiar
with the plug-in. To create your own preset (which
will appear in the Preset menu, under Custom Presets), click Save (above the menu).
Click on the Presets button (to the right of
Save) to open the Preset Manager. Here, you can
delete, rename, add notes, or even import and
export presets.
detail smoothing
In this panel, you decide how the skin is processed.
There are three sliders that split the skin into different ranges: Fine, Medium, and Large. Fine
controls pores and skin detail, Large controls the
low frequency detailthe general skin tone and
p h ot o s h o p u s e r m a r c h 2 0 1 6
088
lightroom magazine
over the skin to find the best selection point. You may not
be able to get the entire skin range, but thats okay. You can
You can also use the sliders at the bottom of the panel to
Click the On button (at the top of the panel) to activate the
hair), while Latitude controls the size of the outline in the box.
At the top of the panel, there are three other sliders: Feath-
and includes all areas that fit into the range of tones covered
by skin. If you look at the figure for Detail Smoothing, you can
see that this can often include hair, so you may need to refine
In the middle of the Skin Tones Mask panel are two gradi-
controls the range of colors around the selected colors that get
ent boxes. The larger one shows the range of skin colors in the
Once you start to make mask changes, the menu at the top
map of skin colors from pink to yellow. You can drag this
other option in this menu, Last Used, which uses the settings
The best way to set the skin is to use the Pick Mask Color
options in the middle of the panel are used to change the main
box) to select the skin. As a general rule, the area between the
k e l b yo n e . c o m
089
lightroom magazine
enhancements
The final panel on the left is Enhancements. You
apply these only to the skin by turning on the Use
Mask checkbox. Sharpness and Softness are global
and ignore the mask. Sharpness sharpens the
whole image; Softness adds a glow to the image,
not unlike the old tights-in-front-of-the-lens trick.
This look isnt as popular as it once was, though.
Warmth will warm, or cool, the skin tone. Tint adds
magenta to the left, or green to the right to counteract the opposite color in the skin. For pink skin,
adding a slight green tint can help it. Brightness will
lighten or darken the skin, and Contrast will define
the skin edges more or flatten out the tones.
090
lightroom magazine
saving
To save the edit back to Lightroom, click OK near
the top right. To cancel the job, click Cancel (note
that youll still have an unedited TIFF file in Lightroom if you cancel, as this has to be generated for
the plug-in to save it).
batch editing
One feature thats handy in Portraiture is the ability
to edit a range of images at once. In Lightrooms Grid
view (G), select the images to edit, choose Edit In>
Imagenomic Portraiture from the Photo menu, and
the images will load into Portraiture. To navigate
between images, use the arrow buttons, or select a
filename from the drop-down menu right above the
Mask Preview panel.
If the filenames arent helpful, you can change to
a thumbnail preview instead. The settings will apply
to all the images initially, but you can go in and edit
any image without affecting the others. This means
you can get a general edit done, and then tweak
individual photos as needed before saving back
to Lightroom.
final comments
Imagenomic Portraiture is probably one of my
favorite skin smoothing plug-ins, which is great
when youre in a hurry and dont need a high-end
retouch. When used with Lightroom, you have to
nail the skin mask, because theres no way to erase
or mask out a layer like you can in Photoshop. So,
that just means doing a good job with your selection and refining. Remember to always prepare the
best file possible before going to the Portraiture
k e l b yo n e . c o m
plug-in, as well.
Before/After
091
ALL IMAGES BY SEAN McCORMACK
lightroom magazine
&
Questions Answers
I have a long list of collections in my Collections
panel, but I use the same few collections most
of the time. Is there a way to have easier access
to them without scrolling through a long list, or
changing their names to put them at the top of
the list?
You can mark your most-used collections as Favorites, and then
you can jump directly to them from the pop-up menu at the top
left of the Filmstrip. You add them in the same placeclick on
the collection you want to set as a favorite, and then click on
that menu and choose Add to Favorites. Now that collection will
appear in this pop-up menu, in the Favorite Sources section, so
its always just one click away.
SCOTT KELBY
p h ot o s h o p u s e r m a r c h 2 0 1 6
092
You bet. When you have the Adjustment Brush active, scroll
down to the very bottom of the panel, and youll see a little
toggle switch on the left. Its in the up (on) position. Click on it
to toggle it off, and it only turns off the visibility of the changes
you made with the Adjustment Brusheverything else you did
up until that point will still be visible, just the Adjustment Brush
edits will all be hidden. When youre done, click it again to toggle
the visibility back on.
and after you get a little bit into it, youll start asking things like,
Is there a way to see my image full screen without having to hide all the panels manually?
Yes, there is. Just press the letter F on your keyboard and Light-
room will hide all of the panels for you and take your image full
People get pretty upset that Adobe doesnt go back and add
lightroom magazine
key on your keyboard, so the Filter Bar appears at the top of the
title at the top of the first column (it probably says Date) to
panel, and click on the little icon in the bottom-right corner until
you no longer see the three triangles under the curve grid. Now,
click on the bottom left of the curve and drag straight upward
(as shown here) and it backscreens the image. The higher you
drag, the lighter the backscreen becomes. Now you can take
that backscreened image over to the Print module and add text
k e l b yo n e . c o m
over it there.
093
lightroom magazine
&
TipsTricks
SEN DUGGAN
p h ot o s h o p u s e r m a r c h 2 0 1 6
094
on the card. Then, once the images are imported into your cata-
post-import keywording
At the most basic level, keywords can help you find images, so
Once images have been imported, you can then apply more
you should think about what words or terms come to mind for
ing people, the name of the subjects. You might also consider
the rest of the images. Start broad, with keywords that can be
tagging files with the client name or job number if that makes
Once the different locations have been keyworded, you can apply
any other relevant keywords that might help you both identify
the Apply During Import panel on the right side of the Import
and find the images in the future (i.e., San Francisco Bay, ocean,
dialog. There are likely to be only a few keywords that will work
for all of the images youre importing from a single card, such
as those that reference a general location or an event, but any
images (or how potential clients might search for them) should
location keywords (i.e., city, state) that work for all the images
lightroom magazine
the time allows, Ill take a few minutes and add more detailed
keywords to those images. Sometimes, this inspires me to add
keywords to images in some of the nearby folders. And it feels
so good once its done!
choose one of the existing sets, and then choose Edit Set from
k e l b yo n e . c o m
the drop-down menu. In the Edit Keyword Set dialog, enter new
keywords, as needed, and then choose Save Current Settings as
New Preset from the Preset drop-down menu. Now, select an
image(s), and then click on a keyword in the Keyword Set section
or use the shortcut of Option-19 (PC: Alt-19) to apply it to the
selected photo(s).
ALL IMAGES BY SAN DUGGAN
095
Product Reviews
SC Labs
D
ChromaMatch Pro
Color Reference Charts Provide High Dynamic
Range and Easy Viewing on a Vectorscope
Review by Erik Vlietinck
DSC Labs ChromaDuMonde color charts are the industry standard for color reference charts in the video and movie industry.
The company has a new range of less expensive and easy-touse ChromaMatch Pro and ChromaMatch Lt charts. Instead of
a rectangular ordering of the color chips, the patches on these
charts have an outward radiating arrangement and come with a
digital reference PNG image file. Even if you have no experience
with color calibration for video, ChromaMatch charts are quite
the gloss creates reflections that may hinder the correct record-
709) and with the same color pigments. In contrast with other
find the right angle for the chart to face the camera in order to
DSC Labs also makes white balance and focus charts, as well as
acrylic. The glossy laminate is not there just for show: glossy colors
p h ot o s h o p u s e r m a r c h 2 0 1 6
096
side thats specifically tuned for skin tones, and on the flip side, a
so-called Fiddlehead Focus that lets you focus your camera.
Handy size I tested is about the same size as a large model X-Rite
reference file that you print, and then you visually compare the
but theyre optimized for video and film shooting. They include
the expected RGB values of the reference chart. For office print-
16:9 (1.78) and 4:3 framing bow ties, and motion-picture fram-
Rating:
Hot: 18 ChromaDuMonde & 6 vector colors; 4 skin-tone reference patches
Not:
ffordable Cyc
A
Wall Systems
Install a Custom Cyc Wall with Lightweight
Modular Components
Review by Michael Corsentino
What in blazes is a cyc wall and why do I even want one? Cycloramas, Cycs, Cyc Walls, and Infinity Walls are different names for
a rigid, super-smooth, curved radius that seamlessly connects a
studios walls and floor without revealing any corners, thereby
creating a sense of infinity. These are traditionally painted white
or green for chroma-key video work. In addition to a supersmooth background, they provide considerably more width to
work with than rolls of seamless background paper. They can
also be constructed in myriad shapes that incorporate coves in
their corners. With a cyc wall, youre limited only by your space
and budget.
Ive wanted a cyc wall in my studio for years; however, having one built for me was a costly proposition and building one
myself seemed like a gargantuan task. Without the tools, time
and expertise, youre looking at a costly investment (for tools)
and a steep learning curve. As I learned (watching countless DIY
videos on YouTube), theres very little room for error in a properly
constructed cyc wall.
Happily, I found a great prefab solution manufactured and
offered by Affordable Cyc Wall Systems Inc. This solid polystyrene
Rating:
Hot: Easy, fast install; tough & lightweight; can be removed & reused
Not: May be price-prohibitive for some
a rear roll-paper feed and a front manual feed for heavy stock
such as poster board. Because of its design using built-in paper
guides, rubberized paper grips, and well-devised paper paths,
I didnt experience a single paper skew. The front telescoping
output tray is sturdy. The P400 can handle sheet paper from
4x6" to 13x19" and rolls up to 13" wide. The P400 will also print
panoramics up to 129" long, and it has Ethernet, USB 2.0, and
Wi-Fi connectivity.
Epsons SureColor P400 A3 might be entry level, but its color
print quality is strictly high end.
Company: Epson America, Inc.
Rating:
Hot: P aper handling; print quality
Not: Not for heavy production situations; no LCD
Price: $599.99
k e l byo n e . c o m
097
REVIEWS
hase One
P
100MP Digital Back
Its the Details That Count!
Review by Michael Corsentino
Rating:
Hot: 1 00 megapixels; ISO from 5012,800
Not: Pricey tool; however, you can finance or rent
VAIO Z Canvas
Tablet Windows PC
p h ot o s h o p u s e r m a r c h 2 0 1 6
098
the power cable connector is large and doesnt sit well in the
power port, and youll find that youll need to charge this powerhouse PC more frequently than most tablets.
At what point is the hybrid PC better than a small laptop?
Theyre nearly the same. If you need the full power of a PC,
you may find that this display size, in spite of its quality, is not
adequate for professional applications. The VAIO Canvas Z is as
heavy as many full-size laptops and the responsiveness of the
touch screen isnt as good as the competition.
Company: VAIO Corporation
Rating:
Hot: Screen clarity; performance; connectivity
Not: Bulky; small screen for design/photo
Price: $199.99
Rating:
Hot: C
ompact mobile printer; photo quality
Not: Expensive; no battery option
k e l byo n e . c o m
099
BOOK REVIEWS
PETER BAUER
p h ot o s h o p u s e r m a r c h 2 0 1 6
By Lori Nordstrom
100
By April Bryant
A very short, quick read, the author touches on and briefly explains
most of the basics of photography. This is a great book to give to
someone just starting to make photographic images or someone
who has been taking images for years, but never takes the camera setting off Auto. The author writes in a clear and comfortable
voice, never making any subject seem too complicated. (Some
subjects probably could have used an additional sentence or two,
but nothing is really left hanging.) The author has also included a
link to a website that includes a downloadable PDF that contains
the 36 summary points from the eight sections (I cant quite call
them chapters) of the book. The PDF Quick Reference Guide
can be printed or loaded onto a smart phone for easy, portable
access to the authors advice. (The Kindle version, which I recommend, was read for this review.)
Price:
$34.95 (paperback); $13.49 (Kindle, Nook)
Rating:
Pages: 128
Price:
$14.99 (paperback); $4.99 (Kindle)
Rating:
Pages: 72
photoshop
user
MARCH
2016
POP QUIZ!
Test what you learned in this issue
Take Quiz
COLUMN
I photograph a lot of groups, mostly kids and teens in groups of a half dozen to twenty
something. No image has every element perfectsomeones eyes are closed or another is
yawning. Any advice?Larry
p h ot o s h o p u s e r m a r c h 2 0 1 6
To: Larry
From: KelbyOne Advice Desk
104
find one specific secondary image that has repairs for all
the image that has the fewest things wrong and elect
since youre using a tripod, you can work with the best
working document.
You can, for example, use the Clone Stamp tool (S)
Stamp tool over the closed eye. You can even copy/
tool (V), then Shift-drag the frame from the video file to
align the fix with the problem area. Using a tripod, youll
Are you taking advantage of the Advice Desk at the KelbyOne member website? This is the place where you can get all of your
Photoshop and Lightroom questions answered by our Advice Desk experts. Not only that, you can get photo and computer gear
help and advice, as well. What are you waiting for? Visit the Advice Desk section under My Account on the KelbyOne member
site today!
www.kelbyone.com