Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
lightroom vs.
capture one pro
Some reviewers claim
that Capture One Pro
checkmates Lightroom
when it comes to
rendering RAW files.
But is that true?
We take an in-depth
look at both programs
to reveal the truth.
FEATURE
Adobe Lightroom and
64 Capture One Close-Up
There are some who claim that Capture One
Pro by Phase One renders a sharper and
Chess Pieces: Adobe Stock/JcJg Photography; Guitar Player: Martin Evening
Martin Evening
Departments How-To
From the Editor
006 024 DOWN & DIRTY TRICKS
Suicide Squad Text Effect
Contributing Writers
009 034 DOWN & DIRTY TRICKS
Use Face-Aware Liquify to Create a Caricature
KelbyOne Community
012 052 PHOTOSHOP PROVING GROUND
Text Control for Graphic Effects
DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it means All lighting diagrams courtesy of Sylights
there are either downloadable practice files or additional content
for KelbyOne members at http://kelbyone.com/magazine. Click this symbol below to access the Table of Contents.
KELBYONE.COM
Lightroom Magazine
0 85 LIGHTROOM WORKSHOP
Creating 32-Bit HDR Images in Lightroom
1 04 LIGHTROOM Q&A
Sean McCormack
106 LIGHTROOM TIPS & TRICKS
Dealing with
DYNAMIC
RANGE 44 Distracting Objects
Distracting objects can have a huge impact on an
otherwise great image. There are many psycho-
logical explanations as to why viewers are drawn
to those objects in images, but this is a Photoshop
magazine, so well focus on removing those objects
instead. From the Clone Stamp and Healing tools to
the Camera Raw filter, there are many ways to make
unwanted distractions disappear.
Mark Heaps
Mark Heaps
Reviews
108
Tamron SP 85mm F/1.8 Di VC USD Lens
112
Photoshop Book Reviews
A FEW WORDS FROM SCOTT KELBY
use Flash (or, if you prefer, you can download the PDFs weve been hosting just for you guys. Its a great time to
and read them offline). You can find these back issues by be a KelbyOne member, and were really glad youre here
clicking on Magazines in the left sidebar on the member with us. Your support, goodwill, and enthusiasm mean a
site dashboard. Were very happy to be able to bring lot to us.
All my best,
Scott Kelby
KelbyOne President & CEO
006 Editor & Publisher, Photoshop User
The official publication of KelbyOne
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
Contributing Writers
Steve Baczewski Corey Barker Peter Bauer Larry Becker
Tom Bol Dave Clayton Michael Corsentino David Creamer
Sen Duggan Martin Evening Mark Heaps Sean McCormack
Kirk Nelson Colin Smith Lesa Snider Rob Sylvan Scott Valentine
Erik Vlietinck Jake Widman
GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Graphic Designer
MARKETING:
Kleber Stephenson Melissa White
WEB:
Adam Frick Brandon Nourse Yojance Rabelo Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152
COLOPHON:
Photoshop User was produced using Adobe Photoshop CC 2015.5 and
Adobe InDesign CC 2015. Roboto was used for headlines and subheads.
Frutiger LT Std for text.
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
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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
| fuel for creativity their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 2470-7031 (online)
PHOTOSHOPS MOST WANTED
Contributing
Writers
STEVE BACZEWSKI
is a freelance writer, professional photographer, graphic designer, and MARK HEAPS
consultant. He also teaches classes in traditional and digital fine arts photography. is creator of Reactive Exposure for Lightroom, an Adobe Community Professional, Adobe MAX
His company, Sore Tooth Productions, is based in Albany, California Master instructor, author, photographer, Executive Creative Director, and most importantly,
husband and father. Based in Austin, he rides motorcycles and obsesses about food and culture.
COREY BARKER
is an award-winning designer and illustrator. A featured instructor at the Photoshop SEAN McCORMACK
World Conference and an Adobe MAX Master Instructor, he has produced numerous is the author of Essential Development: 20 Great Techniques for Lightroom 5.
training titles for KelbyOne. Look for his new book Photoshop Tricks for Designers. Based in Galway, Ireland, he shoots subjects from musicians, models, and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com.
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select KIRK NELSON
group of corporate clients. His latest book is Photoshop CC for Dummies. He was is a professional graphics artist in the Washington, D.C., area. He has a B.A. from George Mason
inducted into the Photoshop Hall of Fame in 2010. University and is an Adobe Certified Expert in Photoshop. Kirks career has touched on a broad
range of subjects in the design field from logo design to animation. He can be reached here.
LARRY BECKER
is an author, trainer, speaker, and tech aficionado. He is the founder and lead trainer at COLIN SMITH
LarryBecker.tv, where they teach small businesses and entrepreneurs how to create their is an award-winning digital artist, photographer, and lecturer who has authored
own professional-looking videos in-house without hiring a video production team. 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.
TOM BOL
is an editorial and commercial photographer specializing in adventure sports, LESA SNIDER
portraits, and outdoor lifestyle photography. His images and stories are used is the author of Adobe Lightroom CC and Photoshop CC for Photographers: Classroom in a
worldwide. You can see more of his work at www.tombolphoto.com. Book (2016), Photoshop CC: 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.
DAVE CLAYTON
is a KelbyOne instructor, designer, and creative specialist with more than 30 years of ROB SYLVAN
experience. He specializes in creating branding projects and logos and has been pub- is the Lightroom Advice Desk Specialist for KelbyOne, on staff at the Digital Photo
lished by Peachpit and KelbyOne. Hes also an Adobe Influencer and ACA in InDesign. Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom SCOTT VALENTINE
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker is an Adobe Community Professional and Photoshop author. His latest book
and international workshop leader. Learn more at www.michaelcorsentino.com. is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
DAVID CREAMER
is the owner of IDEAS Training (www.ideastraining.com), teaching everything from ERIK VLIETINCK
Photoshop to FileMaker. He has more then 30 years of publishing experience, founded IT Enquirer in 1999. A J.D. by education, Erik has been a freelance
18 years of Web experience, and 12 years of video experience. technology editor for more than 20 years. He has written for Macworld, Computer
Arts, Windows NT Magazine, and many others.
SEN DUGGAN
is the co-author of Photoshop Masking & Compositing, Real World Digital JAKE WIDMAN
Photography, and The Creative Digital Darkroom. He leads workshops on digital is a writer and editor who lives in San Francisco. Hes been covering the intersection
photography, Photoshop, and Lightroom. Learn more at SeanDuggan.com. of computers and graphic design for about 25 years nowsince back when it was
k e l b yo n e . c o m
called desktop publishing and Photoshop was just a piece of scanning software.
MARTIN EVENING
is a photographer with a background in commercial studio photography.
Hes also an experienced technical reviewer, who has over the last two
decades authored 25 books on Photoshop and Lightroom.
009
ABOUT PHOTOSHOP USER
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KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
By Chris Main and Dave Clayton
Jocelyn Petruccio
to learn more about what drives her creatively when it comes
to her photography and digital retouching.
First, congratulations on your Guru award. Was this ing photography program they had. I took a slower pace,
your first Photoshop World? but eventually graduated cum laude. Halfway through my
Thanks! And yes, it was my first, but hopefully not my last. schooling, I got the opportunity for my first retouching job
There were so many classes offered with knowledgeable and ended up working full-time at a big commercial studio
instructors. The workbook is filled with so much useful while finishing my degree. After two and a half years at
information, and learning with so many other working pro- that studio, I left to go freelance. Ive now been a working
fessionals and creatives was really fun. professional in Cleveland for eight and a half years.
How did you come up with your Guru-winning idea? Whats the favorite part of your creative journey?
Ive known of the Guru Awards for a few years from col- I love that Ive been able to work with so many different
leagues who have attended and submitted in the past. photographers, doing all different kinds of commercial
I decided to take a shot at it and brought the idea up to work, while being able to shoot my own jobs. I still enjoy
a studio I do freelance retouching work for, BurkleHagen shooting bands, but now its more promotional rather than
Photography in Cleveland, Ohio. The owners, David and live. I also like to shoot artsy/fashion conceptsanything
Andrew, decided this was a great idea. Theyre exclusively a moody and creative. Being a professional retoucher helps
food photography studio, so we wanted to use food as our me take the images I shoot and push them even further.
subject. We asked Lauren Parsells, another freelance photo-
grapher at the studio, to see if she would be interested in Is there anything youve yet to attempt in photo-
photographing it, and she jumped at the chance. graphy that youve been inspired to consider?
We discussed the idea of doing an image that looked I want to push myself with lighting moretake more
like it had been cut in half; it hit all of us instantlytake chances, and create more drama and interest, challeng-
soup ingredients and make them look like coral in the ing the post end of it to create really memorable pieces.
ocean. Many Asian ingredients would be perfect to portray I was extremely inspired during Photoshop World on how
our vision. We shared our concept with a local food stylist, to achieve a new portfolio Ive been thinking about doing.
Melissa McClelland, who loved the idea. With her knowl-
edge of ingredients and food, we knew shed be able to What do you love about being a KelbyOne member?
come up with the best ingredients to achieve our vision. Its about a community. Its one thing to search online when
From there, it was a full day of shooting the individual youre in a rut or cant find a solution to a problem, but
pieces, and then compiling by me until it was just right. KelbyOne offers so much more. Their classes are an abso-
lute must for working professionals. Its important to keep
How did you get started in photography? learning, rather than finding yourself in the same routine.
I began photographing my friends in high school bands with
disposable cameras. Later on, my sister gave me an old Pen- Which KelbyOne instructors have inspired you?
k e l byo n e . c o m
tax and I continued to shoot bands. After passing up college I found myself very inspired by Glyn Dewis and Lindsay
for three years, I was finding myself in a rut, and my sister Adler when I attended Photoshop World. With Lindsays
gave me some advice that changed my focus: You love to lighting/style, and Glyns inspiring retouching ideas, com-
shoot; you do it all the time. Why dont you go to school for bining these techniques is my new goal. I attended Photo-
it? I registered immediately for classes at Cuyahoga Com- shop World on a bit of a creative roadblock but left feeling
munity College because I had heard about what an amaz- amazed and ready to get to work! 015
CLICK TO RATE
Exp sed: Industry News
The latest news about photography gear, software, and services
By Chris Main
The PowerEgg Will promises to deliver more realistic and natural results
Be Hatching Soon with less noise and detail lossall while rendering
PowerVision, a worldwide leader in robotics and big the RAW files at a much faster speed. The new Polar-
data technologies, has announced that the PowerEgg, ize tool emulates a traditional polarizer lens filter to
their first consumer drone, is now available for pre- improve skies, saturate colors, and remove glare.
order and is scheduled to ship in mid-October. The Batch Processing will automatically group your brack-
PowerEgg isnt youre average drone. Its actually egg ets and apply the effects; all you have to do is pick
shaped and the blades and landing feet are tucked the original photos and then click Save at the end.
neatly away into its body. It comes with the worlds An updated interface places the focus on the image
first gesture-based controller, the PowerEgg Maestro, while keeping the familiar feel of the original version
which can be used with one hand. The remote has of Aurora HDR. All in all, there are more than 20 key
motion-sensing capabilities so users can control the improvements and features. Pre-orders for Aurora
drone by the movement of their hand. The PowerEgg HDR 2017 begin on September 14 and it will launch
also comes with a traditional two-handed remote. on September 29. For pricing, visit Macphun.com.
Other features include real-time video transmission
up to 3.1 miles; a flight time of around 23 minutes; Canon Introduces new
Lenses and the EOS 5D Mark IV
an optical positioning system for flying indoors, low to
Canon recently announced the brand-new EOS
the ground, and in GPS-free areas; an integrated 4K
5D Mark IV. Highlights for this camera include
UHD camera that can shoot photographs and videos
a new 30.4-megapixel full-frame CMOS sensor;
with 360 views on a 3-axis gimbal; and automated
an ISO range of 10032,000, expandable up to
flight modes that include Follow Me, Orbit, WayPoint,
50102,400; 4K Motion JPEG video (DCI cinema-type
and Selfie mode. The PowerEgg has an MSRP of
4096x2160) at 30p or 24p; in-camera 8.8-megapixel
$1,288 and is available for pre-order until September 30.
still frame grabs of 4K video; Full HD up to 60p and
Visit PowerVision for more information.
HD up to 120p; Dual Pixel CMOS AF for responsive
and smooth AF during video or Live View shooting;
full touchscreen LCD monitor, including selection of
AF area; up to 7 fps with high-performance DIGIC
6+ Image Processor; 61 AF points with AF possible
at all 61 points with many lens and extender com-
binations effective at f/8; a 150,000-pixel RGB+IR
metering sensor for precise exposure metering; Dual
Pixel RAW, in-camera Digital Lens Optimizer during
JPEG shooting and Diffraction Correction technolo-
gies; and built-in Wi-Fi, NFC, and GPS. The EOS 5D
Mark IV will retail for $3,499 (body only). To learn
more, check out this video by Scott Kelby.
Macphun Gives Sneak In addition to the 5D Mark IV, Canon announced
Peek of Aurora HDR 2017 the EF 1635mm f/2.8L III USM Ultra-Wide Zoom
k e l byo n e . c o m
Macphun, a California-based Mac app developer Lens, the EF 24105mm f/4L IS II USM Standard
focusing on the consumer and professional photog- Zoom, the Canon Battery Grip BG-E20, the Wi-Fi
raphy and digital imaging markets, has given a sneak Adapter W-E1, the Rain Cover ERC-E5S/E5M/E5L,
peek of what to expect in the next version of Aurora and the Protection Cloth PC-E1. For more informa-
HDR, which will be called Aurora HDR 2017. First tion, including availability and pricing of all of these
up is an updated tone-mapping algorithm, which products, visit Canon. 017
CLICK TO RATE
Best of Show > Winner
JOCELYN PETRUCCIO
PHOTOS: LAUREN PARSELLS/BURKLEHAGEN FOOD PHOTOGRAPHY
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
018
Before
KelbyOne & Photoshop User magazine is proud to announce the
winners of the Photoshop World 2016 Guru Awards. The winners in eight
categories, including the Best of Show, were revealed on July 21 during
the Guru Awards & Wrap-Up Ceremony at KelbyOnes annual three-day
Photoshop, Lightroom, photography, & design convention in Las Vegas.
Sponsored by B&H, the ceremony featured images and photography from
international entries in a wide variety of styles, techniques, and skill levels.
Congratulations to all the Photoshop World 2016 Guru Award Winners!
019
Illustration > Winner
SE AN FERGUSON
Before
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
Before
k e l b yo n e . c o m
ARTISTIC
STEVE LARSON
MARK RODRIGUEZ
COMMERCIAL
VIVIENNE DANG
ALEX MANFREDINI
ILLUSTRATION
PAUL BARTELL
ALEX MANFREDINI
PHOTO MONTAGE
DON CLARK
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
SEAN FERGUSON
PHOTO RESTORATION
DON CLARK
CLARISSA COLLENZI
PHOTO RETOUCHING
STEVEN LARSON
ALEXANDRA LENZ
PHOTOGRAPHY
ERIC ESTERLE
022 LAURA MUEHL
HOW TO
&Dirty
BY COREY BARKER
Just last month the newest comic book movie Suicide Squad hit theaters.
Tricks
In this exercise, well take a look here in Photoshop at one of the many
3D type treatments done for the film. Inspired by the movie, and with a
few embellishments of my own, youll see how to use type, shapes, tex-
Step Six
Step Seven
Adobe Stock/antonel
we can use for the front of the text. You can use
the texture provided in the downloads, or try one
of your own. Here we have a simple texture with a
scratched surface; however we want it to be lighter.
Heres a cool trick for doing that: Since the texture
is black and white, press Command-I (PC: Ctrl-I) to
invert the values, creating a negative of the image.
[KelbyOne members may download the files
used in this tutorial at http://kelbyone.com/maga-
zine. All files are for personal use only.]
Step Nine
Step 10
Step 11
k e l b yo n e . c o m
Step 18: Click on the folder icon to the far right of Step 18
the Bump slider, and choose Layer 1. This will apply
the same scratched texture as a bump map. Then,
set the Bump amount to 3%.
Step 17
Step 19
Step 23
p h ot o s h o p u s e r s e p t e m b e r 2 0 16
030 Step 24
DOWN AND DIRTY TRICKS
Adobe Stock/papa
texture image, which is a dust particle image. Using
the Move tool, drag this texture into the main image.
Make sure the layer is below the 3D text layer in the
Layers panel, then use Free Transform to scale and
position it in the main layout behind the text object.
Press Enter when done.
k e l b yo n e . c o m
033
Final
HOW TO
One of the most interesting features of the Photoshop 2015.5 release is a help-
Tricks
ful addition to Liquify, a filter thats already heavily used by photo retouchers
everywhere. This amazing new technology called Face Aware automatically
detects faces in an image, assigns regions to recognizable facial features, and
builds in controls to edit those features. This was developed to assist with
portrait beauty retouching, but in this tutorial, we push it past its intended limits
and use it to create a humorous photo caricature!
DOWN AND DIRTY TRICKS
Adobe Stock/olly
for a caricature is as important as the technique
itself. The task is much easier and more suc-
cessful if you choose an image that already has
some slightly exaggerated elements to it. The
art of crafting a caricature is to push those ele-
ments to be comically exaggerated. This stock
image of a surprised man works well because
his eyes are already wide and his mouth is
hanging open. Begin by duplicating the Back-
ground layer with Layer>New>Layer Via Copy,
or with Command-J (PC: Ctrl-J), then transform
that layer into a smart object with Layer>Smart
Objects>Convert to Smart Object.
[KelbyOne members may download the Step One
file used in this tutorial at http://kelbyone.com
/magazine. All files are for personal use only.]
Step Five
Step Seven
Step Eight
Step Nine: Puppet Warp will frequently intro-
duce unwanted distortions and irregularities to
the image. These are easy enough to correct
with another run of the Liquify filter. (Note:
Dont double-click Liquify in the Layers panel
to reopen the filter because it wont show you
the changes you made with Puppet Warp;
youll need to go to Filter>Liquify again so you
can see all of your changes. Also, before you
go into Liquify, click on the layer thumbnail for
Layer 1 so the image is active and not the layer
mask.) Use the Forward Warp tool (W) again to
k e l b yo n e . c o m
Step 10
Step 11
Step 12: Add a new layer by using the Create
a New Layer icon (it looks like a square with a
folded corner) at the base of the Layers panel.
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
CLICK TO RATE
Step 15
k e l b yo n e . c o m
039
Before After
HOW TO
Adobe Stock/nyul
Step One
Step One: To use the Dust & Scratches filter nondestruc If, when working with your own files, the portrait con
tively, run it on a smart object. Doing so puts a protective sists of multiple layers, activate the layers in the Layers
wrapper around your layer content so the filter happens to panel first and then convert them all into a single smart
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
the wrapper, so to speak, and not whats inside it. In Photo object as described above. To access the original layers
shop, choose File>Open as Smart Object. If the portrait is later, double-click the smart object thumbnail in the Layers
already open in Photoshop, convert the image layer into a panel and Photoshop opens them in a new, temporary doc
smart object by Right-clicking near its name in the Layers ument. Make your changes, choose File>Save (not Save As)
panel and choosing Convert to Smart Object, or by choosing and close the document. The original document is updated
Filter>Convert for Smart Filters (these two commands do with your changes.
the same thing). Either way, you see a special smart object [KelbyOne members may download the file used in this
badge at the bottom right of the thumbnail (circled). tutorial at http://kelbyone.com/magazine. All files are for
Tip: If you use Lightroom, you can send a photo from personal use only.]
Lightroom to Photoshop as a smart object by choosing
040 Photo>Edit In>Open as Smart Object in Photoshop.
BEGINNERS' WORKSHOP
Step Three
Step Six: When youre finished, assess your work Step Five
by turning the filter off and on. To do that, click the
visibility icon to the left of the filters name in the
Layers panel. If the subjects skin looks too blurry,
you can change the filters settings. To do that,
double-click the filters name (circled) and the Dust
& Scratches dialog reopens. Here we increased the
Threshold to 14 to preserve more texture. Click OK.
Before After
042 CLICK TO RATE
HOW TO
The human brain has a tendency to want to read the words In recent years, the Clone Stamp has received some
that it sees. We are conditioned for it, and its almost impos- upgrades and now you can store up to five various source
sible to look at a group of letters and not try to make words points in the Clone Source panel (Window>Clone Source)
out of them. But what if those letters, or words, arent while youre working. This is useful if you have several vari-
things you want the viewer to focus on? They become a dis- ous source points from which you want to clone.
traction, a part of the visual noise that hurts the story youre One useful feature of
trying to tell. this tool (and others like
There are lots of things in images that can be distracting. it) is that it allows you to
Over time, image-makers have found various techniques sample through all layers
to help the viewer focus on the intended target within the in your document. Just
image; for example, shallow depth of field, vignettes, lead- create a new blank layer
ing lines, contrast, saturation, and more, all help create a tar- at the top of your layer
get focus for an image. This is key, because in todays media stack and make sure the
culture, we have nothing more than a glance from a viewer Clone Stamp is set for All
to tell him or her a story. Layers in the Options Bar
above. Now the tool will
THE CLONE STAMP TOOL clone from all the visible
Thankfully, Photoshop has some very powerful tools to help information contained in
us remove distracting elements from images that maybe the layers below. The duplicated pixels end up on the empty
couldnt have been eliminated while taking the photo. First, layer. This way the edits are nondestructive and contained in
lets explain the foundation of these tools. The oldest tool a new layer above the image.
used for this sort of work is the Clone Stamp tool (S).
The Clone Stamp tool allows you to copy
from one source location to another target loca-
tion using a brush interface. This is a direct copy
from the source location. The basic premise for
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
044
DYNAMIC RANGE
THE HEALING TOOLS often a mix of using the old and new tools together to get
The next set of tools that are often used are the Spot Healing the best solution to problem areas in photographs.
Brush, Healing Brush, and Patch tool (J). The Patch tool is the
only one that doesnt allow you to duplicate onto an empty PUTTING THE TOOLS TO THE TEST
layer so its more destructive than the others. In this shoot for a custom Triumph motorcycle, we applied
a basic vignette to help frame the image, which allows
us to reduce the noise from the texture and scene,
but boost the attention to the center of the frame
toward our subject. But, we have some other distractions
to remove.
Lets tackle issues that these tools can easily handle: the
Each of these three tools, which are advancements on big blob stain on the back wall that jumps out because of its
the foundation that the Clone Stamp tool offered us, add size and darkness against the lighter surrounding panel, and
various forms of auto-blending. With the Clone Stamp, the tall vertical line that shows a seam in the wall.
you get an exact replica from your source point; the Heal- [KelbyOne members may download the files used in this
ing tools blend patterns, textures, geometry, colors, lumi- tutorial at http://kelbyone.com/magazine. All files are for
nosity, and more. The removal of distracting elements is personal use only.]
k e l b yo n e . c o m
045
HOW TO
k e l b yo n e . c o m
047
HOW TO
Step Four: Now drag the Hue slider until you find
a color that pops out less from the background.
Also, reduce the Saturation to make the color less
vibrant, and consider altering the Lightness to help
reduce the contrast against the foreground detail.
In this example, by making the recycling bin green,
less saturated, and slightly darker, it no longer
stands out against the details of the motorcycle.
Step Four
k e l b yo n e . c o m
Step Four: Once youve completed the edits, click Step Two
OK, and this will update the image back in Pho-
toshop. From here, apply further edits by adding
a new layer above the image and using the tech-
niques described earlier in this article. Look at the
edges where you used the Spot Removal Brush
because there are often little artifacts that appear
where Camera Raw blended the edges. The Spot
Healing Brush or regular Healing Brush in Photo-
shop are good for removing those small details.
Step Three: With the Type layer and Type tool selected, lets
see how to adjust the spacing between the letters in our word.
When you adjust all the text at once, this is called tracking,
and theres a field dedicated to changing it. Clicking on the
Tracking drop-down gives you a range of preset values, both
positive and negative. Positive numbers will increase the space
between letters, and negative moves them closer together.
Making sure the text in your layer isnt currently selected and
your cursor isnt inserted anywhere in the text, try a few values
to see how this behaves. (Note: If your text is selected or your
cursor is inserted somewhere in the text, you can either click
the checkmark in the Options Bar, press the Enter key, or click
on the text layer in the Layers panel to commit the text.)
Step Four: You can also type a value directly in the Track-
Step Two: We have a fresh, new document thats just beg- ing field if you want more precision than whats provided
ging for some cool text. Select the Type tool (T), and then in the drop-down. Or, you can change the values by click-
show the Character panel (Window>Character). The Char- ing over the Tracking icon and dragging left or right. This
acter panel has some really cool features for dialing in the changes the values rapidly, but you dont see the result of
look of your text. For the moment, click on the Font drop- those changes until you release the cursor. If you ever want
down menu and choose a simple font such as Arial Black. to get back to the original tracking value set by the fonts
In this case, I chose a point size of 36. Press D to set your creator, you can choose or type in 0 to reset the spacing.
Foreground color to black, and click on the canvas and type I used a value of 45 for my starting point.
something short, like a single word. Well use this to explore
some of the tools in the panel. Step Five: Photoshop allows you to get even trickier,
Many of the options in the Character panel will apply though. With the Type tool active, click-and-drag over two
to your text so long as the Type layer is selected, but I also adjacent characters to highlight them. Now the Tracking
k e l b yo n e . c o m
Step Four
053
HOW TO
field becomes a Kerning field! Well, it wont say that, but Step Six: Another way to get a little spark in your type is to
youre now controlling the space between two adjacent change the baseline of some of your characters. Baseline is
characters instead of the whole body of text. So kerning the imaginary line on which your type sits, except for charac-
is used for adjacent characters, and may differ throughout ters like lowercase y or g that have descenders. Letters like o
a piece of text, while tracking is used for the overall body and s sit on the baseline, while letters with descenders have
of text. Once youve applied kerning to a pair of letters, you tails that drop below the baseline. As you type text in Photo-
can then go back and select just the left character of the pair shop, it shows you the baseline of the font youre using. In
to continue adjustments. the Character panel, the Aa icon denotes the Baseline Shift
Adjusting the kerning and tracking of text is a great way control. If you change this value from zero, the entire block
to change the feel of a given font, and can help adjust the of text will shift up or down; however, you can do this with
graphical look or readability without using transform or scale single characters as well.
tools. Below are three versions showing the original tracking
at top, my preferred manual kerning in the middle, and a Step Seven: Choosing the first letter in our word, lets
tightly kerned title at the bottom. simulate a drop-cap effect by increasing its point size to
(Note: There are two types of kerning methods, Met- 48, and then going to the Baseline Shift field and enter-
ric and Optical. Metric is the assigned kerning between ing 7. This moves the P down 7 points. (Im not going to
character pairs that the designer intended, and its what explain points in this article, so just think of them as units
I generally use by default. Optical evaluates several pairs of measure, like millimeters or inches.) In this case, that
of characters and develops spacing based on that evalu- aligns the top of the capital P with the top of the h and
ation and the letter shapes themselves. The regular Kern- the bottom of the descender on the lowercase p at the
ing option is in the Character panel, just to the left of the end. I love using this effect for simple titles, especially with
Tracking control.) fancier script fonts.
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
Step Eight
Step Nine
Step 10
PAINTING TEXT
Now that we have some interesting text, lets kick it into comes standard with Photoshop. I like this one because it
high gear and have some fun with painting. has some randomized color changes. Lightly paint back and
forth across the bottom of the text and youll see the grass
Step Eight: Create a blank layer above your Type layer by appear. Finish by pressing Command-D (PC: Ctrl-D) to dese-
pressing Command-Shift-Option-N (PC: Ctrl-Shift-Alt-N), lect. I added a Hue/Saturation adjustment layer (Layer>New
then hold Command (PC: Ctrl) and click on the Type layers Adjustment Layer>Hue/Saturation) and chose the Colorize
thumbnail. Turn off the visibility of the Type layer by clicking option in the Properties panel to give it a green color. The
on its Eye icon. The blank layer should be active, and you opening image for this month uses this same basic hand-
should have an outline of your text loaded as a selection. painting technique to simulate a rounded 3D font.
Step Nine: Press G to load the Gradient tool, and then D to The takeaway from this effect is that you can fine-tune your
set your Foreground and Background colors to their default type pretty easily, and then use the outline of that type for
of black and white, respectively. In the Options Bar, click on some really great effects. While the selection is active, you
the gradient preview thumbnail to open the Gradient Editor, can paint and add gradients in any way you like. With a little
select the Foreground to Background preset, and click OK. care, you can add layer styles such as Drop Shadows, or cre-
Choose the Linear Gradient icon in the Options Bar. On the ate cool titles for motion-graphics projects. When you treat
blank layer, click-and-drag up from the bottom of the selec- type as a graphical element, pay attention to legibility and
tion to some point above it. You should end up with a black make a conscious choice whether the type should be read
k e l b yo n e . c o m
to gray gradient in your text. clearly and what meaning it should convey. Tighter kern-
ing may feel crowded as simple text, but may provide more
Step 10: Press B to activate your Brush tool, and choose any continuity for a design. Looser kerning can work well for
kind of textured or patterned brush from the Brush Preset powerful headlines that need to fill space. Dont be afraid to
Picker in the Options Bar. Im using a basic Grass brush that play with lots of variations!
055
CLICK TO RATE
HOW TO
PIVOT POINT the hidden layers because theyre not needed. Or, you can
When youre transforming layersyou know, rotating and use a great little feature in Photoshop to clean up all those
scalingthey usually transform from the center. Have you unwanted layers in your Layers panel: Right-click in the Lay-
ever had a corner exactly where you wanted it before you ers panel and choose Delete Hidden Layers. Well, you could
scaled an object, but then you had to reposition it because do that until you upgraded to 2015.5, and that option is
the corner moved? I bet there have been a ton of times now gone from the contextual menu!
where you wished that objects rotated or scaled from a dif- Dont fear though, as its still there; Adobe just did a little
ferent point. You can actually have it transform from any spring-cleaning. Go under the main menu at the top and
point you like, even outside your object. Heres how: With choose Layer>Delete>Hidden Layers.
your objects layer active, press Command-T (PC: Ctrl-T) for
Free Transform. In the center of the Transform box youll see QUICK PATHS
a little point, known as the pivot point. (This point is always When youre working with the Pen tool (P), there are actu-
in the center unless you move it.) So, click-and-drag it to a ally five different Pen tools. There are also two path selection
different location and watch how everything now revolves tools, so that makes seven in total! The good news is that
around that point. you can access most of them by using keyboard modifiers.
Choose the regular Pen tool, and hold down the Option
(PC: Alt) key to change to the Convert Point tool to change
direction, convert lines to curves, and vice versa. Hold down
the Command (PC: Ctrl) key to switch to the Direct Selection
tool. Make sure Auto Add/Delete is turned on in the tool
Options Bar and you can click anywhere on the path to add
a point, or click a point to remove it. There, now you dont
have to keep changing tools.
select the brightest or darkest pixels in your image. Choose everything set up the way that you like, you can save this
Select>Color Range. In the Select drop-down menu youll see workspace so it can be used again. Just choose New Work-
the options Highlights and Shadows. Use these options to space from the workspace drop-down menu, give it a name,
make your selections, and then use the Range slider to fine- select the options you want to save in the workspace, and
tune whats considered a highlight and a shadow. click Save.
057
CLICK TO RATE
ALL IMAGES BY COLIN SMITH
COLUMN
brand development
before Prescott Realty, Inc. serves the home-buying needs of
Prescott, Arizona, located about an hour and a half north
of Phoenix. It was founded in 1991 when the firms bro-
ker, Richard Hanna, moved to the area with an eye to
retirement. Richard had been in the realty business since
the 70s, following in the footsteps of his father, Lyle, who
Original Logo
had founded D & H Realty in Phoenix in 1973.
The retirement plans, however, were put on hold.
Richards investor and builder friends urged him to keep
developing new housing in his new location, and so
instead of retiring, he launched a new company, Prescott
Realty. The firm started developing four subdivisions in
1992 and has been selling those lots ever since.
The new company needed a new logo, and Richard
came up with one himself. He loved the marketing side
As part of the resurrection, of real estate, recounts co-owner and sales specialist
Jon Rocha, and he drew it out when he founded the
Rocha convinced his company. Over the years, the logo mostly appeared on
partners that they needed the firms printed collateral. Out here in Prescott, our
makeover submissions
Were looking for product packaging or labels, print advertisements, websites, and magazine covers that are currently in the marketplace for
future design makeovers. So if you or someone you know has a design that youd like us to consider making over, or if youre a designer and
youd like to be considered for a future Design Makeover, send us an email at letters@photoshopuser.com. (Note: This is purely a design
exercise and the designers do not work directly with the client, create functioning websites, etc.)
Well also be covering real-world makeovers in this column, so let us know if you recently had a branding makeover or if you did a branding
makeover for a client that youd like us to consider.
058
DESIGN MAKEOVER
CLIENT
Prescott Realty, Inc.
prescottrealty.com
The actors in Prescott Realtys story are fourth-generation Arizonians and third-generation real estate brokers. The story begins when Richard Hannas
(Prescott Realtys Broker) father, Lyle Hanna, founded D & H Realty in 1973 in Pinetop-Show Low, Arizona. Shortly thereafter, Richard Hanna and his wife
Dorinda Hanna stepped into the real-estate scene and began marketing and selling property in East Valley Phoenix, in cities like Mesa, Tempe, and Chandler.
After selling the business in Phoenix, Richard and his father Lyle saw an opportunity to bring the same level of real-estate services to the Prescott area and
proceeded to build a new companyPrescott Realty, Inc. Today, Prescott Realty continues to embody and operate on the principles and values laid out by individu-
als such as Lyle Hanna, Richard Hanna, and Dorinda Hanna, who have always believed in unfaltering integrity, a strong work ethic, and exemplary client services.
059
DESIGN MAKEOVER
DESIGNER
Amie Baker Creative
amiebakercreative.com
060
DESIGN MAKEOVER
DESIGNER
Amie Baker Creative
amiebakercreative.com
the result The new logo hasnt yet made its debut at the time of this
writing. Were still figuring out the best date to launch
the new look so we can sync it with our Web developer,
whos working on tweaking our website, says Rocha.
That way we can rebrand all our stationery and also have
a strong presence online. Inside the company, though,
the new look is a hit. We all loved it, Rocha says, even
the founder. As soon as he saw it he said, I can see how
this makes us look like 2016.
For her part, Im really happy with the logo, says
Baker. I think its going to serve them well. She high-
lights the fact that its simple geometry gives it the ability
to be used in many different ways. Sometimes its hard
to get businesses to simplify their logo, she says, but
when you help them see theyre going to need to use
it in all these different contexts, it shows how well the
logo can do. Besides Prescott Realtys printed collat-
eral and website, the logo can be easily scaled up for
use on signs and billboards, and the monogram can be
used without the words as the firms profile picture in its
social media endeavors.
Round Three
The successful outcome also lays the groundwork
for future projects. Im a firm believer in working with
people I like, says Rocha. When I approached Amie, I
said well give it a go with this one project first, to see if
it works and if we like each other. Down the road, she
already understands what we like and dont like and what
we want to convey to the consumer.
Final Logo
CLICK TO RATE
Amie Baker is a graphic designer, entrepreneur, and mother of two based in the South Puget Sound area of Washington State. After graduating in graphic
design from the Art Institute of Seattle in 2004, she held a range of in-house positions, where she enjoyed managing a wide range of projects that supported the
brands while clearly communicating the goals of each brands marketing efforts. She gained an understanding of the reach of marketing, from the simple touches
of a business card through the complex information compiled in a sales presentation, and of how all of those things work together. She drew on this foundation
when launching her business, Amie Baker Creative, in 2010.
Amie now serves clients by offering identity and logo design, branding, print design, and Web design through a balance of insightful creative vision and strategic
thinking. She partners with small businesses as a resource for efforts in continuously developing and growing their brands. 061
HOW TO
This tip is really useful when you want one image to fit
into multiple shapes without needing multiple versions of
the same image in each shape. Start by creating your first
frame/shape, switch to the Direct Selection tool (A), hold the
Option (PC: Alt) key, and click-and-drag to create a duplicate
shape. Repeat once more to create a triptych-kind of layout.
Now when you place your image, it drops into the three
shapes as one image. This means you can move the image
around until satisfied with the placement. If you were to
062 edit the image in Photoshop and return to the InDesign
I N D E S I G N T I PS
MAKING MULTIPLE-SIZED DOCUMENTS IN ONE FILE as images or text, which you have obviously saved in CC
One of the biggest problems of creating multiple-sized Libraries, you can use them across all the layouts with ease.
documents (e.g., letterheads, business cards, flyers, comp That way, if you were to edit one asset, it would update
slips, etc.) is keeping track of all the files. If Im working across all the pages. Once finished, you can export as a PDF
on something like this for a client, I use the multiple-page that your print company can use.
feature already in InDesign; the very same one you use for
creating multiple-page documents. Using a feature in the GLYPH OPTIONS
Pages panel, we can add additional pages and resize them, One of the newer features in InDesign CC 2015 is the abil-
maintaining all document settings (character styles, margins, ity to see alternative character glyphs instantly onscreen
bleeds, etc.). instead of the old way where you had to open the Glyphs
Start by creating the first page as normal (File> panel (Window>Type & Tables>Glyphs) to find the one you
New>Document). Choose your settings in the New Docu- needed. Now you just type your text and highlight the char-
ment dialog, making sure you have Facing Pages unchecked, acter. If there are alternative glyphs available, there will be
and click OK. Now open the Pages panel (Window>Pages) a blue line at the bottom of the highlighted letter. Hover
and click the Create New Page icon at the bottom. you cursor over the highlighted letter and the glyph options
The new page appears, but before you do anything else, will appear underneath. Just click the one you prefer and it
click the icon to the left of the Create New Page icon called automatically changes.
Edit Page Size, and choose a size. By clicking Custom, you Speaking of shortcuts, if only you could download a short-
can create your own specific-sized pages, such as a square cuts cheat sheet from Adobe. Well, you can! Just click here.
flyer, business card, or any size document you require. Do
this action for each different-sized page you need to add to
the document.
ating multiples of each of Swatch button in the Color Picker first, it will add that color
the sizes in this document, to your Swatches panel for that document. Then, you could
the appropriate master style click on that swatch in the Swatches panel and click the Add
will apply to each layout. Selected Swatch to My Current CC Library icon (cloud with
Now when you start arrow) at the bottom of the panel to use that color with other
placing other assets, such projects where you might need it again. 063
CLICK TO RATE
A Comparison of Lightroom and Capture Ones Image Processing
and How First Impressions Can Sometimes Be Deceptive
BY MARTIN E VENING
Are Lightroom users getting the most out of their RAW How Sharpness Is Defined
files and can they be sure the RAW-processing software The reason why Capture One is perceived to be sharper
they use is as good as Lightrooms leading competitor? than Lightroom is mainly due to the default settings used.
Its a worrying thought, yet this is the claim being made By default, Lightroom applies a 25 Amount sharpening to
by some reviewers in head-to-head comparisons between all RAW images (on a scale of 0150). The actual amount of
Adobe Lightroom and Capture One Pro. If you were to underlying sharpening thats applied varies from camera to
count up all the hours youve spent processing your files in camera, but Adobes aim is to apply a base-level amount of
Lightroom, youd want to be reassured your creative efforts sharpening that makes all RAW files appear equally sharp at
havent been wasted. So earlier this year I spent some time a 25 setting. Its actually a rather conservative amount, and
comparing the RAW-processing controls in both programs all images will benefit from having at least this much sharp-
in detail. From this, I concluded Capture One is indeed a ening without the risk of seeing ugly artifacts. The intention
solid RAW processor that has a number of unique features is to let photographers decide how much further they wish
that are missing in Lightroom; however, these dont include to adjust the Amount, Radius, Detail, and Masking sliders
better sharpness and color/tone rendering. This article takes to fine-tune the sharpening effect.
a close look at the image processing in Capture One and Capture One meanwhile, applies higher default
Lightroom and shows how the two programs are actually sharpening settings, where the indicated values vary from
more similar than you might think. Although the compari- camera to camera. With Canon sensors, the default
sons shown here were done in Lightroom, youll see the Amount setting is usually 180 (on a scale of 01,000),
same kinds of results if you work in Adobe Camera Raw. while for the Fujifilm X-Pro1, the default Amount is 140.
Martin Evening, Canon EOS 1Ds Mark III
Capture One with default sharpening and noise reduction In this Lightroom-processed version, the Sharpening and Noise
Reduction settings were adjusted to match the Capture One look.
In the Detail panel, Amount was set to 55, Radius to 0.9, Detail to 15,
Masking to 0, and Luminance Noise Reduction to 35. In the Basic
panel, Clarity was set to +15.
k e l b yo n e . c o m
Close-up view of the Capture One default settings version Close-up view of the Lightroom-adjusted version
065
In all cases, the Capture One
sharpening setting is roughly
double that applied by Light-
room. If you increase the Amount
sharpening slider in the Detail
panel in Lightroom to around
4555, youll see a closer match
in sharpness. In case you think
this is cheating, you can check
to see what happens when the
sharpening is disabled. At a zero
setting, images appear equally
unsharp in Capture One and
Lightroom. Increase the sharp-
ening settings in Lightroom and
most images will appear to be
just as sharp. [Note: All the close-
up views throughout this article were taken at a magnifica- Luminance Noise Reduction is most likely necessary to pre-
tion of 800% on a HiDPI display.] vent noise artifacts from being sharpened. Compared to
The image above shows a comparison of the Capture Lightroom, the Capture One Luminance Noise Reduction
One and Lightroom renderings (see previous page). In produces smoother results; therefore, theres a slight loss of
Photoshop, I placed the Lightroom-adjusted rendered ver- fine-detail texture, as can be seen in close-up views of this
sion as a layer above the Capture One default-rendered ver- pine forest image below.
sion and set the blend mode to Difference near the top When the sharpening and noise reduction are zeroed
left of the Layers panel. I then added an Invert adjustment (see images next page), theres very little difference and
layer (Layer>New Adjustment Layer>Invert), plus a Levels both appear equally unsharp. When the default sharpen-
adjustment layer (Layer>New Adjustment Layer>Levels) set ing and noise reduction settings are compared, the Cap-
to Auto to amplify the difference. This emphasized the dif- ture One version appears to be sharper; however, when
ference in edge detail such as on the contours of the guitar. the Lightroom Detail panel controls are adjusted to match
There are other factors to consider here though. Cap- the Capture One default settings, and a small amount of
ture One appears to apply what can best be described as a Clarity is added, the Lightroom version matches the sharp-
wide-edged, Clarity-type enhancement that can make the ness of the Capture One version more closely.
high-contrast edges stand out
more. This isnt always evident,
but is most noticeable on cer- Martin Evening, Canon EOS 650D
Capture One: Close-up view with default sharpening and Lightroom: Close-up view with default sharpening and
noise reduction noise reduction
Capture One: Close-up view with default sharpening and Lightroom: Close-up view with sharpening set to Amount: 55, Radius:
noise reduction. [Note: This is the same image as above. Its repeated 0.9, Detail: 15, Masking: 0, and Luminance Noise Reduction: 35. In the
here to make it easier to compare it to the Lightroom image on the right.] Basic panel, I added +15 Clarity.
Essentially, the Capture One approach applies a differences are very minor, though, and you have to
stronger, more aggressive sharpening and adds a small go pixel peeking to really appreciate them. Most of the
amount of Luminance Noise Reduction to compensate time the extra sharpening thats applied by Capture One
for any noise increase. Once you balance out these dif- is pleasing, and where its too strong, can be tamed by
ferences by increasing the sharpening, noise reduction, reducing the sharpening settings.
k e l b yo n e . c o m
and midtone contrast in Lightroom, its apparent that Capture One has Amount, Radius, and Threshold
the Lightroom approach seems to preserve more micro sliders to control the sharpening, whereas Lightroom has
detail. So while Capture One processing can produce Amount, Radius, Detail, and Masking sliders. The Detail
images where the contrast edge detail is enhanced, this slider in Lightroom is excellent for enhancing the sharp-
is done at the expense of fine-detailed texture. These ness (especially with low ISO captures), and the Masking
067
slider is useful for concentrating the
Scott Kelby, Nikon D3S
Color Rendering
The color appearance is determined
by how the RAW-processing soft-
ware interprets the color data. When
you shoot in JPEG mode, the camera
processor converts the colors to
whatever color look or picture style
youve chosen in the camera settings
Lightroom default settings using the Adobe Standard profile for a Nikon file menu. When you shoot in RAW
mode, you have the option to select
the type of look you prefer afterwards
via Lightrooms Camera Calibration
panel before applying any further
color edits. If you have never before
explored this menu option, its worth
checking out the different color looks
you can apply, including Camera
Standard (which will match the
camera JPEG color rendering). The
point is that any of these options
can be considered a suitable start-
ing point. Which you should choose
depends on whether youre looking
for color fidelity, a saturated color
Capture One default settings using the default camera profile for a Nikon file look, or something else. By default,
Lightroom applies the Adobe Stan-
dard camera profile to all newly
imported images. This is designed to
provide the best color accuracy and
is created from images shot of X-Rite
color targets.
p h ot o s h o p u s e r s e p t e m b e r 2 0 16
068
Canon and Nikon files. To achieve a
Martin Evening
more exact match, its often necessary
to tweak the HSL panel controls. Basi-
cally, if you want an image processed
in Lightroom to precisely match a Cap-
ture One look, youll also need to use
the HSL panel. It can be done, but its
more likely users will want to stick with
the default color look and use this as
the base starting point from which to
make further color edits.
Tone Editing
The interesting thing about Capture
One is how the tone settings are adap-
tive. For the most part, Capture One Default Capture One settings
applies an extra amount of contrast
that adds more of a kick to the shadows
compared to Lightrooms default Linear
Tone Curve setting. I would describe
Capture Ones contrast setting as
producing a more film-like look. When
Capture One encounters high-contrast
subjects, however, it adaptively applies
a softer contrast curve. This is kind of
similar to the way the Auto tone func-
tion in Lightroom works, except when
you click Auto, the tone adjustments in
Lightroom can sometimes work well,
but other times look awful. Capture
One appears to have a built-in auto
contrast adjustment that is, by compar- Capture One processed version with the Highlights set to 100 and the Shadows set to +50
ison, tamer and more often than not
spot on. That said, the default option is
to apply a fairly strong tone curve, one
thats similar to selecting a Medium
Contrast setting in Lightrooms Tone
Curve panel. This is why comparison
tests tend to show Lightroom images
looking softer and less punchy.
With the Exposure slider adjust-
ments, I noticed Capture One allows
the highlight tones to compress as
you increase the Exposure. Lightroom
k e l b yo n e . c o m
Capture One processed version with the Highlights set to 100 and the Shadows set to +100
p h ot o s h o p u s e r s e p t e m b e r 2 0 16
Lightroom processed version with the Highlights set to 100 and the Shadows set to +100.
In this instance, the range of the Lightroom sliders is greater.
070
Martin Evening, Sony A7rII
HOW TO GET THE
CAPTURE ONE LOOK
As youve seen, its possible to tweak
the settings in Lightroom to achieve
results that are more like the Capture
One default look. You can do this by
adjusting the Develop module settings
each time you open an image, but you
can best do this by making Develop
presets, or creating new default
settings. The actual settings will vary
from camera to camera, but as a rough
guide, I suggest you try the following:
Step Seven
Step Six: Now open an image and
click to apply each of the presets
in turn to see which combination
improves the appearance of the Step Six
image. If necessary, click the Reset
Settings preset to start over, especially
since not all images will benefit
from a contrast boost or Camera
Portrait profile.
073
PHOTOGRAPHY SECRETS
Many would call Betty Grable the original pin-up model. Step One: Production
Her bathing suit pin-up photograph hung in countless Ask any photographer what the key is to a successful shoot
GI lockers during WWII, and Life magazine included this and chances are theyll say production. Producing a shoot
shot in 100 Photos that Changed the World. But what includes all the specifics leading to the actual photograph.
caught my eye with these early pin-up shots was the classy, If you dont pay close attention to the details, then your final
tasteful style. Pin-up models from this era wore colorful image wont be as successful. I spent a full day researching
dresses and skinny shorts. To be successful, I needed the pin-up styles, props, and models. I noticed some pin-up
right model, props, and location. models were posing with bicycles from the 50s. Fort Col-
I live in Fort Collins, a small city in northern Colorado, lins is a big biking town, and cruiser bikes are very popular.
and one advantage of being a photographer in this city I found a beautiful yellow cruiser bike at a local store, and
is Old Town, a historical district with many buildings dat- bought it on the spot. Next, I purchased red and pink
ing back to the early 1900s. A brick building with a 50s bubble-gum balloons to add a whimsical feel to the
Coke mural oozes nostalgia from this era. I spent a half day image. Finally, my wife (who is also a photographer)
walking around Old Town looking for the perfect location, located our model. She knew a girl who was a dancer
and discovered an old auto repair store that had closed in a burlesque show, and would perfectly fit the part for
down. The gritty feel combined with the red building pin-up model.
exterior had a nostalgic feel. I had my location.
Cree Bol
k e l b yo n e . c o m
075
PHOTOGRAPHY SECRETS
Cree Bol
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
076
PHOTOGRAPHY SECRETS
Step Three:
Roll With The Punches
On almost every shoot I do, some
snafu comes up. Reviewing my first
shot of Emma, I realized the garage
doors in the background were highly
reflective. Even though they appeared
dull gray in color, the doors perfectly
reflected my softbox in the image.
In essence, we were photographing
against a giant mirrored background
and would have to be careful to
avoid reflections. I shot with my
35mm f/1.4 lens to blur the back-
ground and create more separation.
Shooting at f/1.8 required a shutter
speed of 1/4000. Since I was using
the slow flash duration Free Lite S
heads combined with the EL-Skyport
Plus HS transmitter, I was able to use
Hi-Sync and shoot at any shutter
speed I needed. Hi-Sync retimes the
shutter and flash to enable the use
of shutter speeds much faster than
my normal 1/250-sync speed. The
single light image looked nice, but
felt too edgy for a pin-up. I wanted a
light-and-airy feel to the image, and
that meant adding a second light.
Cree Bol
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PHOTOGRAPHY SECRETS
Step Four:
Cree Bol
Cree Bol
Step Five: Mix It Up
Once we had the bike shot, we decided to try something
a little different. Photographing multiple scenes and looks
is important to getting the right shot. Ive found on por-
trait shoots that the synergy with the model only develops
over time, and often my best images are near the end of
the shoot. With this in mind, Emma switched into a new
outfit and we changed the color of the balloons. And then
it happened. Totally unscripted, Emma lifted her heel up
and looked over her shoulder toward the light. And that
moment was the shot. Her surprised look and classic pose
just nailed the 50s pin-up feel. We were back to one light,
the Deep Octabox, shooting at f/1.4 at 1/5000. To further
enhance the vintage look in postprocessing, I used ON1
Effects 10 to add a warming tone to the image.
k e l b yo n e . c o m
079
PHOTOGRAPHY SECRETS
Cree Bol
I was feeling really good now, and Emma was having a
good time, so we decided to try one other image in a
nearby alley. To compress the final image and create nice
bokeh, I switched to my 85mm f/1.4. For lighting, I set
up one of my favorite softboxes, the Elinchrom Rotalux
Indirect 75" Octabox. This softbox creates silky-smooth
soft light, a nice look for almost any photograph. We
worked through some different poses, but as I reviewed
the shots on my LCD, I knew I already had my shot from
the garage location.
080
Easy training from the best in Photoshop, Lightroom & Photography kelbyone.com
For information or to register visit www.worldwidephotowalk.com
LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ISSUE 23
MAGAZINE
MAXIMUM
WORKFLOW
Questions Answers
BY SCOTT KELBY &
Maximum Workflow
landscapepro
BY SEAN McCORMACK
Sean McCormack
Under the L oupe
understanding the role of the folders panel
B Y R O B S Y LVA N
SCOTT KELBY
the Library module. Here, I selected three
shots: the regular exposure, one shot that is
two stops underexposed, and one shot that
is two stops overexposed. Then, go under
the Photo menu, under Photo Merge, and
choose HDR (as shown here; or just press
Control-H [PC: Alt-H]). Note: If you have
Adobe Photoshop, you still have the option
to jump over to it from Lightroom and use
its HDR Pro feature instead. To do that, just
select your images, then go under the Photo
menu, under Edit In, and choose Merge to
HDR Pro in Photoshop.
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the
B Y R O B S Y LVA N
Loupe
The Folders panel may be one of the most-used panels in all
of Lightroom, but it may also be one of the least understood.
Theres actually quite a bit of functionality in this little panel, and
it puts a lot of data at your fingertips.
lightroom magazine
offline, Lightroom cant display how much free space it has. Remember, youll only see imported folders displayed in
Once that drive is reconnected to my computer and comes the Folders panel. I find it preferable to always import the
online, the Volume Browser will change from gray to green, top-level or parent folder that contains all the subfolders
and any question marks on folders will go away. Just so you where my photos are stored. This provides the benefit of
know, the color indicator will turn yellow as free space gets being able to collapse that group of subfolders so the list
down to 10 GB, orange as the free space gets down to 5 doesnt run on forever, and it makes it much easier to move
GB, then red when the disk has only 1 GB free remaining that entire tree of folders to a new drive if necessary just by
(hopefully, you wont let your drive get that full). dragging-and-dropping the top-level folder.
Free space isnt the only information the Volume Browser Dont worry if you havent imported the parent folder
reveals. If you Right-click the Volume Browser, you can choose containing your photo subfolders because it can be done
092 to display Disk Space, Photo Count, Status, or nothing at all. right from the Folders panel. Just Right-click the topmost
lightroom magazine
folder in the panel and choose Show Parent Folder. The the panel, and Imported_Photos will appear nested under-
parent folder will automatically appear in the Folders panel, neath, just like it exists on my drive.
and all of its subfolders that were showing previously in the Alternatively, if you have a top-level folder that you
Folders panel will be nested underneath. For example, you dont want to see displayed in Lightroom, you can Right-
can see that my top-level folder is named Imported_Pho- click that folder and choose Hide This Parent to make it go
tos, but I know that folder is stored inside my Pictures par- away. I dont want to see the Pictures folder showing at the
ent folder. If I Right-click the Imported_Photos folder and top of my Folders panel, so I will hide that parent to keep
choose Show Parent Folder it will add the Pictures folder to Imported_Photos at the top.
k e l b yo n e . c o m
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go that far to find that information, though. If you just hover I want this folder to exist, click the New Folder button, give
your cursor over a folder, you should see its path revealed in the new folder a name in the New Folder dialog, and click
a tooltip pop-up. So take a moment to make sure you know Create. I like to have a parent folder named Imported_Photos
exactly where all of your photos are located on your drive. on each drive I use to contain photos managed by Light-
room, so Ill use that name to create this folder (you can do
what makes sense for your setup). The new folder will be
created on that drive, and I can now click the Choose button
to return to Lightroom where Ill see Ive added a new drive
(note the new Volume Browser) and folder to the Folders
panel. Now I can use that as a destination during future
imports, or I can use Lightroom to move photos and folders
from other locations to that folder.
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Another common scenario is the need to create subfold- panel (and the Lightroom catalog). In that situation, Light-
ers within existing folders to help with your organizational room will open a pop-up warning you that the photos
needs. This process works in a similar fashion, but you start will be removed from the Lightroom catalog, but the
by selecting the parent folder within which you want folders and files will remain on disk. This is generally not
to create the subfolder. In this case, Ill select the new something youd want to do because you dont want to
Imported_Photos folder I created on the drive named end up with folders full of photos that arent being man-
Sparta, Right-click to open the contextual menu, and aged by Lightroom and are just taking up disk space. If you
choose Create Folder Inside Imported_Photos (or want to delete the photos, you need to delete them first
whatever the name of the folder is that you Right-click). using Lightroom, then you can remove the empty folder
This opens a smaller Create Folder dialog where you as described.
can give the subfolder a name and click Create to com-
plete the process. The subfolder will then appear in renaming folders
the Folders panel. These folders are ready to add Youll eventually come to a situation where you need to
photos and even new folders as your organizational change the name of a folder. This can be accomplished
needs demand. easily by Right-clicking the folder and choosing Rename
from the contextual menu. From there, simply enter the
new name in the Rename Folder dialog that appears and
click Save to commit the change. The folder is renamed on
the drive and that change is reflected in the Folders panel.
Workflow
BY SEAN McCORMACK
installation
Run the installer to get LandscapePro on your
machine. It doesnt create the usual Edit In
preset, so youll need to create your own.
Open Lightroom (PC: Edit)>Preferences and
choose the External Editing tab. In the Addi-
tional External Editor section, click Choose at
the far right of Application. Navigate to the
LandscapePro app and select it.
Next, choose either TIFF or JPEG for edit-
ing. Then, from the Preset drop-down menu,
choose Save Current Settings as New Preset,
name it LandscapePro for ease of recognition,
and click Create. You can now run the app
from the Edit In option in the Photo menu.
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k e l b yo n e . c o m
editing Global Presets: You could begin by going through the Global Presets and
The Add & Edit Areas panel closes down and choosing from one of the factory presets to get a quick look for your image,
multiple new panels appear. Youll see panels but that would make this a pretty short walkthrough! Do have a look at the
for each label that you used in the image, plus presets, though, to get a feel for what the app can do. To expand the Global
panels for making global edits. Presets, just click the right-facing triangle to the left of its name.
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lightroom magazine
labeled areas
With the overall image settings done, its time to edit the
areas weve labeled. Instead of going in order of appearance,
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Mountain: Weve made a few small adjust- hover your cursor over any of those previews, it will appear in the main
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CLICK TO RATE
Before
k e l b yo n e . c o m
103
After
ALL IMAGES BY SEAN McCORMACK
lightroom magazine
I use both Lightroom and Photoshop. Where Is there a way to change the color of the area
should I do my sharpening? around my photo in Loupe view?
Well, I can tell you what I do. If I wind up taking a file over Well, if by changing color you mean, Can I change it to
to Photoshop, then I sharpen it there, simply because I like a different shade of gray, or white, or black? then the
the way Photoshop displays sharpening onscreen (it seems answer is yes. Just enter Loupe view (E) then right-click out
easier to see the effect of the sharpening there than it does in that gray area around your photo. A pop-up menu will
in Lightroomat least to me anyway). If I stay in Light- appear where you can choose from a few different back-
room, however, and dont take the image into Photoshop, ground colors (as shown here).
then I just sharpen the image right within Lightroom itself.
The sharpening is actually probably better in Lightroom;
it just doesnt display as clearly as it does in Photoshop
(again, to me anyway).
see all the images inside that pano stack again, just click
on the number 16). Now imagine if you shot a number
of 16-frame panos in that shoot. Each one takes up 16
thumbnails in your collection (or folder), so you wind up
doing a lot of scrolling, but when you stack them, now
each pano takes up only one thumbnail, and its much
easier to navigate through a shoot.
Also, you can ask Lightroom to Auto Stack and it will
automatically put images shot together (by time) into
stacks for you (you can determine the length of the time;
104 for example, you can tell it If I shot these images within
lightroom magazine
5 minute of each other, theyre all from the same place). At the bottom of the View menu in the Library
To turn on Auto Stacking, go under the Photo menu, module it says, Enable Mirror Image Mode.
under Stacking, and choose Auto-Stack by Capture Time. What does that do?
Thats been in Lightroom since version 1, and it does
What does it mean if I click on a thumbnail something thats actually kind of cool (well, for portraits
and the histogram doesnt show up at all in anyway). It flips all the images horizontally, and the rea-
the Histogram panel, and right below it, it son youd ever want to do this is because people are
says, Photo is Missing? Obviously, the photo used to seeing their image each day in the mirror, but
isnt missing or I wouldnt see it, right? when you shoot them, its not a flipped image (like the
Well, kinda. What youre seeing is the low-resolution mirror), which is why so many people look at images of
preview of your image, so while you can see it, even at themselves and say, That doesnt look like me! When
a large size in many cases, thats all youre seeingthe you have Lightroom flip it, then they see the image the
low-res preview. In order to edit the image in the Develop same way they see themselves in the mirror, so it looks
module, you need to relink it to the original high-resolution right to them (and they think youre a genius photog-
version of the image. Maybe its on a hard drive you dont rapher, since youre the only one that ever made them
have connected, or maybe you moved it to a new place look right).
on your computer, or whatever. Luckily, relinking is easy
click directly on Photo is Missing in the Histogram panel I heard that when you use the White Balance
(as shown here). A dialog will appear telling you where Selector eyedropper tool (W), theres a way
the photo used to be, and asking if youd like to locate to see a preview of the white balance as you
where it is now. Just click Locate, navigate to where you move the tool over your image. How do you
moved that photo (or plug in the hard drive where youre turn this on?
storing it), click on the original file to highlight it, and click Its already onyou just have to make sure the left side
Select to relink it. panels are open, and that the Navigator panel is visible.
As you move your cursor around the image, youll see
the changes appear in that small preview window in the
Navigator panel.
k e l b yo n e . c o m
TipsTricks &
SEN DUGGAN
Lightroom has a very useful filtering system that can help search. Of the choices here, the ones I use the most are
you find the images youre looking for. This can satisfy Any Searchable Field and Keywords.
the immediate need of locating a specific photo that you Any Searchable Field is useful because it will also con-
want for a project. It can also lead to discovering images sider folder names in the search. This is another excellent
that are organized in the wrong folder, allowing you the reason to modify the default date-based folder names
opportunity to move the misplaced images into the proper that Lightroom applies upon import. Adding descriptive
folder location. In this column, well take a look at ways information such as subject, event, or location to a folder
you can use the filter system in Lightroom. name ensures you can find it easily when youre looking
at a list of folders in the Folders panel, or that it will turn
accessing the library filters up when Any Searchable Field is used.
Filters in Lightroom arent like filters in Photoshop. They To rename a folder, Right-click on it in the Folders panel
dont change the appearance of the image, but they and choose Rename. For my own naming convention,
allow you to filter the view of what you see in the I remove the first two digits of the date in the folder name,
Library module Grid view, hence their name: Library Filters.
To access the filters, you need to be in Grid view (G).
The Filters can be found in the top center part of the inter-
face, immediately above the image thumbnails. There are
four types of filters, which well get to shortly.
know which part of the catalog leaving a six-digit expression in the YYMMDD format. Then,
youre searching I add a few words to further identify the subject matter or
Before you begin a search, make sure that youve targeted location of the images in the folder. For example, if I add
the right folder, or your search may come up with no results, the word steampunk to the folder name, even though
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
or not the ones you were expecting. The filters will only the images dont have keywords referencing steampunk,
search the contents of the folder or collection that is active they will show up when Any Searchable Field is used.
in the left-hand Folders or Collections panels. To search the Using Searchable Metadata can also be useful for find-
entire catalog, click on All Photographs in the Catalog panel. ing images that may have been tagged by the software
If you do get a message that no photos match the filter, you used to edit the shot. For example, searching meta
check that youre searching the right folder or collection. data for the term slow shutter finds all the iPhone
images that were shot with the Slow Shutter Cam app,
text filters even after theyve been modified in another app. (Note:
The Text filters are quite useful for searching the library Not all apps are created equal in how they handle meta-
for text thats associated with image files. Click the Text data and some will strip the metadata added by earlier
106 menu and choose the type of text for which you want to apps when they save a new copy of the file.)
lightroom magazine
thing to keep in mind to ensure that you have the right Clicking on the lock icon
filters activated. For example, the search results can be will keep the chosen filter
based on a Text filter set to Keywords, and a Rating filter parameters even when you
equal to three stars. If you have multiple filters active, click change the source (e.g.,
on a filter (e.g., Text) to turn it off and search only with a folder or collection) for
one filter. the search. 107
The aperture range goes from f/1.8 to f/16, and of course, considered to be moisture-resistant. Finishing up with a cou-
I was excited to push the limits using the wider aperture set- ple technical specs, I should mention it has a 9-blade aperture
tings. Considering that this is an ideal portrait lens and people and there are 13 elements in 9 groups.
looking for the artistic performance will want nice bokeh (out- The new Tamron SP 85mm F/1.8 Di VC USD Lens is not
of-focus areas), I shot quite a bit at f/1.8 and looked closely only a great contender at its price point, its an impressive
at the blurry areas. They were beautiful and smooth. performer in the 85mm prime category at any price!
The Tamron SP 85mm F/1.8 Di VC USD Lens has a number
Company: TAMRON Co., Ltd. Price: $749
of the latest lens coatings designed to deliver great images,
Rating:
including eBAND (Extended Bandwidth & Angular-Depen-
Hot: Color accuracy; bokeh; VC; quick AF; price
dency) designed to cut flare and ghosting, and the front lens
Not:
108 element has a Fluorine Coating to protect against dirt and
GET THE SCOOP ON THE LATEST GEAR
Good lighting is all about modifiers. At the end of the day, more beautifully than the Mola Sollo. Its deep, narrow profile
light is light. But its how you modify and shape that light delivers increased contrast and the unique, hard-edged qual-
that makes the difference between mediocre and exceptional ity of light that has made it so popular. With its silver interior,
lighting. Choosing the right tool for the job is the secret to the Sollo produces a narrow beam of light with heightened
lighting with purpose rather than relying on one-size-fits-all shape; a sharper edge than its white interior counterpart;
solutions. A softbox produces a different quality of light than and significant, distinct light falloff. Accentuated levels of
a reflector, which produces a different quality of light than an contrast, rapid transitions between shadows and highlights,
umbrella, and so on. added light efficiency, and cool color tones are also key
Toronto-based Mola Softlights produces a line of best-in- Sollo characteristics.
class reflectors of which Im particularly fond. As Mola points Mola does one thing and they do it extremely well. Their
out, their reflectors are made by a photographer for photog- family of reflectors are all standouts, but when it comes to
raphers. This, along with factors such as quality of light, versa- edgy fashion and punchy portraits, the Mola Sollo is the
tility, and build quality, are some of the many reasons I use the perfect choice.
Mola range of reflectors in much of my work.
Company: Mola Softlights Pricing: $773.50
In this review I want to focus specifically on the Mola Sollo,
Rating:
a 28" (app. 71 cm) silver-interior reflector with Molas sig-
Hot: Ultimate contrast; quality of light; sharp-edged; rapid falloff; build
nature undulating design. When your concept calls for the
Not: May be too specular for some
ultimate in contrast, nothing will get you there faster and
CalDigit T4
Fast and Silent Four-Bay RAID 5 Solution
Review by Erik Vlietinck
two drives. A RAID 5 takes all four. Finally, you can set up Thats RAID 5 writingRAID 0 is even faster.
one RAID 0 or 1 configuration and have the two other disks
Company: CalDigit, Inc. Price: $8991,999 (4 TB20 TB)
function as independent drives.
Rating:
The T4 dissipates heat efficiently. The drives in my unit
Hot: Enclosure; speed; price; customer care; warranty; low noise
never ran warmer than 98.6F with an ambient room tem-
Not:
perature of 77F. I was wary of the ventilators sound levels, 109
REVIEWS
At first glance, the latest version of Suitcase Fusion appears that you log into an Extensis account during install rather
to be unchanged, with all the handy features users have than type in a serial number.
learned to depend on; however, there are some really nice For those needing to sync to multiple computers, Team-
new features that make it a worthwhile upgrade, or if you Sync is available for a reasonable subscription cost. This can
dont already use a third-party font manager, a worth- be for small groups of users or a single user with more than
while purchase. two computers. The TeamSync manager can activate and
One upgraded feature is TypeSync, which uploads fonts deactivate users as required, plus libraries can be assigned
to the Extensis cloud service and now works cross-platform to certain users and not others. TeamSync includes Suitcase
between Mac and Windows computers. When activated and future version upgrades, so in the long run, it could be
(the feature is an option), desired font libraries are uploaded. a more cost-effective option.
When logging in from another system or during a reinstall on Another new feature is the addition of an After Effect acti-
the same computer, compatible fonts are downloaded (to be vation plug-in. While a welcome addition, it would have been
available offline) and stay synchronized. nice to include a Premiere Pro plug-in to round off the video
This new version handles its installation and activation just software. Hopefully, that will come in a future update
like the Adobe Creative Cloudeach user of a single license
Company: Extensis Pricing: $119.95 (Upgrade: $59.95);
of Suitcase is allowed two activations. They can be on the TeamSync: $8/month per user
same platform, or one Mac and one Windows. If a third
Rating:
activation occurs, the user is given the option to log out of
Hot: CC 2015 support; FontDoctor 10 included
other activations; logically, any cloud-synced fonts are unin-
Not: No Premiere Pro activation
stalled from deactivated systems. This new service requires
On the HDR video front, the Shogun Flame even sup- scale based on the input log mode as well.
ports Dolbys Perceptual Quantization (PQ). The PQ output The reason why youll want to buy an external recorder
is for play-out to HDR displays and televisions. In addition, that supports 4:2:2 codecs and 10-bit hasnt changed since
you can have a supported NLE send its PQ output to the the first Ninja Atomos was released: even with gorgeous-
Shoguns HDMI input. You can then adjust the Shoguns picture-capable cameras such as Sonys A7 series, 4:2:2
display from 100 to 10,000 nits to mimic a Dolby PQ- chroma subsampling gives you more detail in dark areas
compatible screen. than 4:2:0.
Except for PQ, the Shogun Flame supports a pretty com- Company: Atomos Price: Shogun Flame: $1,695; Ninja Flame: $1,295
plete list of Log-curve cameras: Sony, Arri, Canon, JVC, RED,
Rating:
Panasonic, etc. Within each camera brand, the Shogun sup-
Hot: HDR capabilities; screen; quality of build; RAW support
ports several curve types, but also several ASA settings, for
Not: Top air vents potentially expose internals to rain
110 example, for Arri.
GET THE SCOOP ON THE LATEST GEAR
Hasselblad X1D
The Power of Medium Format in a Compact Size
Review by Michael Corsentino
If youre a designer, or a photographer, who wants to add Twotwotwo books in one! Book 1, 20 Photo Editing
something special to your arsenal, heres a book for you. The Techniques Every Photoshop Beginner Should Know, discusses
author, a longtime instructor at Photoshop World, is an award- the history and evolution of Photoshop and presents a basic
winning designer and photographer. The nine chapters each introduction to working with Photoshop. It looks at tools and
contain several different but related techniques. Youll find panels and presents basic Photoshop techniques, such as color
chapters on type, commercial effects, graphics, photo effects, and exposure correction, adding text, cropping and straight-
textures, light effects, color, Hollywood-style effects, and ening images, transforming images and selections, and layers.
3D. Its not intended to be an instructional manual read cover Book 2, 7 Ways to Use Adobe Photoshop Like a Pro, discusses
to cover, but rather a special effects reference. Decide what more advanced techniques, including turning a photo into a
you want to do, flip to that chapter, and follow the instruc- painting, pencil drawing, or comic book art, as well as repair-
tions. Many of the images used in the book are available for ing damaged photos and colorizing black-and-white photos.
practice so you can follow along using the image Corey used. Theres more on cropping, a look at the History panel, working
(These downloadable images are copyrighted, low-resolution with the Patch and Art History brushes, and some of Photo-
versions, not for use in your own work, although many are shops filters. Also, sections on creating flaming objects and an
available for purchase from their source.) This is a book for exploding light text effect. The author also offers a free copy
intermediate to advanced users. of another of his Photoshop books, available to download.
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
Publisher: Peachpit Press Pages: 192 (paperback) Publisher: CreateSpace Pages: 140
Price: $29.99 (paperback); $14.39 (Kindle) Price: $3.99 (Kindle); $27.74 (for both paperbacks)
Rating: Rating:
112
photoshop user September 2016
POP QUIZ!
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The best-selling Lightroom book author of all time is back to show you, step by step,
how to unlock the power of Lightroom Mobile, and extend the power and reach of
what you do in Lightroom on your desktop. Scott Kelby gets straight to the point to
show you how to get up and running fast, how to make the most out of Lightroom
Mobiles amazing capabilities, and even how to use it to do things that Lightroom
for the desktop cant do. Youll learn all about organization, editing, and sharing
the entire process. And, youll be up and editing like a boss in no time.
Scotts been working with Lightroom Mobile and teaching people how to use it
from the very beginning, so he knows first-hand which parts of the process users
struggle with and where they get confused, and he knows exactly how to get you
past those stumbling blocks and really enjoying the newfound freedom editing on
a mobile device can bring. Get your copy today from your favorite bookseller.
To: Olson
From: KelbyOne Advice Desk
If you know ahead of time that youll be extracting a Channels panel to the RGB image window to create the
person or object from a photo, plan ahead and shoot alpha channel. If the channel you want to use is in the RGB
against a contrasting background. Green/blue screens image, Right-click on the channel and choose Duplicate
are great and many are foldable and spring-loaded to Channel to create the alpha channel.
make them portable; but plain white or plain black are Once you have an alpha channel and make it the
also usually good. active channel in the Channels panel, use Levels or
If you dont have such luxury or the image has already Curves to maximize the contrast; again, looking only at
been taken with the subject against a very similarly col- the edges of the subject. If the subject is black and the
ored background, you can use channels to help create a background is white in the alpha channel, use the Invert
mask, an alpha channel that will be used as the basis for a command or its shortcut Command-I (PC: Ctrl-I). Once
selection. My teaching image for this technique is usually a the edges are properly established, including any stray
blond in front of a beige wallwe can even select the stray hairs or other fringe elements (that you want to keep),
hair with this techniquebut it also works with a variety of use the Brush tool to clean up the rest of the image.
other such photos. Paint with black to hide areas of the background and
In a nutshell, well find the channel that has the most paint with white inside the subject. Make sure to paint
contrast along the edges of the subject. (Were looking over areas of gray both within the subject and back-
only at the edges of the subject.) That channel will become ground; gray areas will be partially selected (selected
the basis for the alpha channel from which a selection will with reduced opacity) when you make a selection based
be made. The focus needs to be on the edges because the on the alpha channel.
edge is where the selection will be made. If you dont have Command-click (PC: Ctrl-click) the thumbnail of the
good contrast elsewhere in the subject, its not a problem. alpha channel to load it as a selection, make sure the
Later you can use the Brush tool (B) to paint other parts RGB channel is active in the Channels panel, and select
of the subject and the background away from the edges. Edit>Copy. You can then open another image and paste
Remember that you have 10 channels from which (Edit>Paste) into a different background as desired.
to choosethats right 10 channels. With an RGB Remember, too, that if there are different parts of
image open, use the Image>Duplicate command, then the subject where the edges have better contrast in dif-
Image>Mode to convert to CMYK. Duplicate again and ferent channels, you can create multiple alpha channels.
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
convert to LAB mode (although Ive rarely found any ben- With the RGB channel active, load the first alpha channel
efit to LAB channels for selections). If one of the CMYK as described above and then use Photoshops Select>Load
channels in the Channels panel (Window>Channels) Selection with the Add to Selection option to load each of
has the best contrast along the edges, drag it from the the other alpha channels into a single selection.
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