October Photoshop Magazines 2016

T H E A D O B E P H O T O S H O P H O W -T 0 M A G A Z I N E O C T O B E R 2 0 1 6
DYNAMIC Learn how to craft captivating

images of kids with creative
The new Select and Mask
workspace is perfect for
BEGINNERS
RANGE photography and Photoshop selecting soft edges like hair WORKSHOP
THE OFFICIAL PUBLICATION OF
Visit our website at kelbyone.com

Kevin Newsome
COMING TO A CITY NEAR YOU
Charlotte, NC | Sacramento, CA | Denver, CO | Las Vegas, NV
10/17/16 10/24/16 11/14/16 11/16/16
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TABLE OF CONTENTS October 2016
FEATURE
17th Annual 100
59 Photoshop Hot Tips
Every year, we ask the best designers and
photographers in the industry to share their
favorite Photoshop tips and tricks. These tips
will not only help boost you productivity but
theyll also kick your creativity into high gear.
And with 100 tips, even the most advanced
users will find something that will make them
Images: Adobe Stock; Layout: Jessica Maldonado
go, OMG, I never knew that! So what do you

have to lose? Turn to page 59 and start learn-
ing, and when youre done, be sure to show off
your new skills to you friends and coworkers.
Departments How-To
From the Editor
006 020 DOWN & DIRTY TRICKS
Evil Dead with Attitude
Contributing Writers
009 030 DOWN & DIRTY TRICKS
Wrapping Text Around a Portrait in Photoshop
About Photoshop User Magazine

010 036 BEGINNERS WORKSHOP
Selecting Hair Using the Select & Mask Workspace
KelbyOne Community
012 048 PHOTOSHOP PROVING GROUND
Taming the Magic Wand
Exposed: Industry News

018 052 DESIGN MAKEOVER
Hit the Beach
Photoshop User Quiz

121 056 INDESIGN TIPS
Advance and Enhance Your InDesign Skills
From the Advice Desk

1 24 082 PHOTOGRAPHY SECRETS
Lighting the Commercial Way
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 above to access the Table of Contents.
KELBYONE.COM
Lightroom Magazine
0 9 1 LIGHTROOM WORKSHOP
Using Image Overlay to Fit Images to Your Layout
0 96 UNDER THE LOUPE

Lightroom Mobile Updates
102 MAXIMUM WORKFLOW

Topaz Texture Effects
1 1 0 LIGHTROOM Q&A
1 1 2 LIGHTROOM TIPS & TRICKS
Scott Kelby
Creating Compelling
DYNAMIC
RANGE 40 Images of Kids
People are always asking Gilmar Smith where she
gets her inspiration for creating her amazing portraits
of children. So we decided to ask her that exact
same question, and she was kind enough to write
an article for us to show her workflow from idea to
finished image.
Gilmar Smith
Gilmar Smith
Reviews
116 Four New ExpoImaging Products
117 Phottix Odin II

CalDigit Tuff
118 Godox LP-800x Power Inverter

Prisma
119 Sony A7S II

Kingston HyperX Fury 120 GB
120
Photoshop Book Reviews
A FEW WORDS FROM SCOTT KELBY
From the Editor

100 photoshop hot tips
This is the issue KelbyOne members tell us that they look for your email invitation. Its the first time were doing a
forward to the most every yearits our Annual 100 live lighting workshop of this scale, and we cant wait to
Photoshop Hot Tips issue, which weve been doing since see what you think of it.
the late 90s. Thankfully, Photoshop keeps changing and In other news, hopefully youve been noticing the recent
evolving, adding new features on a more frequent basis speed boosts weve been adding to the members website,
than ever before, so theres always a new batch of hot tips with pages now loading significantly faster. We have a lot
every year. Add Lightroom and Camera Raw to the mix, more enhancements on the way, as our number-one job
and you have lots of fresh new content each fall. is making your educational experience the very best it can
Each year, our managing editor, Chris Main, puts be and making your membership more valuable than ever.
together a fantastic team of Photoshop tipsters, and this Here in the magazine, well soon be making a cool new
year is certainly one of our best teams ever, which includes change thats pretty exciting. Starting with our next issue
yours truly, along with Corey Barker; Dave Cross; Glyn (November 2016), were taking the Lightroom Magazine
Dewis; Adobes own Bryan ONeil Hughes; Hot Tips section in Photoshop User magazine and making it its own
freshmen Kirk Nelson and Jess Ramirez; the retouch- standalone magazine (instead of being just a magazine
ing shark herself, Kristina Sherk; Colin Smith; and Scott within a magazine). Lightroom has become such a big
Valentine. If you cant wait any longer, just turn to page 59 part of the photographers workflow that it deserves a
and start tipping! (Well, you know what I mean.) place and identity of its own, and were excited to be giv-
Since last we met, a lot has been going on, and one ing Lightroom Magazine its own wings. Look for it next
of the new features that weve added to your KelbyOne month as part of your KelbyOne membership. Photoshop
membership is our private Members Only Webcasts, User, of course, will continue to focus on Photoshop, news,
which have truly been a huge hit. These live, topic-specific reviews, and all the other fun stuff we already know and
webcasts are created exclusively for our members so we love (well, we love it and we hope you do too!).
can interact directly with you to answer your questions and One more thingon October 17, Photoshop World
get your input and ideas. We get thousands of members Orlando 2017 registration officially opens, and the early
from around the world watching these webcasts, and the bird gets the worm with our best pricing for people who
feedback has just been over the moon. By the way, if you register early. The longer you wait, the higher the registra-
miss a live broadcast, we archive them just for members: tion price will go, but if you reserve your tickets now, not
log in to the KelbyOne site and click on Webcasts in the left only do you get the best price, but KelbyOne members
sidebar. Theyre available to watch 24/7 on your schedule. also save $100 off the non-member pricing. So make plans
Our next Members Only Webcast is on travel photo now to join us next April as we bring Photoshop World
graphy and postprocessing, and Im hosting it based back to the East Coast for the first time in three years.
around my experiences from my trip to Venice and Italys Were psyched!
Dolomite Mountains from my 9th Annual Worldwide Okay, thats all the big stuff for now. While the Hot
Photowalk. That will air on Thursday, October 6 at 2:00 Tips feature takes over a good chunk of the magazine this
p h ot o s h o p u s e r o c t o b e r 2 0 1 6
p.m. EDT (so it will most likely be in the archives by the issue, the rest of your favorite columns, reviews, and news
time you read this). That webcast will be followed up by are still here, so after the Hot Tips, make sure you check
our live, in-studio photo shoot and portrait lighting work- out everything else thats going on (and theres always a
shopjust for members, of courseso keep an eye out lot of cool stuff going on with Photoshop).
All my best,
Scott Kelby
KelbyOne President & CEO
006 Editor & Publisher, Photoshop User
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The official publication of KelbyOne
OCTOBER 2016 Volume 19 Number 8
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
Contributing Writers
Sean Arbabi Corey Barker Peter Bauer Dave Clayton
Michael Corsentino Dave Cross Glyn Dewis Sen Duggan
Bryan ONeil Hughes Sean McCormack Kirk Nelson Jess
Ramirez Kristina Sherk Colin Smith Gilmar Smith
Lesa Snider Rob Sylvan Scott Valentine Erik Vlietinck
Jake Widman Dave Williams
GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Graphic Designer
MARKETING:
Adam Blinzler 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
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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
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
| 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
SEAN ARBABI
has been a widely published commercial photographer the past 25 years. He authored JESS RAMIREZ
The Complete Guide to Nature Photography (Crown Publishing) and produced a video is an Adobe Community Professional, speaker, and author for the Adobe Creative
series on the Nik Collection (Peachpit). For more info, visit seanarbabi.com. Cloud Blog. Jess is best known as the founder of the Photoshop Training Channel,
one of the most popular Photoshop YouTube channels in the world.
COREY BARKER
is an award-winning designer and illustrator. A featured instructor at the Photoshop KRISTINA SHERK
World Conference and an Adobe MAX Master Instructor, he has produced numerous considers herself a software translator for those who dont speak Photoshop and
training titles for KelbyOne. Look for his latest book Photoshop Tricks for Designers. Lightroom. While majoring in digital art at Elon University, she received four years
of uninterrupted Photoshop training and grew to love the software.
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select COLIN SMITH
group of corporate clients. His latest book is Photoshop CC for Dummies. He was is an award-winning digital artist, photographer, and lecturer who has authored
inducted into the Photoshop Hall of Fame in 2010. 19 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.
DAVE CLAYTON
is a KelbyOne instructor, designer, and creative specialist with more than 30 years of GILMAR SMITH
experience. He specializes in creating branding projects and logos and has been pub- was born and raised in Venezuela, but currently lives and works in Orlando, Florida. Obsessed
lished by Peachpit and KelbyOne. Hes also an Adobe Influencer and ACA in InDesign. with all things photography, she is self-taught and up to any creative challenge. Specializing in
creative portraiture, you can follow her ventures at www.gilmarphotography.com.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom LESA SNIDER
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker is the author of Adobe Lightroom CC and Photoshop CC for Photographers: Classroom in a Book
and international workshop leader. Learn more at www.michaelcorsentino.com. (2016), Photoshop CC: The Missing Manual, Photos for Mac and iOS: The Missing Manual,
TheSkinnyBooks.com, more than 40 video courses, and the Creaticity column for Macworld.
DAVE CROSS
has been helping people get the most out of their Adobe software for more ROB SYLVAN
than 25 years. Dave has a bachelor of education degree, is an Adobe is the Lightroom Advice Desk Specialist for KelbyOne, on staff at the Digital Photo
Certified Instructor, and is in the Photoshop Hall of Fame. Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
GLYN DEWIS
is a photographer, retoucher, trainer, and author based in Oxford, UK. His clients range SCOTT VALENTINE
from athletes to the BBC. An Adobe Influencer and Photoshop World Dream Team is an Adobe Community Professional and Photoshop author. His latest book
Instructor, he teaches around the world, including at his own series of workshops. is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
SEN DUGGAN
is the co-author of Photoshop Masking & Compositing, Real World Digital ERIK VLIETINCK
Photography, and The Creative Digital Darkroom. He leads workshops on digital founded IT Enquirer in 1999. A J.D. by education, Erik has been a freelance
photography, Photoshop, and Lightroom. Learn more at SeanDuggan.com. technology editor for more than 20 years. He has written for Macworld, Computer
Arts, Windows NT Magazine, and many others.
BRYAN ONEIL HUGHES
is Adobes Head of Outreach & Collaboration, working with product teams, partners, and JAKE WIDMAN
press. He spent 15 years on Photoshop, a decade as Product Manager (CS3CC), and then is a writer and editor who lives in San Francisco. Hes been covering the intersection
drove the expansion to mobile. Bryan was inducted into the Photoshop Hall of Fame in 2011. of computers and graphic design for about 25 years nowsince back when it was
called desktop publishing and Photoshop was just a piece of scanning software.
SEAN McCORMACK
DAVE WILLIAMS
k e l b yo n e . c o m
is the author of Essential Development: 20 Great Techniques for Lightroom 5.

Based in Galway, Ireland, he shoots subjects from musicians, models, and is a well-seasoned, UK-based travel photographer with internationally published work and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com. a passion for sharing his knowledge of Adobe software. Dave lives by the mantra, Lend me
your eyes and Ill show you what I see.
KIRK NELSON
is a professional graphics artist in the Washington, D.C., area. He has a B.A. from George
Mason University and is an Adobe Certified Expert in Photoshop. Kirks career has touched
on a broad range of subjects from logo design to animation. He can be reached here. 009
ABOUT PHOTOSHOP USER
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.
Images: Adobe Stock
About KelbyOne
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Ten issues of the best Photoshop and Lightroom tutorial-based NEWS & REVIEWS
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010 FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 MondayFriday, 9:00 a.m. to 5:30 p.m. EST.
#KelbyOneBooks
Extend the Power of What You Do

in Lightroom on Your Mobile Device
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.
fuel for creativity

KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
By Chris Main and Dave Clayton
Members Only Webcasts and Photoshop World Conference 2017

Scott Kelbys Worldwide Photowalk Registration Opening this Month
One of the benefits of being a KelbyOne member (besides Registration for Photoshop World Conference 2017
all of the amazing online classes, Photoshop User maga- opens on October 17, 2016. And in even better news, this
zine, and discounts) are the live Members Only Webcasts. show will take place on the East Coast at the Orange County
As the name implies, you have to be a member to watch Convention Center in Orlando, Florida. Thats right! Were
these live streams, but dont worry, we always archive all back to doing an East Coast show this year! The Orlando
the shows on the KelbyOne site so you can watch them conference will take place April 2022, 2017.
anytime you like. Each episode lasts around 60 to 90 min-
utes and they cover some of the hottest topics of the day;
for example, as soon as Photoshop 2015.5 was released,
we had Adobes own Terry White on the show to answer
all of your questions about the latest update, and when the
Canon EOS 5D Mark IV was announced, we had Canons
top tech advisors, Rudy Winston and Brent Ramsey, show-
Kevin Newsome
ing off all the new features.
So if you havent been to Photoshop World because

you live on the East Coast, or you havent been since
our last East Coast show, this is the perfect chance
for you to get lost in three days of training, network-
ing, and just pure fun. And when you come out on the
other side, youll feel like youve learned three years
worth of tips, tricks, and techniques on everything from
Photoshop to Lightroom to photography.
Dont forget that you always save money when you regis-
And we have more shows coming all the time. In ter early for the conference, and you always get a discount for
fact, theres a new webcast with Scott Kelby on his being a KelbyOne member. So why not be the first to register
photographic journey through Venice, including the on October 17 so you can start telling all of your friends and
walk he led in his Worldwide Photowalk event. Speak- coworkers, Im going to Photoshop World!
ing of the Wordwide Photowalk, on October 1, thou-
sands of people in thousands of different cities around
@KelbyOne thanks! Learnt a lot thanks to
p h ot o s h o p u s e r O c t o b e r 2 0 16
the world took thousands and thousands of amaz- your tutorials :)@ewakabza
ing photographs. They all walked with like-minded
1ST time @PhotoshopWorld_had a great wk.
photographers, learning from each other and making Thanks @KelbyOne staff, instructors & partners for
new friends. Participation was free, but it was also an making #PSW2016 great!@ThomasJBecker
event to raise money for The Springs of Hope Kenya, @ItsDaveClayton Just watched your lessons on @Kelby
an organization that feeds, houses, educates, and One and loved your approach. Are there any more in
the pipeline? #newtoindesign@heulwynroberts
empowers young orphans.
Hopefully, you were one of the more than 22,000
people who participated. In an upcoming issue of
NOTABLE
Photoshop User magazine, well be publishing some of TWEETS
012 the winning entries from the walks.
KelbyOne ARTIST SPOTLIGHT >> Rory Isserow
MEMBER SINCE 2007
KelbyOne ARTIST SPOTLIGHT >> Sian Elizabeth Robertson

MEMBER SINCE 2014
KelbyOne ARTIST SPOTLIGHT >> Steven Gotz
MEMBER SINCE 2014
KelbyOne ARTIST SPOTLIGHT >> Svetlana VanKempen

MEMBER SINCE 2011
KelbyOne Community
Whos Who
in the KelbyOne Community
Last issue, Dave Clayton interviewed Jocelyn Petruccio,
this years Best of Show Guru winner at the Photoshop
World Conference 2016 in Las Vegas. This issue, Dave
spent a few minutes with Jeff Dannay, the Guru winner
Jeff Dannay
in the Photography category.
First, congratulations on your Guru award. Was this

your first Photoshop World? Why did you decide to start teaching workshops?
No, this was my second Photoshop World. My first was I have teaching in my blood, as my father was a teacher in
last year and I liked it so much that I signed up for a sec- New York during my formative years. Although I didnt go
ond one. Now that I was fortunate enough to get a Guru into that profession (I went into software instead), I always
award, I have to go next year too! like helping people learn. Doing workshops is very new to
me. I have taken workshops with excellent professionals
What made you want to enter the Guru awards? and have learned a lot. But what could I offer that they do
Ive been thinking that my photography has been improving not? I dont want our workshops to be a me too. We
year after year. At least thats what my wife has been telling want to set ourselves apart and offer something unique.
me! We visited Myanmar and Cambodia earlier this year We settled on offering workshops where we go to great
where I took some very nice photos of incredible subjects, places but also provide the ability for our customers to
receiving accolades from others than my wife. With my con- travel and eat gluten free (my wife being celiac). We now
fidence brimming, I felt I should compete against some of offer Gluten Free Photography Workshops. Were hop-
the best photographers around. And I am very glad I did. ing to mesh safe travelling with excellent instruction.
What was your inspiration to become a photographer? Whats in your kit bag?
I started getting serious about photography about four years My trusty Nikon D800E (hopefully to be upgraded to a D5),
ago. My father-in-law got hooked by the photography bug a 1424 f/2.8, a 2470 f/2.8, an 80400, and some ND fil-
and started winning local contests. My wife and I, being ters. These, with my Really Right Stuff tripod and ballhead,
very competitive, decided to start learning the craft so we make me ready for most anything.
could spend time with him shooting and hopefully surpass
him. Unfortunately, he got very ill and passed away soon When and why did you become a KelbyOne member?
after we started. He gave me his camera (a Nikon D800), I joined about four years ago. Id been looking for online
which only spurred me on further. In the beginning it was training and came across a video clip of Scott Kelby and
for him. But after a bit, the students surpassed the teacher. another of Matt Kloskowski, one teaching composition and
Now its all about going to fantastic places and taking the the other teaching Lightroom. I was hooked with the con-
best images we can. tent but mostly their style. I quickly joined and have watched
many courses since. The education is top-notch.
Why do you shoot mostly travel and landscapes?
I started with landscapes because they dont move. It gave me What have you learned from being a member?
plenty of time to set up my shot and shoot it over and over Being a member has helped me quite a bit. First and fore-
until I got it right. It didnt hurt that I was shooting sunrise and most, the classes are superior. I also take advantage of the
sunset at beautiful locations. I worked hard at capturing the KelbyOne community. I didnt realize how strong the com-
k e l byo n e . c o m
light. Then the travel bug hit. I tried to capture the essence of munity was until I went to PSW last year. Now Ive built a
the locations we visited, then write about it in our blog. Fam- nice network of photographers that I can shoot with and
ily and friends started to follow us and enjoy what we were confer with. For new members, I recommend watching a
writing. It was a great feeling to share what we were seeing class and then go out and shoot. Then, watch another and
and feeling at locations all around the globe. As soon as we shoot some more. I did this for a couple of years and my
finish a trip, were planning the next one. Its a great life. photography improved dramatically. 015
CLICK TO RATE
NEW ONLINE TRAINING COURSES
AT KELBYONE, WE HAVE A NEW ONLINE CL
Join Scott Kelby and learn how to design with type. Calling all non-designers who have the need to create
slideshows, photo books, watermarks, and other items that may require type. Scott will share tips and tricks
that will make your layout more impactful, show you some of the cool type features in Photoshop, and more.
p h ot o s h o p u s e r o c t o b e r 2 0 16
Join Larry Becker as he gets you up to speed on everything you need to know to get started with this amazing
camera. From getting oriented to all of the buttons and dials to making the right choices for shooting modes,
016
autofocus, exposure, and video, Larry steps through the features and functions you need to know.
S EVERY WEEK
LASS EVERY WEEKHERE IS YOUR MONTHLY ROUNDUP
Join Roy Ashen from Triple Scoop Music as he talks about how important the emotional connection
music has in all of your projects, and how using music, especially the right kind of music, can help
increase your sales, marketing reach and your business.
Join Steve Hansen for an in-depth look at all of the steps involved in creating a large format fine art print. Learn
how Steve takes a photo from capture to postproduction to print, the importance of a test print, and how to
decide what type of paper, ink, and printer is best for your type of photographs. 017
Exp sed: Industry News
The latest news about photography gear, software, and services
By Chris Main
New Camera and Profoto Releases the D2, the Worlds

Lenses from Canon Fastest Monolight with TTL
Canon U.S.A., Inc., recently announced the latest According to Profoto, the D2 is redefining the defini-
additions to its EOS M series system: the new Canon tion of speed in monolights. First, the D2 brings pin-
EOS M5 Interchangeable Lens Digital Camera and sharp clarity with a flash duration of up to 1/63,000,
compact EF-M 18150mm f/3.56.3 IS STM lens. The which makes it faster than most high-end studio packs
EOS M5 camera features a 24.2 megapixel APS-C- on the market. Better still, it offers super-short flash
sized CMOS sensor, DIGIC 7 Image Processor, and the duration across the full energy range. It also allows
fastest AF speed in the EOS M series, enabling pho- you to shoot up to 20 flashes per second. Catching 20
tographers to capture clear, sharp, high-resolution versions of the same moment can make the difference
images and Full HD videos. Its also the first in the EOS between capturing a good image and a great image
camera line to include Bringing yet another dimension to speed is Profotos
the low-energy Blue- High-Speed Sync technology (HSS). This allows the D2
tooth Smart feature to sync with the fastest shutter speeds available. The
that can maintain a D2 can also speed
constant connection up workflow with
with your compat- its patented TTL
ible smartphone or technology, auto-
tablet when you use matically adjust-
the Canon Camera ing its output for
Connect application perfect exposure.
and both applications But manual mode
are active. The EF-M is available at the
18150mm f/3.56.3 IS STM lens is compatible with click of a button, so switching between both modes
all Canon EOS M series digital cameras, and is a great with settings intact just makes everything move faster.
option for photographers looking to capture images The D2 is available in 500Ws and 1000Ws ver-
from scenic landscapes to close-up shots from afar. sions. Both versions come with a super-wide 10 f-stop
The new Canon EOS M5 camera is scheduled to energy range and superior color consistency over the
be available in November 2016 for an estimated retail entire range. Both the 500Ws and 1000Ws versions
price of $979.99 for the body only. The new Canon are available in different kit configurations.
EF-M 18150mm f/3.56.3 IS STM lens is scheduled

to be available in December 2016 for an estimated Tether Tools Introduces Case Air
retail price of $499.99. Wireless Tethering System
Canon also announced the Canon EF 70300mm The new Case Air Wireless Tethering System is a
f/4.55.6 IS II USM lens featuring NANO USM tech- compact camera controller that connects to your
nology for high-speed and near-silent focusing in cameras hot shoe and transfers images instantly to a
both still and video modes. The lens also features a smartphone, tablet, or computer. The Case Air allows
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e x p o s e d: i n d u st ry n e w s
Nikons New Line of New Light, Trigger System, and

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Nikon Inc. announced the new line of KeyMission Phottix has announced the first studio light
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8.3-megapixel CMOS sensor combine to capture tix Indra can be used for creative shooting as well.
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Finally, the wearable Nikon KeyMission 80 allows newest budget-friendly flash trigger system. The
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stills, Full HD 1080/30p video, time-lapse recording, technology and is perfect for manual shooting
and interval timer functions using a 12-megapixel with studio lights or hot-shoe flashes. Features
CMOS sensor and 25mm (80 angle-of-view) f/2 include LCD displays, 16 channels, 4 groups, and
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with a 22mm (90 angle-of-view), f/2.2 lens helps for secure triggering. The Phottix Triton II will ship
users snap selfies. in early November 2016 with an MSRP of $99.
The new Nikon KeyMission products will be And finally, Phottix also announced the Solas
available starting in October 2016. The KeyMission Series of softboxes. Constructed from a new
360, 170, and 80 will be available for suggested material called SL-Tech, the Solas series are light-
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respectively. For more information on these new properties, SL-Tech fabric is both highly reflec-
Nikon products and pricing for optional tive to minimize light loss and durable enough
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els include the 48" Solas Octagon Softbox with
Grid, the 14x55" Solas Strip Softbox with Grid,
the 16x71" Solas Strip Softbox with Grid, and the

36x48" Solas Softbox with Grid. All Phottix Solas
Softboxes come with an inner baffle, outer dif-
fuser, mounting rods, and grid.
CLICK TO RATE 019

HOW TO
Down evil dead with attitude
&Dirty
BY COREY BARKER
Its that time of year when we get to do something creepy-cool and

not feel weird about it because its Halloween. For this tutorial, I was
Tricks
inspired by movies of old, specifically the Evil Dead series. I found the
perfect skull image on Adobe Stock and it just demanded to be Evil
Deadified. Download the exercise files and follow along to see how.
020
DOWN AND DIRTY TRICKS
Adobe Stock/SS1001
Step One Step Two
Step One: Lets begin by opening the skull image,

which is part of the exercise download. This is an
Adobe Stock image that was shot at the perfect
angle for this effect. First, we need to extract it from
the white background.
[KelbyOne members may download the files
used in this tutorial at http://kelbyone.com/maga-
zine. All files are for personal use only.]
Step Two: Since the image is on a solid white back-

ground, select the Magic Wand tool (nested under
the Quick Selection tool [W] in the Toolbar) and set
the Tolerance in the Options Bar to 20. Click once
on the white background to select it. Then, go
under the Select menu and choose Inverse to flip the
selection from the background to the skull image.
Step Three: Press Command-J (PC: Ctrl-J) to copy

the selected area to a new layer. Go to Matting
at the very bottom of the Layer menu and choose
Defringe. Set the Width to 1 or 2 pixels and click

OK. This will clean up any anti-aliased fringe pix-
els around the edge that were picked up from the
white background. (Note: Weve hidden the Back-
ground layer so you can see the copied skull on the
transparent background.) Step Three 021
HOW TO
Step Four
Step Four: Create a new document thats

1400x2000 pixels at 300 ppi. Click on the color
swatch next to the Background Contents drop-
down menu, set the color to black in the Color
Picker, and click OK. Click OK in the New dialog.
Step Five: Back in the skull image, switch to the

Move tool (V), and click-and-drag the skull to this
new document. Use Free Transform (Command-T
[PC: Ctrl-T]) to scale the image in the canvas as you
see here. Hold the Shift key while dragging the
Step Five
corner points to maintain proportions. Press Enter
when done.
Step Six: I mentioned earlier that the skull was shot

at the right angle, but lets add a little attitude to
it by altering the eye sockets. With the skull layer
active in the Layers panel, go under the Filter menu
and choose Liquify.
Step Seven: Once the Liquify dialog opens, uncheck

the Show Backdrop option in the View Options sec-
tion of the Properties panel because we only need
to see the layer were working on. Make sure the
Forward Warp tool (W) is selected at the top of the
Toolbar on the left side. At the top of the Properties
panel, in the Brush Tool Options section, set both
the Pressure and Density to 50. You can adjust the
brush size using the Bracket keys on your keyboard.
022 Step Seven
Step Eight: Using the Forward Warp tool, push

up the top edge of the eye socket on the right to
give the skull a snobby eyebrow raise. Push down
the area between the eye sockets to enhance the
effect. This gives the skull image a little humor so it
isnt completely creepy lookingbut dont overdo
it. Click OK when done.
Step Nine: Make a duplicate of this layer by press-

ing Command-J (PC: Ctrl-J). Press Shift-Command-U
(PC: Shift-Ctrl-U) to remove the color from the layer,
and then near the top of the Layers panel, change
the layer blend mode to Overlay and drop the layer
Opacity to 75%. Step Nine
Step Eight
Step 10 Step 11
Step 10: Now we need to smooth out the detail in this layer a bit.
Go under the Filter menu to Blur and choose Surface Blur. Set both
the Radius and Threshold to 10 and click OK. This will smooth out the
image without affecting edge detail.
Step 11: Go under the Filter menu again but this time go to Artistic
and choose Poster Edges. (Note: If you dont see Artistic under the Filter
menu, go to Photoshop CC [PC: Edit]>Preferences>Plug-Ins, turn on
Show All Filter Gallery Groups and Names, and click OK. Now youll
see the complete list of filters under the Filter menu.) When the dialog
opens, set the Edge Thickness to 2, Edge Intensity to 1, and the Poster-
ization to 3. Click OK. This will add an illustrated look to this blended
layer, taking away more of the realism of the skull image.
023
HOW TO
Step 12: Immediately after you apply

the Poster Edges filter, go under the Edit
menu and choose Fade Poster Edges.
Drop the Opacity to 75%, which essen-
tially undoes the filter by 25%. Click OK.
Fade will only be available immediately
after the filter is applied. If you do any-
thing else in Photoshop before you try to
access the Fade option, it will be grayed
out. (Tip: If you make the layer a smart
object [Layer>Smart Objects>Convert
to Smart Object] before applying any
filters, it will apply the filters as smart fil-
ters, allowing you to access the Blending
Options feature where you can change
the Opacity of the filter at any time. Just Step 12
double-click the icon of the two small
sliders to the right of the filters name in
the Layers panel.)
Step 13: With the top skull layer active

(Layer 1 copy), run a Levels adjustment
to boost the contrast a little. Go under
the Image menu to Adjustments and
choose Levels, or press Command-L (PC:
Ctrl-L). Just drag in the shadow slider
below the histogram to around 50, and
click OK.
Step 13
Step 14: Add a new blank layer at

the top of the layer stack. Select the
Gradient tool (G) and click on the Radial

Gradient icon in the Options Bar. Click
on the gradient preview thumbnail in
the Options Bar, select the Foreground
to Transparent preset in the Gradient
Editor, and click OK. Press D to set the
Foreground color to black, and then
proceed to draw several gradients at the
top and right side of the skull to create a
fade so it appears as if the skull is peer-
024 ing through the darkness.
Step 14
Adobe Stock/dundanim
Step 15 Step 16
Step 15: Now its time to add some eyes. Here we

have an image of a guy with a rather sinister look on
his face that just happens to be close to the same
angle as the skull. This will work fine since we only
need the eyes. Using the Move tool, drag the entire
image into the main skull design image.
Step 16: The layer of the man should be at the

top of the layer stack, but if it isnt, just drag it to
the top in the Layers panel. Drop the layer Opacity
to 50% so you can see the background for better
placement. While the subject is close in position to
the skull, it isnt perfect, so well use a separate layer
for each eye. For this layer, line up the mans left eye
with the left eye socket. Use Free Transform to scale,
rotate, and position the eye as needed, and press
Enter to commit the change.
Step 17: Return the layers Opacity back to 100%,

hold down the Option (PC: Alt) key, and click on
the Add Layer Mask icon (circle in a square) at the
bottom of the Layers panel to add a Hide All (black)
layer mask. Select the Brush tool (B) and choose a
simple round, soft-edged brush. If youre using a
pressure-sensitive tablet, go to the Transfer setting
in the Brush panel (Window>Brush) and turn on Pen
Pressure for the Opacity Jitter. If not, then drop the
brush Opacity to around 75% in the Options Bar.

Press D to set white as the Foreground color and
start painting in the area of the eye to reveal it in the
eye socket of the skull. If you reveal too much, press
X to switch the Foreground color to black and paint
those areas away. 025
Step 17
HOW TO
Step 18
Step 18: Press Command-J (PC: Ctrl-J) to duplicate

the layer of the man. Drag the layer mask thumbnail
of the duplicate layer to the Delete Layer icon (trash
can) at the bottom of the Layers panel. Click Delete
in the resulting dialog to reveal the entire image of
the man. Repeat Steps 16 and 17, but this time line
up the right eye of the man with the right eye socket
of the skull.
Step 19: Add another new blank layer at the top of

the layer stack and change the layer blend mode to
Linear Light. Get the same round, soft-edged brush
again and make it a little smaller than the pupils in
the skull. Click on the Foreground color swatch near
the bottom of the Toolbar, choose a dark-red color
in the Color Picker, and click OK. Then, paint over

the pupils of the eyes. Its getting meaner now.
Step 20: Click on one of the eye layers to make it

active, and press Command-U (PC: Ctrl-U) to open
Hue/Saturation. Check on Colorize, set the Hue to
360, the Saturation to 20, and click OK. Do this to
the other eye layer as well. This adds a red tint to the
026 whites and the areas around the eyes.
Step 19 Step 20
Step 21: Here we have a cool little smoke element

Adobe Stock/Leigh Prather
to make the scene a bit more ominous. Open this

image from the download files, then press Shift-
Command-U (PC: Shift-Ctrl-U) to remove the color.
Use the Move tool to drag this image into the skull
image and place it at the top of layer stack.
Step 22: Set the blend mode of the smoke layer to

Screen and drop the layer Opacity to 50%. Press
Command-T (PC: Ctrl-T) to activate Free Transform,
rotate the smoke into a vertical position, and then
scale and position it. Right-click inside the Free
Step 21
Step 22
Transform bounding box and choose Warp from the
contextual menu. Click-and-drag in different areas
of the grid to stretch the smoke element along the
bottom and push it to the left a bit. This will help it

look like its flowing around the skull. Press Enter
when done. Add a layer mask to this layer and use
the Gradient tool with the same settings we used in
Step 14 to draw a few radial gradients to fade out
the smoke that obstructs the center of the skull. 027
HOW TO
Step 23: Now for an HDR finish. Make a duplicate

of the file by going under the Image menu, choos-
ing Duplicate, and clicking OK in the resulting
dialog. Once the duplicate is made, go under the
Layer menu and choose Flatten Image.
Step 24: Go under the Image menu, to Adjust-

ments, and choose HDR Toning. When the dialog
opens, set the Saturation slider at the bottom to
100. Then, push up the Detail and adjust the
Exposure and Gamma in the Tone and Detail sec-
tion. Finally, adjust the Edge Glow settings at the
top and click OK.
Step 24
Step 25: Using the Move tool, drag this image back
to the original layered file. Hold the Shift key while
dragging so it lands centered and aligned when you
drop it. Make sure this layer is at the top of the layer
stack, set the layer blend mode to Multiply, and

drop the layer Opacity to around 40%.
Step 26
Step 26: Finally, press Command-U (PC: Ctrl-U)
again to open Hue/Saturation. Check on Colorize
and set Hue to 25 and Saturation to 20 to add
a subtle warm cast to the HDR layer. Just drop in
some text if you want and there you have your
own Evil Dead-inspired design.
028 CLICK TO RATE
Step 25
029
Final
HOW TO
Down wrapping text around

a portrait in photoshop
&Dirty BY DAVE WILLIAMS
In this project, well blend a headshot of a model with a block of text using
Tricks
various layer and masking techniques to create a portrait you can see and
read. Its not dissimilar to a double exposure, which is a very hot technique
right now, but rather than combining a portrait and a scene, it uses text. Well
learn how the layers interact to create an image that can be used for promo-
tional materials, to tell a story in a unique way, or just for fun. I once used this
technique to overlay a musicians lyrics on his portrait. Another example that
went viral is a police officer with a story of the hardships of his job.
030
Step One
Step One: When selecting an image for this

technique, its worth noting that darker nega-
tive space isnt your friend if you want to retain
as much readable text as possible. Because the
blending technique picks up highlights and
shadows, it reduces the legibility of the text
in the shadows. If viewers need to be able to
read the text all the way to the edges of the
frame, then a lighter background will allow
for this. When we take this into consideration,
it emphasizes the necessity for a tight crop in
most cases.
Step Two: Start by cropping your image to

a 1:1 ratio. With the Crop tool (C) selected,
choose 1:1 (Square) in the drop-down menu
near the left side of the Options Bar at the top
of the screen, and drag out your crop bound-
ary. When youre happy with the selection,

press Enter.
[KelbyOne members may download the
cropped file used in this tutorial at http://
kelbyone.com/magazine. All files are for per-
sonal use only.] 031
Step Two
HOW TO
Step Three: Next well create a new layer

above our image. From the Layers panel, click
the Create a New Layer icon, or press Shift-
Command-N (PC: Shift-Ctrl-N). When you cre-
ate this new layer, its important to ensure that
the blend mode is set to Normal and Opacity
to 100%.
Step Three
Step Four: Our new layer needs to be filled

with black. With Layer 1 active in the Layers
panel, go to Edit>Fill and youll see the Fill dia-
log appear. Select Black in the Contents drop-
down menu, and make sure the Mode is set
to Normal and the Opacity is 100%. Note: If
its more your style to fill using the Paint Bucket
tool (nested under the Gradient tool [G] in the
Toolbar), then go ahead and do that. This layer
of black is going to be a buffer between the
original lower layer and the new upper layers,
which are the ones that will be visible in our
final image.
Step Four
Step Five: Its time to bring our text into play.

It goes without saying that the script we use
should fit the photo in order for it to be both
appropriate and complementary. In this tutorial
Ive used a model who is heavily into yoga, so
well be using a series of yoga-inspired quotes.
The more you know about the person in the

photo, the more interesting the effect can
be. You could write about what the person
means to you, share a story, or describe some-
thing amazing theyve achieved. Whatever you
decide, now is the time to have your text ready.
(You can find the text file that were using here
in the download files.) Once you have your text,
press Command-A (PC: Ctrl-A) to select it, and
then press Command-C (PC: Ctrl-C) to copy it
032 to the clipboard.
Step Five
Step Six: Adobe Photoshop gives us the option

to add either point type or area type. Area type
is useful for large amounts of text that we need
to keep within the confines of a pre-deter-
mined area. We need a white font to work in
contrast with the black layer, so press D then X
to set your Foreground color to white. With the
Type tool selected (T), drag a text box across the
entire image, ensuring youve completely filled
the space. The box will look like a selection
made by the Rectangular Marquee tool, and
you can adjust its size by dragging anywhere
along its edge. (Note: Weve temporarily hid-
den the black layer in this step and the next,
so you can see the subjects face.)
Step Six
Step Seven: Open the Character panel (Win

dow>Character) to enter your text settings.
The settings were using here in this tutorial
are Arial Bold at 5.5 pt, 6-pt leading, and All
Caps (the two uppercase Ts in the row of Ts in
the Character panel). Youll also want to select
the Justify All option in the Paragraph panel
(Window>Paragraph). In this step well paste
the text into the text box by pressing Com-
mand-V (PC: Ctrl-V). To preserve as much detail
as possible, we need to use a small font size,
but this of course means that we need more
text to fill the image, so paste the text a second
time to fill the space. Use either the Options
Bar or Character panel to fine-tune your text to
make it work best for your image. The things
that have the biggest impact on the overall look
of the image are the font size and the spacing.
When youre done editing your text, press Enter. Step Seven
Step Eight: To get this Down And Dirty Trick

off the ground and make our text portrait pop,
we first need to add a layer mask to the text
layer, so click on it to make it active. Right now

we have three layers, with the text on top.
When we click on the Add Layer Mask icon
(circle in a square) at the bottom of the Layers
panel, a layer mask thumbnail will appear to
the right of the text layers thumbnail. 033
Step Eight
HOW TO
Step Nine: Next up, we need to take the origi-

nal photo, Layer 0, and put it into the layer mask
we just created. Click on Layer 0 in the Layers
panel to make it active. Press Command-A (PC:
Ctrl-A) to select the entire layer, and then press
Command-C (PC: Ctrl-C) to copy the selection
from Layer 0.
Step 10: To paste the selection into the layer

mask, hold down the Option (PC: Alt) key while
clicking on the layer mask thumbnail in the Lay-
ers panel. This will make the mask visible inside
the main window, which will change to white,
allowing us to paste directly into it. Paste the
image into the mask using Command-V (PC:
Ctrl-V). The photo will now be visible in the
layer mask thumbnail. Note: Layer masks only Step Nine
deal with black and white, so bear in mind that

if you paste a color photo, it hasnt gone wrong
when it changes to black-and-white.
Step 11: This step is our moment of truth.

We need to exit our layer mask by holding the
Option (PC: Alt) key and clicking on the layer
mask thumbnail again in the Layers panel. Voil, Step 10
our text and portrait are now visibly blended.
Step 12: We can now lose the marching

ants from the edge of the image by pressing
Command-D (PC: Ctrl-D) to deselect, which
will take us back to a normal view of the docu-
ment. Whats happening here? The photo that
we pasted directly into the layer mask is mask-
ing the text. The clever algorithm is using the
contrast between the black and white areas to
determine which parts of the text are visible:
Black areas in the mask will completely hide
the text; white areas will completely reveal the

text; and shades of gray will reveal the text in
different opacities.
Step 13: If youre happy with what you have,

you can stop now, but I usually find that the
image is a little too dark. Lets remedy that.
First, make sure the text layer is active by click-
ing on its thumbnail in the Layers panel, then
press Command-J (PC: Ctrl-J) to duplicate this
034 layer. Thats all you need do to brighten the
Step 11
Step 15
overall image. You can continue duplicating the

layer as many times as needed until you attain
the desired brightness.
Step 14: When working on this technique,

I back away from my computer screen several
times and then come back to it. Try it! Youll
see that when youre close to the screen, you
can easily read the text, but when youre far-
ther away, the portrait becomes the most
prominent feature. Its a great illusion when
you get it right.
Step 15: Our last task is to fine-tune the bright-

ness. If you find that the last duplicate layer
makes the text too bright, you can deal with
that by lowering the layers Opacity. (The Opac-
ity slider is located above the layer stack in the
Layers panel.) The lower you set the Opacity
of the top layer, the more you allow the lay-
ers below it to show through. In this case, ALL IMAGES BY DAVE WILLIAMS
because the layer below is darker, lowering the

Opacity of the top layer results in the darken-
ing of the image. Move this slider around until
youre happy with the aesthetics of your image.
Andwere done! Thats how we can create a

portrait from text using Adobe Photoshop.
There are so many things we can do with this

technique: Here are a couple more ideas. Lend
me your eyes and Ill show you what I see. 035
CLICK TO RATE
HOW TO
Beginners' Workshop LESA SNIDER

selecting hair using the select and mask workspace
Hair and objects with soft edges are among the most difficult items to select, but the new Select and Mask
workspace is built for that task. In this column, youll learn how to use it to refine a selection of a subject
with curly hair in order to swap in a more colorful background.
Step One: Choose File>Scripts>Load Files into

Stack. In the resulting dialog, click Browse and nav-
igate to the photos of the woman and the colorful
bokeh background. (Bokeh refers to the pleasing
or aesthetic quality of out-of-focus blur in the high-
lights of photos taken at a wide aperture, say, f/2.8
or wider.) Shift-click to highlight both files and
then click Open. Click OK in the Load Layers dia-
log. If you use Lightroom, you can Shift-click two
thumbnails in the Library module and then choose
Photo>Edit In>Open as Layers in Photoshop. Either
way, the images open in a single Photoshop docu-
ment on separate layers. Step One
[KelbyOne members may download the files

used in this tutorial at http://kelbyone.com/maga-
zine. All files are for personal use only.]
Step Two: If necessary, drag the layer thumbnail

of the woman to the top of the layer stack in the
Layers panel.
Step Two Adobe Stock/Monkey Business
Step Three: Activate the layer of the woman and

press W to grab the Quick Selection tool (press
Shift-W to cycle between the Quick Selection tool

and the Magic Wand). In the Options Bar, turn
on Auto-Enhance and then drag atop the lady
to select her. The size of the area that Photoshop
selects is controlled by your brush size: use a big-
ger brush for larger areas and a smaller brush for
smaller ones (a 200-pixel brush was used here but
you can use a smaller brush for the lower-res prac-
tice file). Tip: Use the Left and Right Bracket keys
on your keyboard ( [, ]) to quickly adjust brush size.
036 Step Three
BEGINNERS' WORKSHOP
Step Four: In the Options Bar, click Select and red overlay so you can see strands of hair (50% was used here).
Mask. In the workspace that opens, click the If the red overlay is over your subject, change the Indicates drop-
View drop-down menu in the Properties panel down menu just below the Opacity slider from Selected Areas to
on the right and pick the view that lets you see Masked Areas.
the edges that arent yet included in your selec-
tion. You can cycle through the views by tapping Tip: Alternatively, you can summon the Select and Mask workspace
F on your keyboard. In this case, Overlay works first and create the selection there. To do that, choose Select>Select
well. Click outside the View menu to close it and and Mask and then use the Quick Selection tool at the top of the
use the Opacity slider to adjust the opacity of the Toolbar at the left.
Step Five: In the Properties panel, click the disclosure

wedge to the left of Edge Detection to expand that
panel and then drag the Radius slider rightward to
about 30 px to widen the area Photoshop takes into
consideration as it refines the selection. (Note: For
the low-res practice file, set the Radius to 15 px.) To
view that area, turn on Show Edge (circled here) and
then turn it back off. The Smart Radius checkbox
tells Photoshop to adjust the radius for both hard

and soft edges. Since there are no hard edges in this
photo, turn it off. Expand the Global Refinements
section and set the Smooth, Feather, Contrast, and
Shift Edge sliders to 0. Dont click OK yet.
Step Five 037
HOW TO
Step Six: To include more hair in the selection, and

to remove the white background where it shows
through her hair, brush over those areas with the
Refine Edge Brush tool (R) in the Toolbar at the left.
Zoom in if you need to by pressing Command-+
(PC: Ctrl-+) and reposition the image onscreen by
Spacebar-dragging. Use the Bracket keys on your
keyboard to adjust brush size. On this image, you
can use a fairly large brush (say, 80 pixels for the
practice file), though for finer detail you may get
better results using a smaller one.
Tip: If Photoshop suddenly excludes a giant swath

of your subject in the selection (you see the red
overlay over you subject), press Command-Z (PC:
Ctrl-Z) to undo your last brushstroke and try again
using a smaller brush or make shorter brushstrokes
(or both). You can also press B to activate the Brush
tool and then brush across those areas to include
them in the selection again.
Step Six
Step Seven: When the selection looks good, scroll

down the Properties panel and expand the Output
Settings panel. Turn off Decontaminate Colors,

which tries to remove any remaining background
pixels that may be loitering in the selection; if your
selection looks good you may not need it. From
the Output To drop-down menu, choose Layer
Mask. Click OK at the bottom right of the Prop-
erties panel and Photoshop masks the active layer
with your newly refined selection, allowing you to
see through to the new background layer below.
Step Seven
038
Adobe Stock/sergio37_120
Step Eight
Step Eight: Here you can see the final result.

Choose File>Save As and pick Photoshop from
the Format drop-down menu so your layers and
mask remain intact. If you opened the files from
within Lightroom, choose File>Save instead. Either
way, press Command-W (PC: Ctrl-W) to close
the document.
As you can see, the Select and Mask workspace

made short work of refining a selection of hair in
order to swap backgrounds; however, the resulting
selection could also be used to alter the selected
area of the image in a specific way. In that case,
in the Select and Mask workspace, pick Selection
from the Output To drop-down menu instead of
Layer Mask, and then add the adjustment layer of
your choice. Until next time, may the creative force
be with you all!
CLICK TO RATE
HOW TO
Dynamic Range GILMAR SMITH

creating compelling images of kids
The two things that I get asked the most on social media is how I create the images I post of my kids and
how I get them to collaborate with me on the shoot. Im going to guide you through my personal process
from the idea to the nal image, including how I get my kids involved, how I let them tell their own stories,
and what I do when things dont go as planned.
Coming Up with an Idea

Its kind of hard to explain how
I come up with concepts for my
shoots. It usually comes randomly,
and I stop what Im doing and
write it down on my phone. Inspi-
ration is everywhere. Just take a
moment and look around, pick
one thing that catches your eye,
and write down ve ways you
could use that certain thing in an
image. Then do it again the next
day with something different.
Make it a habit. By doing that,
youll train your brain to think
creatively, so every time you look
around, youll see a world full
of possibilities.
When I work with kids, Im
interested in hearing their ideas.
I want to open a door into their
imagination. They grow up so
fast, and I think its important
to keep those childhood fanta-
sies alive somehow. My goal is
to keep a memory of that spark
of innocence that sadly gets

washed away with adulthood.
I want these images to reect their
personalities and what they were
into at a specic stage in their life.
The way I work when I photo-
graph my two-year-old daughter
is completely different than when I photograph my ten-year- The main rule when photographing kids
old son. With my daughter, I still have control of the concept is to let them have fun and make them
and wardrobe of the shoot, but when it comes to my boy, feel comfortable so they look forward to
040 hes my creative director. being in front of the camera.
DYNAMIC RANGE
Let your little subjects take the lead. Ask

them how theyd like to be photographed, as
well as what they want to be doing, what ele-
ments they want in the nal image, whats
their favorite color, what makes them laugh,
and whats their favorite character. If they can
make you a drawing of what they have in mind,
then thats even better.
The main rule when photographing kids
is to let them have fun and make them feel
comfortable so they look forward to being in
front of the camera. Be a goofball, let them
run the show, and when you see something
thats making them uncomfortable, x it
immediately. Kids sessions have to be fast;
youre only going get their attention for a
short period of time, so shoot away!
Tribal Princess
Photoshop is your best friend! And costumes
are a great way to get kids (and adults) in the
mood for pictures. When I got this costume for
this image, I knew my girl probably wouldnt
want to put on that big headpieceand I was
right! I tried it on her and saw that she wasnt
very comfortable with it, so I immediately took
it off.
She played with the cane for a while but
never got it in the position I wanted, so I
decided to shoot the cane and the headpiece
separately. I got the perfect shot of her face but
I noticed she was too close to the camera and

her feet were out of the frame. (The camera was
on a tripod so I could play around with her as
I shot.) I took another full-body shot and then
swapped her head in Photoshop and added
the headpiece and the cane. 041
HOW TO
Chef Enzo and

Sous-Chef Norah
Let them light your re! This image started
with the background. I shot this beautiful
kitchen a few years ago and always wanted
to create a composite with it. I approached my
son and asked him for ideas on what hed like
to do with that image. We sketched his ideas,
and he even practiced in front of the mirror
to get his expression right. Involvement makes
a huge difference when working with kids;
theyll give you their best when they feel part
of the project.
My son also wanted his sister in the picture,
so I sat her on a bench to get the perspective
I needed to add her on top of the kitchen coun-
ter of the background picture. I gave her a bowl
and a whisk to play with, and shot away like
crazy! I used CTO gels on my lights to create the
right tones to match the re that I was going to
add to the nal image, and I tried to mimic the
light in the background image.
042
DYNAMIC RANGE
Finding Nemo
We were walking home from the
pool one day and my son was still
wearing his diving mask, making all
kinds of funny faces. As soon as we
got home, I told him I wanted to
take pictures of him wearing his div-
ing mask and making some of the
same faces that he made on the way
home. (I have a little home studio
set up in the corner of my dining
room, all ready to go.) I shot his
picture, found a background in my

Lightroom library from a beach wed-
ding I photographed recently, added
a little clownfish for fun, and was
done! This was a fast one to make.
043
044
HOW TO
DYNAMIC RANGE
Chess Queen
The starting element in this image was the
dress. The dress has a chess pattern on it and
I obviously wanted to go that route. Note that
my daughter didnt want to wear her crown,
but I knew I could easily add it afterwards
in post. I shot the chess pieces separately,
created a chess pattern in Photoshop to use
as the chessboard, and used textures to blend
the images and create the mood.
045
HOW TO
The Bunny Whisperer

Use their appetite! I approached this photographing. The more I shoot, the
shoot blindly. I dressed my daughter up, more I come up with new ideas, and the
but I didnt have a plan or a concept. more I learn. You dont have to be a Pho-
I gave her a rose with a couple of goldsh toshop master to create a piece of art. The
in the petals to keep her distracted (she only way you can step up your game is to
loves to eat). She dropped the ower and let go of fear, follow tutorials, and prac-
when she leaned down to get it, she held tice techniques with your own images:
her dress so graciously. When I looked at Play with those sliders and have fun!
the back of my camera, I knew that was As Halloween approaches, Id like to
the shot I was going to use. The back- challenge KelbyOne members to make
ground is a shot that I had taken one some magical images of their own. Show
day on the way home. Every time I drove me your best Photoshop creations of your
by, I kept looking at those trees so per- kids, your neighbors kids, or your niece
fectly lined up, so one afternoon, I nally and nephew. Ill be choosing a winner on
stopped to get a few shots of them. I November 15, 2016. The winning image
added the bunny to tell a story and give it will be published in an upcoming issue
more of a fairytale mood. of Photoshop User magazine and receive
As you can tell, I dont have a book of either a copy of Scott Kelbys How Do I
golden rules. Each of these pictures was Do That in Photoshop? or Corey Barkers
approached differently. Sometimes every- Photoshop Tricks for Designers. To enter,
thing starts with the background image, go to KelbyOnes Facebook page and
sometimes it all starts with a costume, and submit your photo to the challenge
other times things happen organically. posted on KelbyOnes wall. To submit ALL IMAGES BY GILMAR SMITH
One thing I do that helps my creative on Twitter, use the hashtag #KPWG (kids
046 process immensely is keep myself busy photography with Gilmar). CLICK TO RATE
#KelbyOneBooks
Ever feel like youve hit a wall in Photoshop ?

This books your tool to break through!
NEW from Scott Kelby, the

worlds #1 best-selling author
of photography technique books,
and Editor and Publisher of
Photoshop User magazine.
HOW TO
Photoshop Proving Ground SCOTT VALENTINE

taming the magic wand
Man, oh man, there must be a million ways to make selections in Photoshop, and all of them are useful.
But exactly whats going on with the automated tools? Why do we need so many variations? The Magic
Wand, Color Range, Quick Selection, Focus Area, Select and Mask. Each of these has a place, and while
they all accomplish a similar task of making a selection, they all have their pros and cons. Lets take the
oldest tool, the Magic Wand, into our lab and see how it works!
In a nutshell, every automated selection tool compares pixel

elements in your image and tries to make a somewhat intel-
ligent decision on what to include in a selection and what to
reject. The sometimes-maligned Magic Wand tool has some
quirks that are worth investigating.
Start by downloading this Photoshop file from KelbyOne.
Its designed to give you a range of colors and brightness
levels to test the various selection tools (except Focus Area).
While Im talking about the Magic Wand tool, you should
try out all of your favorite auto-select tools to get a feel for
how things operate.
[KelbyOne members may download the file used in this
tutorial at http://kelbyone.com/magazine. All files are for
personal use only.]
Testing Tolerance
Open the experiment file in Photoshop and take a look the guides, you get a rectangular marquee selection thats
at it. Its a spectrum RGB gradient, with some blend mode 16 levels of gray in width. Thats, 8 to the darker side and
trickery to give you a range of brightness and saturation levels. +8 to the lighter side. If you clicked on a point with a gray
Ive also included a layer at the bottom of the layer stack value of 100, the selection would be from 92 to 108. So
of a simple default black-to-white gradient. Lets start there the Tolerance setting represents the maximum difference in
by making Gray the active, visible layer, and turning off the tonal value allowed based on the point you click. (Tip: Think
Color layer by clicking its Eye icon in the Layers panel. of the Tolerance setting as a distance away from the point
Select the Magic Wand tool (nested under the Quick you click in terms of RGB values.) It then selects all values
Selection tool [W] in the Toolbar) and set the Tolerance to between that maximum difference and the sample. Since all
8 in the Options Bar. For the Sample Size drop-down menu, the values going vertically are the same, we get a selection
choose Point Sample, and deselect all of the other options in that goes from the top to the bottom. Pretty much what
the Options Bar (see above). youd expect! Try it a few times on the same guide using
I randomly placed three vertical guides on the gradient to different Tolerance valuesit can go from 0 to 255.
ensure that you click the same place every time you change Note: You can keep track of the color values by using the
the Tolerance. (If you dont see the guides in the practice Color Sampler tool (nested under the Eyedropper tool [I] in
file, press Command-; [PC: Ctrl-;]). When you click on any of the Toolbar) and opening the Info panel (Window>Info).
048
PHOTOSHOP PROVING GROUND
Now try clicking another gray value on the gradient using Now, Adobe wont give me the mystical equations behind
a Tolerance of 8. Did you get the same size rectangle? If not, this tool, so Im forced to guess. Heres what I think: the Magic
why not? It turns out that the default Black to White gradi- Wand tool has to evaluate all of the available channels when
ent in Photoshop isnt linear. That is, it doesnt represent making a color selection. The Tolerance value you choose is
a continuously smooth transition from black to white. Each divided up among the various channels and used to build an
selection you make will be 16 levels of gray wide, but the array of possible colors and luminosity values. The next part of
physical distance on your screen will vary. my guess is that the tool tries to include all of those variations
and creates a boundary of them. In the case of the plain gradi-
ent, this means the selection stops at the first value that meets
the conditions. But in a photo, or a more varied spectrum, it
tries to create a selection where all the values that can build
up to the same Tolerance are included.
Compare the difference in selection widths
The Tragic Wand

If thats not exciting to you, just hang on, were about to
see why some people refer to this tool as the Tragic
Wand. Turn on the Color layer and make it active in the
Layers panel. The horizontal middle 1/3d bar is a standard
spectrum gradient. In the Options Bar for the Magic
Wand, click to enable the Contiguous option; this will
keep things manageable for the moment. Now, click on the
Boundary selection
guide going through the yellow region of that middle hori-
zontal bar and youll get the standard rectangular marquee
selection. But notice the selection isnt While this may sound complicated, the thing to remem-
perfectly centered on the guide. Indeed, ber is that the tool is taking a somewhat simple approach
as you click around the center gradient, to selecting similar colors. The theory is that the range will
not only does the width change, but the have some cohesive nature to it based on the possible com-
centering changes too! binations of values that add up in some way to the selected
This can be confounding and mysteri- Tolerance. Of course, the bigger the Tolerance number, the
ous when trying to make selections in real more possible colors will fit the criteria, making things a little
photographs. Things you expect to be difficult to control. Fortunately, you dont need the math to
selected may be completely missed, even tame this beast; just read on.
though they look really similar to the point
you clicked. Or you may end up selecting Using Channels

tons of areas that dont seem related by Okay, Scott, thats all well and good, but pray tell just how
color. Refining the selections can be frus- do I use this in the real world? Im glad you asked!
trating, but you can get really good results There are some direct results of this observation that
with a little patience and insight. you can combine with your knowledge of modifier keys in
049
Off-center marquee
HOW TO
Photoshop. Remember that you can adjust Step Four: We want to remove the white areas. (Note: It may be helpful to
the Tolerance setting down to single digits open the Info panel and see where the values are 255 consistently to find a
to constrain your selection. That can help pure white area.) Hold Option (PC: Alt) and click with the Magic Wand on
you refine the automated selections with a pure white area on the canvas. This removes just the areas where Red is
some accuracy. You can also add to or sub- 100% saturated on the channel in the highlights.
tract from the selections by holding Shift to
add or Option (PC: Ctrl) to subtract. Com-
bining these two ideas, you can now make
complex selections. Check it out.
Step One: A fast way to make manual

luminosity selections is to use the Magic
Wand on a channel. Lets say you want the
highlights, but not red highlights. Select the
Magic Wand tool and set the Tolerance to
64, and place a check in the Contiguous
box in the Options Bar.
Step Two: Open the Channels panel

(Window>Channels) for the practice file,
hold the Command (PC: Ctrl) key, and then
click on the RGB thumbnail. This loads the Step Five: This works because the luminosity selection takes values that
Luminosity of the currently active layer. convert to a gray level of 128 and above. By setting the tolerance to 64
and selecting the white (255) value of the Red channel, you are subtracting
about half of the Red luminosity contribution. That leaves only Red values
between 128 and 191 (about a quarter of the total) in your selection, basi-
cally the lights and some mids.
Step Three: Now click on the Red channel

away from the thumbnail to make it visible.
050
PHOTOSHOP PROVING GROUND
Learn to Cheat
You can use similar tricks to make selections with adjustment layers. My Indeed, you can use many different
buddy Mark Heaps demonstrates this technique with a Black & White adjust- approaches to help isolate colors and tones
ment layer and changes the mix of colors that equate to the same gray level. and carve out very specific automated selec-
This can help increase contrast between similar tonal regions, or blend a tions very quickly. In other wordscheat!
bunch of colors together to make one simple selection for a range of colors. Use other selection tools and methods,
In the practice file, note where the green areas are in the image, make the and dial in as you go. The key to success is
top Black & White adjustment layer visible, and double-click its thumbnail moving quickly with the automated tools,
to open the Properties panel so you can see its settings. Click in one of the so if you spend more than a few minutes
brightest areas of the image with the Magic Wand to select the green areas. trying to get the perfect selection, move to
Now hide the adjustment layer again. manual methods. The whole point of auto-
mated tools is to make life easier!
Summing Up the Key Points:

The Magic Wand uses a distance
away calculation to pick colors and
gray values related to where you click
and the Tolerance setting.
U
se the Magic Wand on channels, and
in combination with other selection
tools and techniques.
C
hange Tolerance and use the add/
subtract tricks to refine your selection.
Try making cheater layers with

adjustment layers to make differences
or similarities easier to select.
Happy selecting!
CLICK TO RATE
Result of selection with a Black & White adjustment layer
ALL IMAGES BY SCOTT VALENTINE/SCOXEL.COM 051

COLUMN
DesignMakeover JAKE WIDMAN CLIENT

Silicon Beach Magazine
siliconbeachmag.com
hitting the beach

before Karen Hassett launched Playa Vista Today in 2007 as a
way of connecting the community she lived in. It started
as a newsletter template that I emailed out to people,
she recalls, and it just grew and grew, eventually even
attracting advertisers.
Four years ago, she turned the newsletter into a flipbook-
style magazine on the digital magazine platform Joomag.
At that point, some corporate sponsors came on board as
well. Thats when the Clippers, Whole Foods Market, and
Doubletree Hotels became corporate partners.
Hassett now has 29,000 subscribers, with more signing
up all the time. Twice a month, she sends out an email
with a link to the current issue, as well as advertising from
her corporate sponsors. Readers access the magazine on
Joomag via their browsers, or they can download a PDF.
For now, it will remain an online-only publication: Ive
been asked many times about printing it, says Hassett.
I have major advertisers that want us to print. But for
me to print a magazine is kind of ridiculous. If you go
into a Starbucks anywhere in Santa Monica, down to
El Segundo or Culver City, youre not going to see peo-
ple focused on a magazine with their coffee. Theyre on
their iPhone, iPad, or computer.
That habit of her local readership is indicative of the
reasons Hassett recently undertook a rebranding of Playa
Vista Today. Tech companies such as Google, YouTube,
and Facebook have been moving into the area, along with
a large number of advertising agenciesenough so that
some have nicknamed the region Silicon Valley South.
Keeping up with the changes, Playa Vista Today now
goes under the title Silicon Beach Magazine. The rebrand-
ing involved a new logo, as well as ongoing layout tweaks

within the issues themselves
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.
052
DESIGN MAKEOVER
CLIENT
Silicon Beach Magazine
siliconbeachmag.com
the problem After nine years, Hassett was starting to think the name
Playa Vista Today was limiting the growth of the magazine.
Part of it was the connotation of Playa Vista, that it didnt
have a broader visionlike you only reach Playa Vista, so
I dont know if youre really going to be enough for us,
she says. I wanted to get a wider range for our reach for
our advertisers and our readers.
At the same time, the demographics of the area were
changing with the influx of tech companiesand their
employees. I wasnt attracting people who work at
YouTube, Google, or the creative agencies, she recalls.
It wasnt trendy or hip enough, and our advertisers want
the younger market. For both those reasons, it just made
sense to look at rebranding the magazine in order to reach
the full potential audience.
That thinking coincided with her search for a designer
to work on Playa Vista Today, which Hassett had been
designing by herself (as well as producing all the content).
In the fall of 2015, she consulted with some PR firms about
the magazines direction and also posted a job listing for
a creative director. She ended up contracting with Justin
Piccari to work on the magazines covers. I received a lot
of entries, but Justin understood the goal, she says.
Piccari started work in January of this year. One or
two issues in, I softly suggested a rebrand, recalls Piccari.
If nothing else, the magazines lengthy name was a chal-
lenge when it came to designing the covers. The suggestion
hung in the air for a while, and then one day she said,
First stab at a new logo We need to do a rebrand, says Piccari. All the ducks
lined up finally. So we started working towards the cur-
rent Silicon Beach Magazine, which would debut with the
June 10 issue.
about the client

The digital magazine Playa Vista Today offered news and events of interest to the Playa Vista community, a Los Angeles neighborhood roughly bordered
by Marina del Rey, Culver City, and Westchester. Its founder and editor-in-chief, Karen Hassett, launched the publication in 2007 to cover the fresh, the
fashionable, the flavorful from Playa Vista to Santa Monica. With a bimonthly email blast, the magazine is the Westsides premier source for the latest in food,
real estate, and local events.
The magazine was recently updated for a new demographic moving to the area, which has been nicknamed Silicon Beach due to the number of tech
companies that have offices there. The new Silicon Beach Magazine provides a link to the community and promises to cover uplifting and positive aspects
of local news, events, and businesses. Silicon Beach is where we reach!
053
DESIGN MAKEOVER
DESIGNER
Justin Piccari
SB
j-p-designs.tumblr.com
SB SB
SB
the SB
process Early on in the collaboration, Piccari suggested the title
Life in Silicon Beach, so that became the basis for his first
stabs at a new logo (see previous page). He worked up a
SB
set of options that explored different treatments of the o
in Silicon and asked Hassett to pick her favoritesmore
SB SB
of a here are things I like and dont like than choose
the one you want, says Piccari. One clear direction
that came out of the exercise was that Hassett didnt
SB SB want a palm tree in the logo because so many other L.A.
companies use that symbol.
At the same time, though, Piccari was lobbying for
short, effective, and punchy, he recalls. If you want
Various treatments of the SB combination to get that ADHD millennial crowd, shorter is better. In a
conversation, one of Piccaris friends suggested just calling
it SB, in line with young Angelenos tendency to shorten
place names (L.A., MDR for Marina del Rey, Cali). So he
worked up another set of options focusing on various
treatments of the two-letter combination. I really tried to
keep it basicnot much styling on the fontsuntil I had
some kind of direction, he says. Hassett liked the idea
(so long as there werent any palm trees).
As he stared at the SB letter pair for hours while
working on it, Piccari says, it started to take on the shape
of a rounded rectangle, which to his tired eyes suggested
a speech bubble or word balloon. It struck him that
that symbol would go along with the magazines focus
on interviews and social interaction. Were trying to
connect this huge area together, so the speech bubble
made sense because its about talking to people, he
says. A little more back and forth about the font for
the word Magazine (the final uses Casady & Greenes
Interior/Full Logo Bodoni FLF Bold), and the logo was ready.
Front Cover & Symbol

054
DESIGN MAKEOVER
DESIGNER
Justin Piccari
j-p-designs.tumblr.com
the result Both client and designer are happy with the result so far.
Playa Vista Today had around twenty thousand subscrib-
ers, says Hassett. Weve jumped by ten thousand, and it
grows weekly. The big challenge now, she says, is to find
ways to spread the word about the magazine. She relies
on social mediaFacebook, Twitter, and Instagrambut
right now its just word of mouth, she says.
Piccari believes the new logo is working well for brand-
ing, too. People respond to graphics better than they do
the written word, he says, and if you put the graphic in
their face, they start to recognize it. People have seen some
of the covers weve done under this new brand, and its
really starting to click. Theyre seeing tech immediately.
Going forward, hed like to simplify the logo still
further by dropping the words Silicon Beach Magazine
as often as possible. If you take those words out of it,
you have an icon that can be used throughout the maga-
zine in different ways, he says. He believes he has some
freedom to experiment with that approach because of the
way the magazines distributedits not on a newsstand,
so it doesnt need to announce itself on the cover the way
other magazines do. Unless youre actively looking for
the magazine, its not something youre going to stumble
across, explains Piccari. When you subscribe, you get an
First redesigned cover email, and the email blast says Silicon Beach Magazine
all over it. While certain redundancies are good as far
as branding, I dont feel its necessary to have it on the
cover. Some of the most recent issues have dropped the
words on the cover, but its not a permanent change yet.
Piccari would also like to extend the logo to the rest
of the magazines identity. Id love to brand everything
across the boardInstagram, Twitter, Facebook, the
homepageand find a consistency of color palette and
CLICK TO RATE iconography across all that, he says.
about the designer

Justin Piccari likes to say he arts for a living. A Los Angeles-based artist specializing in graphic design, photography, and full video-production services,
Justin was trained in graphic design at the Tyler School of Art in Philadelphia before moving west to pursue the nonsensical dream of never getting a
grown-up job. Adulting is hard, after all, and Justins whimsically charming nature and emphasis on levity in every part of life adds a fun-loving flair to
all of his artwork.
Justin loves using art to make someone pay attention. In a fast-paced world where brevity rules all, Justin tries to steal just a moment more of his audiences
time. Justin freelances locally in Los Angeles with Silicon Beach Magazine as well as national brands such as Z Palette and Aeroflex (among others). He often travels
for photographic assignments as well. After all its his job to make pretty things. 055
HOW TO
InDesign Tips DAVE CLAYTON

advance and enhance your indesign skills
PRINTING PAGES
Have you ever been working on a multipage document and
wanted to print a page or two instead of the entire docu-
ment? You could open the Print dialog and select Range,
but then you have to figure out the page numbers for the
pages you want to print. Instead of going to File>Print, first
Shift-click all the pages that you want to print in the Pages
panel (Window>Pages), go to Layout>Pages, and then look
for one of the following options based on the number of If you select the same
pages you selected: Print Page (for a single page), Print rectangles and select the
Spread (for a spread), Print Pages (for more than two pages). now uncovered Distribute
The Print dialog will open with the printing Range set to Horizontal Space icon in
the pages you selected in the Pages panel. This is perfect the Distribute Spacing sec-
for quickly proofing specific pages, saving you ink and time! tion, you get this.
Distribute Horizontal
DISTRIBUTE SPACING Centers is great for repeated shapes of the same width, but
In the default Align panel (Window>Object & Layout>Align), when it comes to shapes with various widths, Distribute
you have two groups of options from which to choose: Align Spacing is the better option. Not many people realize this
Objects and Distribute Objects. But theres a third hidden option is there, but its a great timesaver. And theres more!
option thats way more useful than Distribute Objects. To If you want a specific distance between a group of items,
find this option, go to the flyout menu at the top right of tick the Use Spacing option, set the distance you require,
the Align panel and select Show Options. Now youll have a click the Distribute Horizontal Space or Distribute Vertical
new group of options called Distribute Spacing at the bot- Space icons, and Bobs your uncle!
tom of the panel.
Imagine you have five rectangles of different widths MOVING PAGES
and you want to change the spacing between them. If When youre working on two documents that are very
you select them all similar and share some of the same content, there may be
and click the Distribute times when you need to move content from one document
Horizontal Centers icon to the other. Copying-and-pasting is one option, or you
in the Distribute Objects could duplicate or move an entire page or multiple pages.
section, the result would Start by selecting the page(s) that you want to move, and
look like this. choose Move Pages from the flyout menu at the top right
of the Pages panel (or go to Layout>Pages>Move Pages).
In the Move Pages dialog, you can select which page(s)
you want to move and where you want to move them.
Since you already had pages selected in the Pages panel,
those pages will appear in the Move Pages field. The
default option is to move the page(s) to another place in
the same document, but you can choose any document
thats open from the Move To drop-down menu. Once
selected, you can decide where in the new document you
056
I N D E S I G N T I PS
want the page(s) to appear, as well as if you want the THE POWER OF THE CHECKBOX!
page(s) to be deleted from the source document by ticking This tip is super simple: Theres a checkbox in InDesign that
the Delete Pages After Moving option. opens a load of additional optionsand a lot of people
miss it. When you go to File>Place, at the bottom of the
Open window theres an option to Show Import Options.
With this option turned on, when you select a file and click
open, a dialog will appear giving you additional options
that will be based on what kind of file you chose.
For example, if you place a PDF, Illustrator, or InDesign file,
then you have the option to choose which pages you want
CHANGE THE SIZE OF THE PASTEBOARD to place. You can even turn on and off layers. The example
The InDesign pasteboard is always narrow on the top below shows the import options for placing a PDF. Yep, you
and bottom and wider on the sides, but you can change can actually place every single page of a multipage document.
this if you want. Maybe you have a lot of assets you
want on the pasteboard for the document while you
work. To change these dimensions, go to InDesign (PC:
Edit)>Preferences>Guides & Pasteboard and change the
Pasteboard Options at the bottom of the Preferences dia-
log. Alter the Horizontal Margins or the Vertical Margins
to a different size, wider or narrower, and you can see the
change when you click OK. Like I mentioned, its all down
to personal preference but its useful to know.
If youre placing a Word file, you can map the style sheets
in Word to their equivalent in InDesign. My preferred option,
however, is to Remove Styles and Formatting from Text and
Tables, which then converts the Word file to a text file. I then
have formatting control over my text.
There are other options available for other file types. Its
a nice little hidden feature, but it can make your life much
COLOR-CODING MASTER PAGES easier when placing files.
If you use master pages in InDesign (and you should), it can
be difficult to see which master is being applied to each page. QUICK MEASURING TIP
But you can make this easier by color-coding your master You can quickly switch from inches, millimeters, pixels,
pages. Hidden away (theres a lot of good stuff hidden away etc. without leaving the document page. Right-click any-
in InDesign!) in the Pages panel flyout menu is the option to where on a ruler (to enable the rulers, press Command-R
color-code a master page. Just go to Page Attributes>Color [PC: Ctrl-R]), select your measuring system of choice from
Label and pick your color. the handy contextual menu, and youre good to go. The
When a color is applied to a master page, its automati- zero always defaults to the top-left corner where the rulers
cally applied to all of the pages that use that master page, intersect. If you want your zero to start anywhere else in
which makes it much easier to quickly see which master is the document, just click into the small square where the
applied to each page. This is useful when working on a large rulers intersect and drag the zero to the new position.
multi-page document such as a magazine or brochure where
you have multiple page types. CLICK TO RATE
057
This is a life choice. You choose to live creatively. You decide that at any minute you could capture a moment and
turn it into something greater. From then on, you keep your camera ready and the perfect image in your mind.
Because if you only get one shot at something, youre going to take it for all its worth. Fuel your creativity.
Easy training from the best in Photoshop, Lightroom & Photography kelbyone.com
01 PATHS VS. PIXELS FOR 3D
Sometimes when you try to convert a complex path or shape Press Command-J (PC: Ctrl-J) to copy the selection to a new
into a 3D object, you get a warning that the path is too layer and then change the layer blend mode to Multiply near
complex. You can try to simplify the path but if you still get the top left of the Layers panel. Finally, drop the layer Opacity
the warning then one workaround is to convert the shape between 5075%.
layer to pixels or change the path to an active selection before
converting to 3D. It will be a pixel-based extrusion vs. a path-
based one but it will work. To convert a shape layer to pixels, 04 SHOW ALL FILTERS
Right-click on the layer and choose Rasterize Layer. To convert
a path to a selection, Command-click (PC: Ctrl-click) on the If youre like me, then you like to have all of the available
path thumbnail in the Paths panel (Window>Paths). filters appear in the Filter menu when youre experimenting
with effects. When you first load Photoshop, however, and
go to the Filter menu, youll only see an abbreviated list of
available filters; the rest are located in the Filter Gallery. But if
02 SPLIT EXTRUSION you want to see the whole list in the Filter menu, just go to
In Photoshop, when you have a 3D text layer, Photoshop Photoshop CC (PC: Edit)>Preferences>Plug-Ins and check on
treats all the letters as one 3D object even though theyre Show All Filter Gallery Groups and Names. Now when you
separate, which means that when you move the object go to the Filter menu, youll see all of the filters just like the
around, all the letters move at the same time. But what if good ol days.
you want to change the angle and position of a single letter?
Well, first make sure your word is spelled correctly because
you wont be able to edit the text after you do the following: 05 3D UV OVERLAYS
Go under the 3D menu and choose Split Extrusion. Though
When you want to edit
all the letters are still in the same 3D layer, you can now move
a texture on a 3D object,
each one individually in the 3D space.
select the material layer that
you want to edit in the 3D
panel (Window>3D), click
on the icon to the right of
the Diffuse color swatch near
the top of the Properties
panel (Window>Properties),
select Edit Texture, and make
the edit. When you open
the texture, however, youll
see a wireframe graphic overlay. Sometimes it will cover the
entire canvas and make things confusing and difficult to see.
Just uncheck UV Overlays in the Properties panel to hide the
wireframe. The wireframe is only handy when you need to
precisely place something on the 3D surface.
SAVE ASSET LIBRARIES

06 FROM DOCUMENT
If youre working on a project in Photoshop and you want
to be able to use things such as the color swatches and layer
03 INSTANTLY CRUSH SHADOWS styles from that project in other projects, you can actually save
If you have an image thats underexposed or lacking in these things into your Libraries to access them at any time.
contrast, heres a cool trick to crush the shadows a bit and With an open project, go into the Window menu and choose
add contrast to the overall image. Go to the Channels panel Libraries. When the panel opens, go to the panel flyout menu
(Window>Channels) and hold down the Command (PC: Ctrl) at the top right and choose Create New Library from Docu-
key as you click on the RGB channel thumbnail. This will create ment. It will detect whats available to save to the library but
a luminance-based selection. Go under the Select menu and you can uncheck any assets you dont want. When done,
060 choose Inverse to reverse the selection to the darker areas. just click Create New Library.
07 REFLECTION TRICK 08 NEGATIVE SPACE PAINT EFFECT
This is a nifty little design trick. Open an image and make Create a text or graphic layer, then scale and position the
the rulers visible by pressing Command-R (PC: Ctrl-R). Then, text/graphic in the layout. Command-click (PC: Ctrl-click) its
drag a vertical guide to the center where it should snap into layer thumbnail in the Layers panel to create an active selec-
position (if it doesnt snap, make sure View>Snap is turned tion, then go under the Select menu and choose Inverse.
on). Press Command-J (PC: Ctrl-J) to make a duplicate of the Next, create a new blank layer and click on the Eye icon next
Background layer, and go to Edit>Transform>Flip Horizontal. to the original text or graphic layer to hide it. Choose the
Switch to the Rectangular Marquee tool (M), and drag a Brush tool (B), and use the Brush panel (Window>Brush) to
marquee selection over half of the image to the guide in the customize the brush options. Then paint on the selection to
center. Hold down the Option (PC: Alt) key and click the Add reveal the graphic or text in negative space.
Layer Mask icon (circle in a square) at the bottom of the Layers
panel. Voil! If you click on the layer mask thumbnail in the
Layers panel to make it active and press Command-I (PC:
Ctrl-I) to Invert it, youll get a completely different version.
Adobe Stock/AndreasJ
09 CUSTOM TOOLBAR
For those of you who dont want a cluttered Toolbar with
a lot of superfluous tools, youre in luck. You now have the
ability to create a custom Toolbar easily. Click-and-hold on
the three dots near the bottom of the Toolbar and choose
Edit Toolbar. In the left column of the Customize Toolbar
dialog youll see the existing toolset. Just drag the unwanted
tools to the Extra Tools column on the right. You can even
regroup existing tools to create custom subsets, turn on and
off the features that appear at the bottom, and save Tool-
bar presets to share. Any tools that you move to the Extra
Tools column will appear in the flyout menu of those three
dots that you clicked on to edit the Toolbar. To get back
to the default Toolbar, just click on Restore Defaults in the
Customize Toolbar dialog.
10 WHAT A DIFFERENCE
DIFFERENCE MAKES
Heres a cool trick I use on text and other effects like smoke
when I want to blend them with backgrounds where they

might be tough to see. For instance, if you have a subject
on a white background and you want to overlay text as a
design element but not obstruct the subject, just fill the text or
graphic element with white and then change the layer blend
mode to Difference in the Layers panel. 061
11 LAYER MASK SHORTCUTS 14 FIND THE CENTER OF ANY IMAGE
Here are some important shortcuts to use when working Heres a simple way to find the center of a document. From
with a layer mask: the View menu, choose New Guide Layout. Change the
settings to 2 Columns and 2 Rows, with the Gutter set to 0 in
P ress X to swap the Foreground and Background color
both cases. Then use the Preset drop-down menu and select
(this is incredibly useful so you can switch between
Save Preset. Choose a name and save the preset. Click OK
painting with black and white).
to close the New Guide Layout dialog. From now on in any
P ress the Left Bracket key ([) to reduce your brush size, document, use View>New Guide Layout and use your preset
and the Right Bracket key (]) to increases the brush size. to find the center of the document.
P ress the first number of the Opacity you want to use

for your brush (e.g., 2 for 20%, 4 for 40%, etc.). Press
0 to put the Opacity of the brush back to 100%.
15 CREATE A REUSABLE VIGNETTE
S hift-click on the layer mask thumbnail in the Layers
Add a Curves adjustment layer (Layer>New Adjustment
panel to hide the effect of the mask; Shift-click again
Layer>Curves), click on the top-right corner of the curve in
to show the effect of the mask.
the Properties panel, and drag straight down: this will darken
T o switch the brush to the Overlay blend mode using the entire photo. Then on the mask of the Curves adjust-
only the keyboard, press Shift-Option-O (PC: Shift- ment layer, use the Rectangular Marquee tool (M) to select
Alt-O). To set the brush back to Normal blend mode, the middle area, leaving a border. Press X until the Fore-
press Shift-Option-N (PC: Shift-Alt-N). ground color is black, and then press Option-Delete (PC:
Alt-Backspace) to fill the selection with black, hiding the
Curves adjustment layer in that area. Finally, in the Prop-
erties panel, click on the Masks icon (circle in a square) at
12 CREATE LUTS the top, and use the
Dave Cross
Heres a method to make an adjustment layer thats like Feather slider to soften
a preset that you make from a combination of adjustment the edges. Now you can
layers, blend modes, etc. First, add a series of adjustment adjust the Curve, the
layers and experiment with blend modes and Opacity until size of the mask, and
youve created a look that you like. Then, from the File menu, the Feather amount
choose Export>Color Lookup Tables. and you can copy the
Enter a Description (if you want) and choose a format: adjustment layer onto
3DL works well with RGB files, or you could use ICC Profile to another document.
create a LUT thats not dependent on a particular color space.
After clicking OK, youll be asked to name the LUTthis
is the name youll look for when you load the LUT.
Then, in any file, click on the Create New Adjustment
Layer icon (half-black, half-white circle) at the bottom of the 16 MAKE A MOVABLE LENS FLARE
Layers panel, and select Color Lookup. In the Properties panel,
You can apply the Lens Flare filter in a much more editable
click on the drop-down menu next to 3DLUT File, select Load
manner using this method. Add a layer above your photo,
3D LUT, and choose the LUT that you exported.
press D to set your Foreground color to black, and then press
Option-Delete (PC: Alt-Backspace) to fill the layer with black.
Using the Elliptical Marquee tool (nested under the Rectan-

gular Marquee tool [M] in the Toolbar) set to a high Feather
13 BYPASSING CAMERA RAW
amount in the Options Bar, draw a large oval selection in
If youve already applied settings in Adobe Camera Raw (ACR) the middle of the window and apply the Lens Flare filter
and want to simply open the file into Photoshopbypassing (Filter>Render>Lens Flare). After you click OK to apply the
Camera Rawdo this: In Bridge, hold down the Shift key as Lens Flare, change this layers blend mode to Screen in the
you double-click on the RAW file. It will open in Photoshop Layers panel, and press Command-D (PC: Ctrl-D) to deselect.
using the current Camera Raw settings. Note: Even if you Now you can use the Move tool (V) to reposition the Lens
have ACR set to open RAW files as smart objects, this short- Flare. The reason you want to create a feathered selection is
cut will override that option and the file will open as a regular to better blend the edges of the Lens Flare into the image.
062 layer, not a smart object. Otherwise, when you move the flare, youll see its edges.
17 MAKE AN EDGE EFFECT 18 CAMERA RAW EXPOSURE PREVIEW
Use Select and Mask (formerly Refine Edge) to create an Hold down Option (PC: Alt) while moving the Exposure
unusual edge for your photo. Start with the Rectangular slider in ACR to preview where the highlights are clipped.
Marquee tool (M) to make a selection that leaves a small (Clipping is the shifting of pixel values to either the high-
area around the border thats not selected. (This is one of the est highlight value or the lowest shadow value. Clipped
factors that you can experiment with as you try this method.) areas are either completely white or completely black and
Click the Select and Mask button in the Options Bar. In have no image detail.) Move the slider until the highlights
the Properties panel, move the Radius slider quite high, and (not specular highlights) are completely clipped, and then
experiment with turning on the Smart Radius option. Take reverse the adjustment slightly. Black indicates unclipped
advantage of the preview to see the results youll get from areas, and color indicates areas clipped in only one or
different settings. two channels.
Dave Cross
19 EDIT MULTIPLE LAYERS AT ONCE
If you select two or more layers in the Layers panel, you can
change some settings for all of the layers at once. First, hold
down the Shift key to select more than one layer, or the
Command (PC: Ctrl) key to select non-adjacent layers. Then
you can change the blend mode, Opacity, and Fill opacity of
the selected layers all at the same time. You can also click on
the Delete Layer icon (trash can) at the bottom of the Layers
panel to delete all the selected layers at once.
20 THE ONE TIME TO MERGE

You may know that I always advise against merging layers,
but heres one exception. If you create two (or more) shape
layers in order to make a resulting new shape, you can select
all the shape layers in the Layers panel and merge them
(Command-E [PC: Ctrl-E]). Unlike regular layers, though, the
individual shapes remain editable: Use the Path Selection tool
(A) to select and move individual shapes, and use the Direct
Selection tool (nested under the Path Selection tool in the
Toolbar) to select individual points to transform the shapes.
In the Output Settings area, change the Output To drop-

down menu to Layer Mask and click OK. (You can use the
mask in another document if you drag the layer and its mask
into another photo, and then drag the mask onto the layer
that contains the new photo.) 063
21 QUICK MASK FEATHERING 24 QUICKLY ADD COLOR EFFECTS
TO YOUR PICTURES
If you ever struggle with knowing exactly how much to feather Adding color effects to your pictures can make a huge differ-
a selection, theres a way to use Quick Mask that will help you ence, enhancing the overall mood and feel that youre after,
nail it every time. When you have an active selection and can and its amazing the effects you can create simply by experi-
see the marching ants, simply press Q to enter Quick Mask menting. For example, to add the warm tones of a sunset
mode. Then, if you go to Filter>Blur>Gaussian Blur, you can to an otherwise flat image, start by opening a sunset image,
blur the red overlay. When you press Q to exit Quick Mask, the going to Filter>Blur>Gaussian Blur, and setting the Radius
blur will have feathered your selection. (Bonus Tip: Double- to around 250 pixels. Use the Move tool (V) to drag this
click on the Quick Mask icon near the bottom of the Toolbar blurred sunset image to the flat image, and place it at the
and make sure Selected Areas is clicked on.) top of the layer stack. Change the blend mode to Overlay in
the Layers panel. Control the strength of the effect by using
the Fill slider (predominantly reduces the color but keeps
22 AMAZING EYES WITH LINEAR DODGE the effect of the blend mode).
Glyn Dewis
A great way to not only make eyes really stand out but also
change their color is with a Selective Color adjustment layer.
Start by making a selection of the eyes (excluding the pupils),
and then with the selection active, add a Selective Color
adjustment layer (Layer>New Adjustment Layer>Selective
Color). Change the blend mode from Normal to Linear Dodge
(Add) in the Layers panel. Control the intensity by using the
Opacity slider in the Layers panel. In the Properties panel,
choose Neutrals from the Colors drop-down menu, and
then you can also use the sliders to make any changes to
the overall eye color.
Glyn Dewis
23 USE DROPLETS FOR 25 CHANGE COLORS FAST

SPEEDY WORKFLOW WITH HUE/SATURATION
Speed up your workflow in Photoshop by using droplets. I use When using a Hue/Saturation adjustment layer to change the
this to perform a series of steps on images before I send them colors within a picture, you can simply choose the color that
to a lab for printing. Simply record an action of steps that you you want to affect in the Master drop-down menu in the
use on a regular basis and then go to File>Automate>Create Properties panel, and then use the Hue/Saturation/Lightness
Droplet. In the Create Droplet dialog, in the Set drop-down sliders to make changes. This may not, however, affect all the
menu, select the set where the action lives that you want colors that youre trying to change, for example, all the vari-
to use, and then select the action in the Action drop-down ous blues in a sky. To do this, choose Blues from the Master
menu. By saving the droplet on my desktop and choosing drop-down menu and then group together the Color Range
Save and Close in the Destination drop-down menu, I can Limiting Bars at the bottom of the Properties panel by drag-
simply drag a folder of images onto the droplet, the steps are ging together the outer triangles that appear between the
carried out, and the images are saved and ready for uploading two color bars. Then grab the Eyedropper tool with the
in double-quick time. + symbol, and click-and-drag all over the sky to pick up all
the blue tones.
064
26 SUN FLARE WITH HUE/SATURATION 30 DONT FORGET YOUR LIBRARY
Add a sun flare effect to your pictures by first dragging out Save your most commonly used files in your Creative Cloud
a circular selection with the Elliptical Marquee tool (nested Library for instant access anywhere and on any computer (that
under the Rectangular Marquee tool [M] in the Toolbar). With youre logged into). Rather than saving your most commonly
the selection active, click on the Create New Adjustment used files (e.g., your logo) on your computer, by saving
Layer icon (half-black, half-white circle) at the bottom of the them in your Creative Cloud Library, you can simply drag
Layers panel, and choose a Hue/Saturation adjustment layer. them into your working document. Speed up the workflow
In the Properties panel, choose a yellow/orange Hue (increase even more by creating folders within your Creative Cloud
the Saturation to clearly see the Hue youre choosing) and Library. Just click on the drop-down menu at the top of
then increase the Lightness. Click on the Masks icon at the Libraries panel (Window>Libraries) and choose Create
the top of the Properties panel and increase the Feather to New Library.
around 240 px, and reposition the flare in the image with
the Move tool (V). You can brighten the sun flare by chang-
ing the blend mode of the adjustment layer to Screen in the
Layers panel, and you can also resize it using Free Transform
(Command-T [PC: Ctrl-T]).
27 GROUP AND UNGROUP LAYERS

The more layers you add, the better it is to keep things
organized. One way to do this is by grouping layers
together. Shift-click the layers to be grouped together in
the Layers panel and press Command-G (PC: Ctrl-G). To
ungroup the layers, simply click on the group and press
Shift-Command-G (PC: Shift-Ctrl-G).
28 THE ROTATE VIEW TOOL

If you dont own something like a Wacom Cintiq that enables
you to work more freely on your pictures with the ability
to rotate the screen, the Rotate View tool is a very handy
alternative. Found in the Toolbar and grouped with the
Hand tool (H), to use the Rotate View tool, press R on the
keyboard to activate it, and then simply click-and-drag in
your image to rotate to the angle you want. To get back
to normal view, double-click the Rotate View tool icon in
the Toolbar.
29 ADD DEPTH AND DIMENSION

WITH CONTRAST
Give your portraits extra depth and dimension and the feel-
ing of coming out from the screen/page by adding varying
levels of contrast. Start by making a loose selection around
the face (use the Quick Mask tip above to feather your selec-
tion) and then go to Filter>Sharpen>Unsharp Mask. Add 10
for both the Amount and the Radius and click OK. Then, go to
Select>Transform Selection, decrease the size of the selection
by about 20%, and then apply the same amount of Unsharp
Mask. Repeat this process until you have a selection just cover-
ing the eyes. Apply the Unsharp Mask and click OK.
065
31 MEMBERSHIP HAS ITS PRIVILEGES
In each of my Photoshop World courses back in July, I asked simply by selecting a segment of their face). This magic has
for a show of hands on who had switched to an Adobe now arrived in Photoshop CCs Liquify filterdirect manipula-
Creative Cloud or Photography Plan ($9.99 for Lightroom tion has never been so fun or easy.
and Photoshop!)and I was thrilled to see almost all of
the attendees with their hands in the air, smiling. I have yet
to meet anyone who has tried a plan and regretted it. Our 34 FREE, EASY-TO-BUILD WEBSITES
promise is to continue innovating, constantly, and weve done
If youre a member of the Creative Cloud or Creative Cloud
that with Photoshop features and improvementslarge and
Photography Plan, you now have Adobe Portfolio. Portfolio
small. Weve also added new services such as Adobe Stock
will push Behance galleries to a website in minutes, but fear
and Portfolio, and weve delivered a whole portfolio of
not if you arent using Behance; it only takes a few minutes
connected iOS and Android apps that all play together. Our
longer. The results have a unique URL, free hosting, and the
applications are no longer islands.
designs are both adaptive and highly customizable. Heres
mine: https://bhughes.myportfolio.com.
32 BETTER SELECTIONS AND MASKS

Change is uncomfortable and Ill admit that I loved Refine 35 A SMARTER CROP THAT JUST WORKS
Edge, but give the new Select and Mask workspace (available
with a live selection or from the Select menu) a few minutes In a recent update to Photoshop CC, users found that crop
and youll understand why this is the most powerful place to can now take away and addlet me explain. Have you ever
make difficult selections. rotated a crop to straighten or adjust a composition, only
to lop off valuable content in the corners and edges?
Savvy users preserve those blank pieces on a larger canvas
and then methodically fill the gaps with Content-Aware
33 FACE-SEGMENTATION IN LIQUIFY
Fill. Well, you dont have to do that anymore, Content-
Photoshop Fix, the mobile app that brings powerful Photo- Aware crop does it for you, and more often than not, it
shop retouching tools to the iPhone and iPad, introduced just worksmagically. Just turn it on in the Options Bar
Face-Aware Liquify (the ability to change a persons expression when you have the Crop tool (C) active.
Bryan ONeil Hughes

066
Bryan ONeil Hughes
36 OPEN AND EDIT RAW FILES
ON AN iPAD
Really. Using the latest version of Lightroom Mobile and the (You can find it in the Effects panel.) My only gripe was that
Camera Connection Kit (or USB adapter to the card reader of it also darkened the image (like a polarizer), but fear not, in
your choice) you can import RAW files to Apple Photos and either Lightroom or Adobe Camera Raw, you can use it as a
then into Lightroom Mobile. Once there, you can edit using Graduated Filter (G). If by some chance youre on an older
around 85% of the functionality you love in Adobe Camera version of Lightroom, or you want to enjoy the power on your
Raweven local adjustments! phone, try it free in Lightroom Mobile!
37 SHARP WHERE YOU WANT IT 39 ADOBE CAMERA RAW FOR VIDEO

This is an oldie, but if you arent using it, you should. When Video is great, but editing it can be a hassle. Wouldnt it be
sharpening in the Detail panel of Adobe Camera Raw great if you had Lightroom for video? Well, heres the next best
(ACR) or Lightroom (which is a great spot for some sharp- thing: open a video in Photoshop (did you know you could?),
ening, but not too muchsave that for Smart Sharpen turn that into a smart object (Layer>Smart Objects>Convert
in Photoshop), hold down the Option (PC: Alt) key while to Smart Object), and go to Filter>Camera Raw Filter
dragging the Masking sliderwhats white is sharp, what it all works on the whole clip. When youre finished, go to
isnt, isnt! File>Export>Render Videodone!
TURN AN iPAD INTO AN

38 DIGITAL POLARIZER 40 INTERACTIVE SECOND SCREEN

Watching Photoshop engineers deliver magic, I always wished Astropad is an amazing app that has deep built-in support for
for the ability to apply a polarizing filter (removing non-metal- Photoshop and Lightroom. Connect via Wi-Fi or USB (which
lic reflection and atmospheric haze) in postprocessing. Like a I prefer for speed and stability) and see your Photoshop screen,
lot of wishes, that seemed far-fetched, and then Lightroom completely drivable, on your iPad. If youre using an iPad Pro,
and Adobe Camera Raw introduced the Dehaze toolwow! you get the full pressure-sensitivity of Apple Pencil. 067
41 MERGING PANOS 44 SHORTCUT TO THE BRUSH WHEN
INSIDE CAMERA RAW USING A GRADUATED OR RADIAL FILTER
This one is kinda hidden because you wouldnt see it unless You probably already know that Adobe added the ability to
you opened multiple photos in Camera Raw, so do that first brush away (or mask) areas of your image that you dont
(open the frames that make up a pano). Select all the images want affected by the Graduated Filter (G) or Radial Filter (J),
in the Filmstrip along the left side of the window, and press and since you already know that, youre going to want to
Command-M (PC: Ctrl-M), or go up to the upper-right corner know this keyboard shortcut that toggles between the tool
of the Filmstrip where youll see a little icon for a pop-out and the brush. Its simply Shift-K. Each time you press that
menu. Click on that and choose Merge to Panorama (as shortcut, it toggles back and forth between the filter and
shown here). This brings up the Panorama Merge Preview the brush.
window where you can apply the awesome Boundary Warp
feature to fill in the gaps (make sure Auto Crop is turned off),
and then click the Merge button. It will ask you to save the GETTING BETTER RESULTS FROM
45 THE ADJUSTMENT BRUSH
resulting file (which will be a DNG file if you started with RAW
images), and then it will add this merged pano to the bottom If youre painting with the Adjustment Brush (K) over some-
of your Filmstrip, ready for you to start editing. thing like the sky or the foreground, and your brush is either
really lagging, or worse yet, leaving little gaps as it paints,
Scott Kelby
heres the culpritthe Auto Mask feature. While youre paint-
ing with the brush, its doing all sorts of crazy math to try
and determine where the edges of things are so it doesnt
accidentally paint outside the lines (so to speak). Well,
when youre painting over large areas such as the sky or a
foreground (lets say youre darkening the Exposure amount
on one or the other), having Auto Mask on (1) slows down
the brush performance, and (2) if you move quickly, it will
leave little gaps where it thought an edge was. Whats the
way around this? Turn off Auto Mask anytime youre painting
over large areas (press the letter M to toggle Auto Mask on
and off), and then when you get to an area where youre near
an edge that you dont want to paint over, toggle it back on.
This will give you much faster and more reliable results from
the brush.
42 THE AWESOMENESS OF
SCRUBBY ZOOM
If you Right-click anywhere within your image in Camera DEHAZE IS FOR MORE THAN
Raw, a pop-up menu will appear, and at the bottom of the 46 JUST REMOVING HAZE
menu is Scrubby Zoom. If you choose to turn this feature on, Think of Dehaze as just another form of contrast. Some-
when you switch to the Zoom tool (the magnifying glass), you times its most effective when you apply it to just part of
can now click-and-drag the tool to the right or left to quickly your image using the Adjustment Brush (K), as shown here
zoom in and out, respectively. Try it onceits fairly awesome where I brushed with Dehaze over just the reflection part of
(and of course, if its not for you, just choose Scrubby Zoom the image.
again from that same menu to turn it off).
Scott Kelby
43 THE HIDDEN AUTO

STRAIGHTEN BUTTON
To quickly have Camera Raw automatically straighten your
image, just double-click directly on the Straighten tool (A) up
in the toolbar, and a crop boundary will appear to show you
the angle it will rotate the image and the parts that will be
cropped (this gives you the opportunity to see if you agree
with the auto straighten before you commit to it). All you
have to do is press the Return (PC: Enter) key to lock in the
068 straightening and crop the image.
47 AUTO-SETTING YOUR WHITE 49 INTERACTIVELY EDIT
AND BLACK POINTS USING THE HISTOGRAM
To have Camera Raw expand your images tonal range by If youre a Histogram freak (you
automatically setting the white point and black point for you, know who you are), youre so
do this: Hold the Shift key and double-click directly on the going to love this. First, start
slider nub for both the Whites slider and the Blacks slider, by taking your cursor and just
and they will expand (or contract) to set the white and black moving it over the Histogram. As
points for you. you hover over the Histogram,
youll notice that areas behind the cursor highlight, and right
below the graph it shows exactly which sliders in Camera Raw
COMPARING BEFORE AND AFTER control the section thats currently highlighted (oh, but theres
48 BLACK-AND-WHITE CONVERSIONS more!). If you click-and-drag left or right within the Histogram
After you convert to black-and-white in Camera Raw and itself, it will actually move the corresponding sliders for you,
then tweak the image (adding Contrast, Clarity, etc.), letting you edit the image solely by dragging in the Histogram.
when you want to see a before and after of the image, I told you that you were so going to love this!
generally you want to compare the original black-and-
white conversion against the edits you made, but Camera
Raw uses the original color image for the before image. SEEING MORE INFO ON
50 CLIPPED HIGHLIGHT AREAS
Heres how to see a before that takes you back to the
original black-and-white conversion. Once you make that Heres one you might find helpful when dealing with clipping
original conversion, before you do anything else, go to the warnings. Its a shortcut that gives you more clipping info
Snapshots panel (the far right tab), click the Make New than just the triangle up in the right corner of the Histogram
Snapshot icon at the bottom of the panel, and click OK. because it shows you whats clipping in a particular channel.
This makes a capture of the image when its first converted Simply Option-drag (PC: Alt-drag) the Whites slider, and the
to black-and-white. Now, you can edit the black-and- screen will turn black. Any areas that are clipping in the high-
white as youd like, and any time you want to compare the lights will show up in the color thats clipping (as shown below
two, go back to this Snapshots panel, click on Untitled-1 where the reds are clipping). Youll notice that in the Histo-
to switch to the original black-and-white conversion, then gram, it shows a solid white triangle, which is very misleading
press Command-Z (PC: Ctrl-Z) to toggle between the origin this case where the subject is shot on a white background,
inal black-and-white conversion and your current image and thats just one case where this Option-drag (PC: Alt-drag)
with all the edits. trick is more valuable.
Scott Kelby
069
51 SLICE 3D OBJECTS 54 TURN LAYERS INTO DOCUMENTS
Photoshops 3D modeling tools are comparatively limited, There may be times when you want to create a new docu-
which means that sometimes you need to be creative with the ment with the same dimensions as your current document
tools the program does have to accomplish what you want. and copy a single layer from your current document to the
Any 3D object can be sliced along any axis by using the Cross new document. The conventional method is to create a
Section render option in the Scene properties (select Scene new document first and then drag the layer onto it. A much
in the 3D panel and youll see the Cross Section option in faster process is to use the Duplicate Layer command. Its
the Properties panel). This feature is intended to allow easy found in the Layer menu or by Right-clicking on the layer
rendering of cross-section diagrams. Click the Apply button in the Layers panel. In the Duplicate Layer dialog, set the
next to the Cross Section option and the cross section is Destination Document to New and click OK. Photoshop
applied to the object mesh. This means you can actually carve will create the fresh document and copy the layer into it all
objects to create mesh shapes that arent possible with the in one single step!
other modeling tools in the program.
Archive3D.net/Howlsofhatred
55 CREATE ARTBOARDS FROM LAYERS
Artboards are a relatively new feature to Adobe Photoshop.
They can be extremely helpful for designing content for
a variety of sizes or layouts. But if you didnt start out
your design by using artboards, does that mean you
have to start over to add them? Not at all! Select one
or more layers in the Layers panel, Right-click on one of
the selected layers, and choose Artboard from Layers
from the contextual menu. This changes the conventional
document to an artboard document. The same technique
can be used to turn each layer or group of layers into a
different artboard.
52 REVERSE LAYER ORDER

56 SEAMLESS CLOUDS
There are a handful of automated processes in Photoshop
for creating several layers in a single document. Whether its The Filter>Render>Clouds filter is arguably the closest thing
using layer stacks, Photomerge, or creating layers from video Photoshop has to creating fractal patterns. Other than hold-
frames, theres a good chance that the resulting layers are in ing down the Option (PC: Alt) key to add more contrast, there
the exact opposite order of what you expected. Thats just the arent a lot of options with this filter. But due to the algorithm
way life works sometimes. Instead of having to reorder each used to produce the pattern, the clouds will render out as a
layer manually, select all the layers in the Layers panel that you seamlessly repeating tile on any canvas with dimensions that
want to reverse and use Layer>Arrange>Reverse. Photoshop are a power of two. So that means the pixel measurements
will do that work for you! must be 2, 4, 8, 16, 64, 128, 256, 1024, 2048, 4096, etc.
The canvas doesnt even need to be square, although that is
preferred, but both width and height measurements must be
53 ONE DOCUMENT, TWO WINDOWS a power of two. Becausemath!
Working on a large design document with lots of detail can

make even the largest monitor feel small. How many times do
you find yourself constantly zooming in for tight detail work
just to zoom back out and realize the latest edit doesnt work
in the context of the wider view? One great solution to this is
to create a duplicate window for your document. Do this with
Window>Arrange>New Window for [name of document].
This will create a second window for your document that will
update with each operation. Keep one window at the wider
view, and the other zoomed in tight. This is particularly helpful
070 when using a two-monitor setup.
57 RENDER A LENS BLUR DEPTH MAP 59 MOVE THE ORIGIN
The Lens Blur filter (Filter>Blur>Lens Blur) is an excellent tool By default, the origin, or zero point for the document rulers
for approximating a depth-of-field focal blur. To get the best is the top left of the document. But it doesnt have to be.
results from this filter, use a Depth Map of your scene. But Sometimes you might prefer to have the origin at a differ-
what if you dont have one? Traditionally, this means ent location, like inside the document bleed, or perhaps
you would need to craft one yourself through a series of at the center of the document to make mathematical trans-
selections and gradients. But you can get a much more formations easier. This is easy enough to accomplish by first
accurate result by building a 3D scene with simple stand- making the rulers visible with Command-R (PC: Ctrl-R) or with
in objects and rendering out a Depth Map by using the View>Rulers. Then, click-and-drag the origin point out from
Depth Map option in the Presets drop-down menu in the the top-left gray square that sits at the corner of the horizon-
Scene properties. tal and vertical rulers.
Adobe Stock/tonito84
60 SMART FILTER BLENDING OPTIONS
Smart filters are certainly smarter than using filters in a
destructive, traditional way. The primary benefit is that the
filter settings are still live so the filter can be readjusted even
after application. But theres more to using smart filters than
that. In the Layers panel, to the far right of each Smart Filter
line is a small icon that looks like two slider controls. Double-
click this icon to open the smart filter Blending Options.
These options allow you to set the blend Mode and Opacity
for the filter. This alone can open up new creative applica-
tions for using the same tired old filters.
58 FREE UP MEMORY WITH PURGE

Adobe Stock/ZoomTeam
If you ever find that Photoshop starts lagging or complain-

ing about scratch disks, it usually means that the program
is hungry for more memory. Before you start trying to
reassign free memory space in your preferences, try this
first: go to Edit>Purge. There are a handful of options but
the All option is the most effective. This makes Photo-

shop release any memory it was holding onto that youre
not currently using. In turn, this frees up that memory
for your active processing. This should always be your
first step when trying to resolve memory issues with
the program. 071
61 USE GROUP BLEND MODES 64 PROTECT TONAL VALUES
TO HELP YOU COMPOSITE WHILE COLOR CORRECTING
The default blend mode for layer groups is called Pass When working with a
Through. If you change the groups blend mode to Normal Curves adjustment layer
in the Layers panel, any adjustment layers that live inside (Layer>New Adjustment
that group will no longer affect layers outside the group. Layer>Curves) to color
This technique gives you more flexibility because you correct an image, you
dont have to re-create layer masks on multiple adjust- may sometimes inadver-
ment layers since you have the ability to move layers tently make the image
around your composite, as long as those layers are inside darker or lighter. To
the group. apply your color correc-
tion without affecting
the tonal values of the image, set the Curves adjustment
layers blend mode to Color in the Layers panel. This will allow
you to change colors only, without changing the lightness
or darkness of the image.
65 VIEW AND PRINT ALL PHOTOSHOPS

KEYBOARD SHORTCUTS
Photoshop allows you to save an HTML file that contains a
list of all keyboard shortcuts, even the custom shortcuts that
youve created. You can view that HTML file in your browser
or you can print it. To save this HTML file, open the Keyboard
Shortcuts and Menus dialog by pressing Shift-Option-
62 NONDESTRUCTIVE BLUR, SHARPEN, Command-K (PC: Shift-Alt-Ctrl-K). Then, under the Keyboard
AND SMUDGE TOOLS Shortcuts tab, click the Summarize button, select a location
To work nondestructively when working with the Blur, and name for your file, and click Save.
Sharpen, or Smudge tools, create a new blank layer and
click on Sample All Layers in the Options Bar. Then, make
your adjustments in the blank layer. This will generate the
new edited pixels in the blank layer, without editing the
pixels in the original layer.
63 DONT FORGET ABOUT THE

CLONE SOURCE PANEL
When using the Clone Stamp tool (S), go into the Window
menu and choose Clone Source. This will open the Clone
Source panel, which will give you extra options and tools
for the Clone Stamp.
With the Clone Source
panel, youll be able
to adjust the width,

height, and rotation
66 MATCH DOC SIZE
of the source point.
You can also save up To make a document the same size as another open docu-
to five sample points ment, start by opening either the Image Size or Canvas Size
from the same or dialog (Image>Image Size or Image>Canvas Size). Then, while
different images, with the dialog is open, go to the Window menu at the top of the
no need to resam- screen and select any open document, which will be displayed
ple when switching at the bottom of the Window menu. Photoshop will auto-
between them! matically fill in the values for that image. Click OK and the
image will resize.
072
67 OPEN A FLATTENED VERSION 69 TEXT LARGER THAN 1296 POINTS
OF A LAYERED PSD
To open a flattened version of a layered PSD file, go to When youre using the Type tool (T), Photoshop will only
File>Open, navigate to the PSD file that you want to open, let you enter up to 1296 points into the Font size field on
click on it once so that its selected, hold down Shift- the Options Bar. If you try to go higher, a pop-up tells you
Option (PC: Shift-Alt), and click Open. Photoshop will then a value between 0.01 and 1296.00 points is required.
ask, Read the composite data instead? Click OK, and If, however, you ever need your text to be larger, you
a flattened version of that file will open. This is a great can scale it up using the Free Transform command. Press
way to open a large file that usually takes a long time to Command-T (PC: Ctrl-T), hold the Shift key, then click-
open when you simply want to show it to someone or and-drag the transformation handles outward to enlarge
save it as a JPEG to share it online. Note: If you make any the text further.
adjustments and save the file, youll override and lose the
layered version. Make sure that you only do a File>Save As
or a File>Export>Save for Web.
70 COLOR SWATCHES FROM

CSS OR HTML FILES
Photoshop can detect colors found in HTML, CSS, or SVG
EASILY MATCH ANOTHER IMAGES files and load them as color swatches. To do so, open the
68 DIMENSIONS WITH THE CROP TOOL Swatches panel (Window>Swatches), and from the flyout
You can crop an image using another images dimensions menu at the top right, choose Load Swatches or Replace
as the measurements for the crop by using the Front Image Swatches. You can then select an HTML, CSS, or SVG file
feature in the Crop tool. To do so, open both images, go from your computer.
to the image whose dimensions you want to copy, select
the Crop tool (C), click on the Crop Size drop-down menu
near the left side of the Options Bar, and choose Front
Image. Then, go to the second document, and youll see
the Crop tool active with the dimensions of the first image
applied to the width and height input boxes. You can then
press Enter to apply the crop.
073
71 MULTIPLE BLEMISH REMOVAL 74 CREATING A BLACK MASK ON
WITH THE PATCH TOOL A LAYER IN ONE EASY STEP
While using the Patch tool (nested under the Spot Healing Hold down the Option (PC: Alt) key as you click the Add
Brush tool [J] in the Toolbar) to fix blemishes, remember to Layer Mask icon (circle in a square) at the bottom of your
hold down the Shift key so you can draw a selection around Layers panel to immediately add a black-filled mask to
more than one blemish at a time. That way, you can fix all of a layer. A black mask will hide everything on that layer.
the spots in one move (just click-and-drag one of the selected
areas to an area you want to use for the patch).
75 CREATE INCREDIBLY DETAILED

MASKS IN LESS THAN FIVE SECONDS
72 NEW PHOTOSHOP WORKSPACES You can use Select>Color Range to create extremely intricate
ARE SMARTER THAN BEFORE
masks that isolate specific tones in your image in less than
five seconds. Once in the Color Range dialog, choose
Midtones from the Select drop-down menu, and then use
the Fuzziness and Range sliders to refine your selection
(make sure your Selection Preview drop-down menu at the
Choose the workspace thats right for the work that bottom is set to something besides None). When you click
youre doing! For example, in the Photography work- OK, youll have a selection. Click the Add Layer Mask icon
space, Adobe has expanded the Toolbar with some (circle in a square) at the bottom of the Layers panel to
of the most valuable tools for photographers. The convert the selection into a mask.
Spot Healing Brush tool, the Healing Brush tool, the
Kristina Sherk
Patch tool, and the Content-Aware Move tool, which

all used to be grouped together in one flyout menu,
now each have their own space on the Toolbar. To
access the different workspaces, click on the drop-
down menu at the far right of the Options Bar, or
go to Window>Workspace.
73 INTEGRATING USER INPUT

INTO YOUR ACTIONS
Creating an action that needs input from the user? No
problem! While recording an action, use the Insert Stop or
Insert Menu Item command located in the Action panels
flyout menu to add a note in the middle of your action as it
plays. [For more on creating actions, see Photoshop User,
July/August 2016, page 45.Ed]
76 AN ALTERNATIVE METHOD TO LIQUIFY

FOR CHANGING SOMETHINGS SHAPE
Instead of using Liquify to change somethings shape, try

using the Lasso tool (L) to select a certain area of the image,
copy (Command-C [PC: Ctrl-C]) the selected area, and
paste it into place (Shift-Command-V [Shift-Ctrl-V]) on its
own layer. Then, press Command-T (PC: Ctrl-T) to enter
Free Transform, and click the Warp icon (curved grid
above a curved, double-headed arrow) in the Options
Bar to change the shape of the item. Just click-and-
drag inside different areas of the grid and on the various
control points to warp the shape. Click Enter to commit
074 the transformation.
77 SAVING YOUR DODGE AND BURN 79 USING SHAKE REDUCTION FOR
SWATCH COLORS FOR FUTURE USE IMAGES WITH MOTION BLUR
When dodging and burning skin, select dodge and burn Got an image with a slight motion blur? Not a problem
colors that are custom to the skin color youre working on, anymore thanks to Filter>Sharpen>Shake Reduction! This
but then save those two colors in your Swatches panel so tool can quickly take a reading of your image and guess which
that you can always return to them whenever you need to way the camera was shaking, and then apply an algorithm to
re-visit your dodge and burn layer! To select your colors, try and reduce the motion blur or shake. If the default settings
click the Foreground color swatch in the Toolbar to open arent perfect, expand the Advanced section to reveal the blur
the Color Picker. Once you select your color, click the Add estimation region (the marquee-looking box with the circle in
to Swatches button in the Color Picker to save that color in the middle). Just reposition this region to a different place in
the Swatches panel. the image and see if that works better. Tip: Use areas of the
image that are in focus and are very detailed.
Kristina Sherk
78 A BETTER WAY TO REMOVE

FLYAWAY HAIRS
When removing flyaway hairs, use the Spot Healing Brush
tool (J) with these settings in the Options Bar: set Mode
to Replace, Type to Content-Aware, and make sure Sample
All Layers is checked on. When using this tool to remove
flyaway hairs, your brush size should only be slightly bigger
than the hair youre trying to get rid of (use the Bracket keys EASY KEYBOARD SHORTCUT FOR
80 CHANGING BRUSH BLEND MODE
on your keyboard to quickly resize your brush). The last,
and most important tip, is to extend the end of the area If you have any of the painting tools selected (such as the
youre trying to heal past the hairline by 1/4" to give the Brush tool) and you want to quickly change the brushs blend
tool the information it needs to correctly erase the hair from mode in the Options Bar, simply press Shift-+ (Plus key) or
the hairline and not bleed/blend together the two different Shift- (Minus key) repeatedly to cycle through the active
colors (background color and hair color). brushs blend modes.
Kristina Sherk
075
81 MANUALLY DRAG A DROP SHADOW 83 SCRUBBY SLIDERSFAST AND SLOW
When youre inside the Layer Style dialog creating a Drop Whenever you see a number field in a dialog, panel, or drop-
Shadow (Layer>Layer Style>Drop Shadow), you can push down menu, you can type in your desired settings. A faster
the sliders to set the Distance and Angle of a drop shadow, way is to hover over the name of the field, such as Opacity,
or you can simply click-and-drag right on the canvas to set and then click-and-drag left or right to change the values. The
its placement. values can change pretty quickly, so maybe you want to slow
it down a little to get a precise setting. Hold down the Option
(PC: Alt) key and it will now change at 1/10th the speed. If you
want to speed things up where there are large values, hold
down the Shift key as you drag, and the speed with now be
10x faster than normal.
84 CENTER SOMETHING ON THE PAGE

Have you ever wanted to place something in the center of the
page? Im sure it happens all the time. Maybe you measure
or use guides? Heres the fastest way in the world. With your
objects layer active in the Layers panel, press Command-A
(PC: Ctrl-A) to select all. Choose the Move tool (V). In the
Options Bar at the top, youll see the align and distribute
icons. Click the Align Vertical Centers icon followed by the
Align Horizontal Centers icon, and bingo, instantly centered.
This also works on a selection, where you can align to the
selected area if you prefer.
85 SCALING LAYER STYLES

When you make a layer style, all
its settings are fine-tuned for the
82 RESET PREFERENCES ON STARTUP
graphic for which you originally
Sometimes when things get weird in Photoshop, you might created it. Maybe it was a thin line,
be tempted to do a complete re-install. Stop! Try this first to or it could have been a thick one.
fix many Photoshop issues. When you launch Photoshop, Perhaps it was a really small graphic, or an extra large one.
hold down Shift-Option-Command (PC: Shift-Alt-Ctrl). You A layer style thats created for a large graphic always looks a
should see a pop-up that asks if you want to Delete the little weird when its applied to a smaller graphic. Often, the
Adobe Photoshop Settings File. Click Yes, and Photoshop bevel is so large it just looks like gum on the smaller graphic.
will launch with a fresh set of preferences. This overrides The lesson here is that one size doesnt fit all. Its really easy
everything back to the factory settings and fixes issues that to fix though: Right-click on the word Effects in the Layers
can be caused by a corrupt preset or some setting you acci- panel and choose Scale Effects. Youll now see a slider that
dently changed. Make sure you back up all your custom enables you to make the layer style a perfect fit.
presets first.
86 MAKING COLORS MATCH OUTPUT

(ASSIGN COLOR PROFILE)
Oftentimes, when youre working on an image and you
output it to Save for Web, the colors look completely different
than they did on the original image. Its because of the color
profile. If this happens to you, go back to your original image
and choose Edit>Convert to Profile. Under the Profile drop-
down menu, change the setting to sRGB and click OK. Now
when you use Save for Web, the colors wont shift anymore.
076
87 COPY A LAYER MASK TO 90 SET ENDLESS LOOPING
A DIFFERENT LAYER FOR ANIMATED GIF
Sometimes you can invest a lot of time carefully painting a After youve created an animated GIF, by default it will stop
layer mask to get it just perfect, and there are times when after its finished playing. You can set it to play a set number
you may want to use that same layer mask on another layer; of times or loop forever by choosing this option when youre
perhaps youre using an adjustment layer with a masked exporting from Save for Web (File>Export>Save For Web).
layer. You could make a selection, copy the contents, and In the Animation section (near the bottom of the settings
paste it into another mask, but heres a faster way: Hold on the right side of the Save for Web dialog), just click on
down the Option (PC: Alt) key and click-and-drag the mask the Looping Options drop-down menu and choose your
you want to copy onto the layer to which you want to copy desired setting.
it. If theres a mask already present, such as an adjustment
layer, it will offer the option to replace the mask; otherwise,
it will drop a copy of the mask onto the layer.
88 CYCLING THROUGH VIEW MODES

When you want to preview your work, press the F key to go
into Full Screen Mode with Menu Bar, and then press F again
to go into Full Screen Mode without menus (presentation
mode). To return to normal (Standard Screen Mode), tap the F
key one more time. Play a game and see how many times you
can do it in a minute (dont do that last oneI was kidding!).
89 CONVERT VIDEO TO
BLACK AND WHITE
This one is actually a trick; you cant actually convert your video
to black and white, but you can make it look that way. Open
your video in Photoshop (File>Open) and select the video clip.
With the video layer active in the Layers panel, apply a Black &
White adjustment layer (Layer>New Adjustment Layer>Black
& White). You can even adjust the tones on the video using
the Properties panel, just the same as you do a photograph.
077
91 BUILD GRADIENTS FOR USE 93 PHOTOSHOP FIX BRUSH SIZE IS
IN PHOTOSHOP MIX LOCKED TO THE SCREEN
Sometimes I want a neutral density gradient in Photoshop Mix not the image/canvas. One of the more useful differ-
on my iPad Pro, but there isnt a direct way to get this effect. ences between desktop and mobile versions of Adobe
My cheat is to build some black-to-white gradients as square creative imaging apps is how brush size works. On your
documents in Photoshop on my desktop, then sync them to desktop, the brush size is relative to the canvas or docu-
my Creative Cloud Libraries. Then, I just add one to a layer ment size; in mobile apps, its relative to your screen.
in Photoshop Mix and change the blend mode to Multiply That means on mobile you can zoom into your image for
or Screen. more or less coverage without having to constantly change
brush sizes. Using pinch gestures on iOS makes this incred-
Scott Valentine
ibly fast!
94 SEND LAYERED PSDs TO DESKTOP

FROM PHOTOSHOP MIX OR SKETCH
Most of Adobes mobile apps allow you to send files to your
desktop versions directly. In Photoshop Mix, Fix, or Sketch,
click the Share icon in the upper right, and choose the appli-
cation that will get your image. If your desktop machine
is running Creative Cloud, that application will open and
be ready for you.
92 USE CAPTURE TO CREATE VECTOR

SHAPES FOR PHOTOSHOP (OR SKETCHES)
Adobe Capture CC is a great way to import your doodles and
paper sketches directly into Photoshop as cleaned-up line art.
Grab your phone and snap a shot of your drawing, then clean
it up a little on your mobile device, and sync it to a library
in your Creative Cloud account. Back in Photoshop, you can
place the image as an EPS file and refine from there.
95 CREATE BRUSHES FOR PHOTOSHOP

IN ADOBE CAPTURE CC
For those of you who love to build brush libraries like I do,
Adobe Capture CC offers an amazingly simple way to use
your mobile device. Launch the app, find the Brushes option,
and either snap a picture of whatever is around you, or
load one from your cameras gallery. You can even load
up images from Adobe Stock, which is fantastic for using
078 illustrated shapes!
96 MATCH FONT 98 FILTER FONTS BY CLASS
So your design client wants something kind of like that font I think Id like to see how scripted fonts look, muses your
over there, as she points to a sign across the street. Naturally, client. Still in the Typeface drop-down, you select the Filter
you snap a picture with your phone and import the image into drop-down and choose Script. Your client now thinks you
Photoshop. After you drag a selection around the type with have some kind of type super power, with a cape and
the Rectangular Marquee tool (M), you go to Type>Match X-ray kerning vision.
Font. Youre presented with a list of similar fonts that you have
installed, as well as some available immediately on Typekit.
You appear wise and insightful! 99 BROWSE SIMILAR FONTS
That font is very close, but not quite right. What else
Alexandra
do you have thats similar? asks your client. You open
the Typeface drop-down again and click the Show Similar
Fonts icon (it looks like a wavy equals sign). Boom! Youre
presented with a selection of variations installed on your
computer and available on Typekit. And now you look like
a super genius!
100 GLYPHS ON CANVAS

Wow! Thats the perfect typeface, but if only there were
a way to spice up that g in the middle. With the Type
tool active, click-and-drag over a letter to select it. If there
are any alternative glyphs available for that letter, you see
a little shaded block at the bottom of the highlighting
surrounding the letter. When you hover your cursor over
the highlighted letter, Photoshop presents you with alter-
nate glyphs in a pop-up contextual menu right onscreen.
You select one of the glyphs, and you have now become
a Design Deity. Your client passes out from the magnitude
PREVIEW FONTS AND TYPEFACES of your magnificence. Or she may just be impressed that
97 DIRECTLY ON CANVAS you were able to work with her so quickly and easily. Either
But now your client wants to see a few different fonts in her way, its a win!
design, and shes standing over your shoulder. Choose the
Type tool (T) and select the type layer in the Layers panel,
then open the Typeface drop-down in the Options Bar. As you
hover your cursor over the various fonts in the list, the text on
that layer automatically shows a preview of the font in the
menu. Now you look efficient, fast, and flexible.
CLICK TO RATE 079

Knowing the moment when the ambient light balanced
with the citys artificial lights was key to creating this
cityscape of the Golden Gate Bridge at dusk.
the commercial way

By Sean Arbabi
Making the jump from amateur to pro photographer can be a big leap.
Numerous steps in the process toward being a successful pro become vital, and
one rung in the ladder is learning how to light your subjects. Although camera companies
wax rhapsodic on how easy it is to capture a stunning image, pros know the difficulties
of the job and how each shoot is a multi-layered puzzle assembled piece by piece.
PHOTOGRAPHY SECRETS
This months Photography Secrets illuminates the world phos (light) and graphis (stylus or paintbrush), also
of lighting in commercial photography, taking some of the defined as drawing with light. As a critical component of
mystery out of a technical and creative subject. Light adds a our two-dimensional medium, light adds shape, form, color,
variety of information and content to your scenes. Expanding contrast, depth, direction, and detail to your images. How
your comprehension of light and use of additional lighting lets you use light can result in a mundane or a dynamic scene,
you expand your exposure capabilities and crest that creative or somewhere in between. Controlling the light through
plateau youve been struggling to rise above. This is when time of day, direction, subject matter, and angles can help
you begin to create instead of make images. Understanding you transform an ordinary scene into an extraordinary one.
a realistic approach, as well as some technical aspects, can Mastering how you light your scenes not only brings more
save you hundreds of hours processing your RAW files while command over your image-making and a professional look
giving your images a high-quality professional look; one that to your scenes, it also allows less fixing in postproduction,
may bring more jobs and assignments your way. thus avoiding that over-processed, unrealistic look caused
by attempting to expand the dynamic range or adding
WHAT LIGHT DOES FOR YOUR SUBJECTS light where there was none. Your workflow becomes more
The original definition of photography comes from the about fine-tuning and stretching your RAW files in a subtle,
French photographie, which combines the Greek words natural way instead of drastically repairing them.
The steep trail to Upper Yosemite Falls delivered stunning views; and this
angle, when combined with the moment the light left the pines in shadow, 083
helped create the depth and layers to make this successful landscape image.
PHOTOGRAPHY SECRETS
Backlighting a Southern California scene Snow mounds in Yosemite Valley

at sunset emphasizes shape and form
while adding a pleasing intensity of color.
LIGHTING THE NATURAL WAY

Shape and form come from the direction of light creat-
ing highlights and shadows, one major way to re-create
a three-dimensional feeling in a two-dimensional medium.
Side light a subject, such as a face, and you begin to feel
the round or oval shape of it, with the subtleties of a pro-
truding nose and inset eyes. In the example at the top right,
the angle of the low morning sun on snow mounds helps
to illustrate their shape.
Form happens mostly from backlightingwhen the
light is behind your main subject. This produces the out-
line shape of your subject, such as when you photograph
a silhouetted person, tree, bicycle, etc. The sun, our one
source of natural light, can be enough to create powerful

moments when you know how to utilize it.
Color is determined by the angle and intensity of light,
as well as your exposure: The more you underexpose, the
deeper the tone becomes; and the more you overexpose,
the lighter the tone. When capturing larger scenes, such
as cities and landscapes, finding ways to force the light to
work for you is critical for your endgame. Weather con-
ditions, location, and the time of day also determine the
direction, quality, and color of the light. One favorite rule San Franciscos famous painted ladies and skyline
084 that professional photographers use is to shoot 30 minutes balanced nicely once the pink and purple glow of dusk
was within the proper exposure of the artificial city lights.
PHOTOGRAPHY SECRETS
after sunset during the 510 minute window when the shadow, known as the ratio of light, which is often mea-
surrounding low ambient glow of dusk matches in expo- sured in stops. You can cut down the contrast by soften-
sure with the radiating city lights. This combination during ing the main source of light (i.e., an overcast sky or large
whats known as the magic hour (when its almost too softbox) or adding an additional light to fill or illuminate
dark for the eye to see) provides a wonderful balance of the shadow areas. Detail, and subsequently color, is often
color and light that no other time of day could deliver. obtained through more light, whether added or naturally
created, so when you fill in the shadows, you provide more
ADDING ADDITIONAL LIGHT information for the viewer. Simply adding fill flash can
As wonderful as ambient light can be from our sun (the assist in controlling natural or artificially created contrast,
specular source of illumination on this planet), its still only adding color while lessening contrast in the dynamic range
one light. Whether raw on a clear day, diffused by clouds, our image sensors can cover.
or tinted by atmospheric conditions, it changes often and
can be difficult to control, depending on weather/location. TAKING THE LIGHT OFF CAMERA
And this is why photographers began to adapt their shoot- Direction of light is determined by the main source or key
ing environment, controlling the light to fit the needs of light, which, depending on the placement of the source,
their commercial clients. Depending on the subject matter helps to create shape or form. Its not as difficult as it
and the clients final needs, photographers modify the light sounds; however, you do need technical knowledge of
properties, reduce the intensity, or cut the harshness of the exposure, flash power, and ratio of light. On-camera flash
light by using additional lights, fill cards, scrims, softboxes, generates flat lighting on your closest subject with a strong
and umbrellas to create the look they desire. falloff of light for subject matter further away. Placing the
Contrast is created from the difference of highlight to light off camera returns the control to the photographer to
Dark interior scenes, such as in this aquarium, are nearly impossible to

create without providing additional light from a strobe, not only to freeze 085
the moving subjects, but also to provide detail and color to the models.
bring back shape and control contrast, all while bringing a
higher quality look to your final image.
Another determination is how much equipment you
can handle, because using off-camera flash can go from
one additional small strobe and stand to a 100-lb. light-
ing case filled with strobe packs, strobe heads, umbrellas,
and multiple stands. Sometimes the budget may allow for
an assistant (or two) to bear the burden of this additional
equipment, but many times you need to carry it on your
own. You can approach each shoot two ways: Consider
renting the gear you need (the downside is not knowing
the equipment and possibly not having the ability to test
it out before shooting) or buy what you can afford with
the understanding that the more powerful the strobe the
better, but also the more expensive. Its best to determine
what you can handle in any given situation.
BALANCING AMBIENT AND FLASH

Whether indoors or out, understanding exposure is key
when balancing ambient light with artificial strobes. The
We used three off-camera strobes to light this model and
give shape to her face: A softbox (above and to the left) was more powerful the flash you can use, the more options
the key light; a raw light (to the right) highlighted her hair; you have, since aperture (f-stop) is controlled from the
and a third light evenly exposed the backdrop.
strength of your strobe or strobe pack.
When shooting indoors, the lower ambient light makes
it easier to match with a strobe. Outdoors, the brighter
light is often much stronger, and a more powerful strobe
is needed. To determine this balance, pros use an incident
meter, a handheld device measuring direct light on the
subject, as opposed to the reflective meter in your camera.
When working with on- or off-camera flash, its also
important to evenly light your subjects because the falloff
from the flash can be extremely noticeable. To address this,
pros will feather the light. The source of light, such as a
strobe, is brightest and most powerful the closer it is to
its subject. This provides two options: One is to set your
light up closer, not only to use a smaller aperture for more
depth of field, but potentially for a better balance with
the available ambient light, depending on its strength and
the power of the flash. Two, when illuminating multiple

subjects or a larger subject, point the flash more toward
the distant object and away from the closer one to even
out the light. Using an incident light meter can check the
evenness of the light. Ballparking it visually (although less
accurate) can also work. Note that when feathering your
light, the flash can often look as if its barely pointing at
Two assistants helped haul battery-powered the closest subject, yet the results will show a more even
strobe packs and lighting for this shoot in the U.S. balance of light across the scene.
Virgin Islands. Controlling the ever-changing light with
additional strobes while on a 55' sailboat was critical to
086 produce the images needed for this timeshare client.
Combined and balanced with numerous interior lights of the restaurant, only
two strobes were used for this scene: one large softbox to the left of camera as the
main light, and one umbrella at back right to provide highlights on the models.
"When working with

on- or off-camera flash,
its also important to
evenly light your subjects
because the falloff from
the flash can be
extremely noticeable."
Two main strobes were used to re-create a holiday party ad for a large
wine company: One large softbox off camera to the right lit the models and
wine glasses, while a raw light (back left) provided highlights in the hair and also
illuminated the background wall. The main softbox on the right was feathered
toward to the model on the left to adjust for light falloff from the strobe. 087
PHOTOGRAPHY SECRETS
THE MEDIUMS POSTSCRIPT

The stunning capabilities of Lightroom and Photoshop con-
"Expanding your comprehension
tinue to open photographic doors and, when combined
with true photographic knowledge, they become even of light and use of additional
more amazing. Enlightening yourself to the ways of com-
mercial lighting can expand your photography's quality
lighting lets you expand your
and streamline your postprocessing efficiency. exposure capabilities and
If this makes you nervous, remember this: When
asked how he took the guesswork out of lighting his crest that creative plateau
subjects, Dean Collins, the well-known commercial
youve been struggling
pro who revolutionized the art of commercial lighting
during the 70s to the 90s, simply responded, This isnt to rise above."
rocket science, folks.
CLICK TO RATE
Producing this image of an Argentine-style barbeque was more difficult than it appears.
The shiny metal surface required a large light source (a softbox for even, smooth highlights),
while the fire had to burn at a specific intensity to balance with the light of the outdoor
ambient shade, which slowly diminished the closer it became to sunset.
088
ALL IMAGES BY SEAN ARBABI

LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ISSUE 24
MAGAZINE
LEARN HOW TO USE

THE IMAGE OVERLAY FEATURE
TO SEE HOW YOUR PHOTOS
WILL FIT IN YOUR DESIGNS
LIGHTROOM
WORKSHOP
UNDER THE LOUPE LIGHTROOM TIPS & TRICKS

Lightroom Mobile has come a long way in a short time. Learn Since this is our annual Photoshop User hot tips issue, were
about its latest updates, including working with RAW files. p96 giving you twice as many Lightroom tips as well. p112
PHOTO BY SCOTT KELBY
91 96 102 110 112 &
Tips Tricks BY SEN DUGGAN
Sen Duggan
Scott Kelby
Questions Answers
BY SCOTT KELBY &
Maximum Workflow
topaz texture effects
BY SEAN McCORMACK
Sean McCormack
Under the L oupe
lightroom mobile updates
B Y R O B S Y LVA N
lightroom magazine contents

Rob Sylvan
Lightroom Workshop
using image overlay to fit
images to your layout
BY SCOTT KELBY
Scott Kelby
lightroom magazine
Lightroom using image overlay to

fit images to your layout
Workshop BY SCOTT KELBY
This is one of those features that once you try it,

you love it, because it gives you the opportunity to
make sure an image youre shooting for a specific
project (like a magazine or brochure cover, inside
layout, wedding book, etc.) looks and fits the way
you want it to, because you get to see the artwork
as an overlay in front of your image as youre shoot-
ing tethered. This is a big time and frustration saver,
and its simple to use (you just need a little tweak-
Excerpted from The Adobe Photoshop
Lightroom CC Book for Digital Photographers ing in Photoshop to set up your artwork).
lightroom magazine
step one: Youll need to start in Photo-

shop by opening the layered version of the
cover (or other artwork) you want to use
as an overlay in Lightroom. The reason is
this: you need to make the background for
the entire file transparent, leaving just the
type and graphics visible. In the cover mock-
up we have here, the cover has a solid white
background (of course, once you drag an
image in there inside of Photoshop, it would
simply cover that white background). We
need to prep this file for use in Lightroom,
which means: (a) we need to keep all our
layers intact, and (b) we need to get rid of
that solid white background.
step two: Luckily, prepping this for

Lightroom couldnt be simpler: (1) Go to
the Background layer (the solid white layer
in this case), and delete that layer by drag-
ging it onto the Trash icon at the bottom of
the Layers panel (as shown here). Now,
(2) all you have to do is go under the File
menu, choose Save As, and when the Save
As dialog appears, from the Format pop-
up menu (where you choose the file type
to save it in), choose PNG. This format lets
you keep the layers intact and, since you
deleted the solid white background layer,
it makes the background transparent (as
seen here). By the way, in the Save As dia-

log, it will tell you that it has to save a copy
to save in PNG format, and thats fine by
us, so dont sweat it.
magazine cover file used in this tutorial at
http://kelbyone.com/magazine. All files
are for personal use only.]
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lightroom magazine
step three: Thats all you have to do in

Photoshop, so head back over to Lightroom
and go to the Library module. Now, go un-
der the View menu, under Loupe Overlay,
and select Choose Layout Image (as shown
here). Then, find that layered PNG file you
just created in Photoshop and choose it.
Scott Kelby
step four: Once you select your layout

overlay image, your cover appears over
whichever image you currently have on-
screen (as shown here). To hide the cover,
go under the same Loupe Overlay menu,
and youll see that Layout Image has a
checkmark by it, letting you know its vis-
ible. Just choose Layout Image to hide
it from view. To see it again, choose it
again. Or press Command-Option-O (PC:
Ctrl-Alt-O) to show/hide it. Remember, if
you hadnt deleted the Background layer,
what youd be seeing here is a bunch of
text over a white background (and your im-
age would be hidden). Thats why its so
important to delete that background layer
and save in PNG format. Okay, lets roll on,
because there are a few more features here
youll want to know about.
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lightroom magazine
step five: Now that your layout image

overlay is in place, you can use the Left/
Right Arrow keys on your keyboard to try
different images on your cover (or whatever
file you used). Heres what it would look like
with a different shot.
Scott Kelby
step six: When you look at the image in
the previous step, did you notice that shes
positioned a little too high? Luckily, you can
reposition the cover to see what it would
look like with her a little lower. Just press-
and-hold the Command (PC: Ctrl) key and
your cursor changes into the grabber hand
(shown circled here in red). Now, just click-
and-drag on the cover and it moves left/
right and up/down. Whats kind of weird at
first is that it doesnt move your image in-
side the cover. It actually moves the cover. It
takes a little getting used to at first, but then
it becomes second nature.
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lightroom magazine
step seven: You can control the Opacity

level of your Overlay Image, as well (I switched
to a different image here). When you
press-and-hold the Command (PC: Ctrl)
key, two little controls appear near the
bottom of the overlay image. On the left
is Opacity, and you just click-and-drag to
the left directly on the word Opacity
to lower the setting (as seen here, where
Ive lowered our cover image to 60%).
To raise the Opacity back up, drag back to
the right.
Scott Kelby
step eight: The other control, which

I actually think is more useful, is the Matte
control. You see, in the previous step,
how the area surrounding the cover is
solid black? Well, if you lower the Matte
amount, it lets you see through that black
background, so you can see the rest of
your image that doesnt appear inside the
overlay area. Take a look at the image here.
See how you can see the background out-
side the cover? Now I know that this image
has room for me to move her either up or
down, and parts of her are still there. Pretty
handy, and it works the same as the Opac-
ity controlpress-and-hold the Command
(PC: Ctrl) key and click-and-drag right on
the word Matte.
CLICK TO RATE
095
Under lightroom mobile updates
the
B Y R O B S Y LVA N
Lightroom Mobile gets updated so frequently its hard to keep up
Loupe
with the latest features and functionality. If youre unfamiliar with
Lightroom for mobile you can catch up with the basics in the
Maximum Workflow column by Sean McCormack in the April
2016 issue of Photoshop User. Throughout Lightroom Mobiles
development, the iOS version has usually led the way for new
features (at the time of this writing the iOS version stands at 2.5
and Android at 2.1).
lightroom magazine
One feature that Android users got first was the ability to now import RAW files directly into Lightroom Mobile on iPads
capture in native DNG (RAW) format. The 2.1 release for and iPhones. This requires the camera connection kit dongle
Android improves that experience with an updated interface (I used the Lightning to SD card) to first import the RAW
and a Pro mode for the Lightroom Mobile built-in camera photos to the Camera Roll using the native Photos app.
that allows manual control over ISO, shutter speed, white Once imported into the Camera Roll, you can bring the
balance, and focus. Theres also a new widget that will allow photos into Lightroom Mobile as you would any photos on
you to jump right into the Lightroom Mobile camera. With the Camera Roll, where they are then copied to the Adobe
the iOS 2.5 release, people who have devices with 12-mega- Cloud, and eventually a copy of the original will be down-
pixel sensors (iPhone 7, iPhone 7 Plus, iPhone 6s, iPhone 6s loaded to the synced catalog on your computer running
Plus, iPhone SE, or the 9.7" iPad Pro), and have upgraded to Lightroom desktop. This definitely takes longer than when
iOS 10, are now also able to capture in DNG format through working with JPEGs, but thats to be expected with a full-
the Lightroom Mobile camera. size RAW file. The bonus is that you now have all that RAW
The rest of the features Im going to cover are for iOS only data to play with on your mobile device, and as long as you
(though I suspect that theyll likely appear on Android in the have an Internet connection, your RAW photos are auto-
future), and theres even some news for Apple TV owners. matically sent to your computer. This alone has the potential
to add new opportunities to your workflow.
importing raw images After the initial import into iOS youll be prompted to
The top billing for this release goes to what Adobe is call- either delete the files from the card or keep them. I think it
ing a RAW Technology Preview, which means that we can best to keep them so that you can later format the card in
097
lightroom magazine
camera, and also wait to be sure they make it to

your primary (and backup) storage before wiping
the card.
If youve set up Lightroom Mobile to import
photos automatically from the Camera Roll, then
you just need to wait for your RAW photos to
be brought in as you would your JPEGs. In my
case, I opted to import a few photos I took in my
backyard directly into a collection I made for that
purpose. You can differentiate RAW photos from
non-RAW photos by the Raw label that appears
over them in the import screen.
I tested it using both an iPad Pro and an iPhone
5s, and while its clearly a better editing experi-
ence on the iPad, it was pretty cool to be able to
import RAW photos into my iPhone, edit them,
export copies, and know the originals were
automatically being transferred back to my com-
puterall while sitting on my patio. I dont see
myself using this to bring in a very large shoot, but
I really like having the option to import a select
few RAW files no matter where I am, and without
my laptop being involved. A recent example was
when I went out on a whale watch. I didnt want
to bring my laptop on the boat, but my iPad Pro
fits nicely in my camera bag, so that and my DSLR
made for a nice mobile workstation while bob-
bing around the Atlantic. Keep in mind that Light-
room Mobile storage doesnt count against your
Creative Cloud storage, so youre really only lim-
ited by the amount of free space on your device.
linear and radial corrections

RAW importing aside, there are a few other sig-
nificant new features in this release. The most

exciting of which is the ability to apply Linear and
Radial corrections to your photos. To start, tap
the Local Adjust icon below the photo and then
choose between the Linear or Radial Selection via
the menu on the left.
Once youve chosen the type of selection you
want to use, simply tap-and-drag your finger over
the area where you want to apply the adjustment.
As you tap-and-drag, you should see the mask
098 covering the affected area of the selection.
lightroom magazine
These adjustments work just as they do on

the desktop version, so after drawing out your
selection, you can configure any combination
of the included settings to apply to that part of
your photo. Similar to the desktop version, you
can also add multiple adjustment pins, and even
apply both Linear and Radial adjustments to the
same photo. Tap-and-hold a pin to open a pop-
up dialog with the options to duplicate or remove
that pin (you can also delete the active pin via the
Trash icon that appears at the top of the screen).
other new features

While not as sexy as the local adjustments,
theres now also the option to toggle on/off Lens
Corrections for supported camera and lens com-
binations. The toggle is available in editing mode
(click the Edit icon below the photo). Click on the
icon to the far left and choose Lens Corrections
from the list. Click on Profile Correction to turn
it on and off.
With the addition of new import options on
Lightroom Mobile, however, you may never need
to access that toggle. From the main interface,
tap the Lr logo to expand the apps settings panel.
From there, tap Import, where you can enable
lens profile corrections to be applied as part of the
import into Lightroom Mobile. You can choose to
have profiles applied to All Files or just Raw Only.
Below the Lens Profile option, you now also
have the ability to apply a copyright notice to all
imported photos. This only populates the Copy-
right field of the photos metadata, so youll
need to add any additional copyright or contact
information after import in the Library module
on the desktop version. I have a smart collection
set to Copyright Status is not Copyrighted that
I periodically check as a reminder to fill in that
additional information.
One last tidbit for those of you who use a key-

board with your iOS device is that theyve added a
limited set of keyboard shortcuts. They arent terri-
bly easy to find, but if you hold down the Command
key while in an area that has a keyboard short-
cut, youll see a bevel appear with a list of all the 099
lightroom magazine
shortcuts for that area. For now, the main place to find them
is where you can apply ratings and flags to your photos,
but the I key will also cycle through info overlays when
looking at the grid of thumbnails.
apple tv
Not long after the Lightroom Mobile update was released,
Adobe announced that there was now an app for Lightroom
on Apple TV too. No, you cant edit photos in this Apple
TV app, but it does provide a very simple method for view-
ing through your TV all of your photos contained in synced

collections. It does require the fourth-generation Apple TV
(currently the latest available) to run this app, as this is the
first iteration of the device to have an App Store. Youll also
need a Creative Cloud subscription to be able to log into the
app and access your synced collections. The app is free and
easy to install; just search for Lightroom in the App Store
and choose Get.
Once installed, launch the app and go through the sign-
in process, which does involve going to lightroom.adobe
100 .com/tv in a Web browser on another device. As soon as
lightroom magazine
youre logged into the app, your synced collections will start button will pause the slideshow). You cant play music
to appear. with the slideshow through the Lightroom app, but, as a
From there you can choose All Photos to view all synced workaround, I was able to play music through the Pandora
photos at once (similar to the Lightroom Photos collection app, then switch to the Lightroom app and manually swipe
on the mobile app) or you can navigate to any single collec- through full-screen photos (pressing the Play button stops
tion and view its contents. the music).
You can move through full-screen photos in a collection Theres one setting for the slideshow thats worth experi-
by swiping left or right using the Apple TV remote, and even menting with: Choose Settings at the top of the screen, then
zoom in on a selected photo. go to Slide Duration and choose between Slow, Medium,
Theres also a filmstrip at the top that appears when you and Fast to see which option you prefer.
swipe down on the remote, which is handy for jumping Remember, there wasnt much to Lightroom Mobile
to a specific photo within a collection. Swipe up again to when it was first released, but it has come a long way in a
hide the filmstrip. Pressing the remotes Play button will short time. It will be interesting to see how Lightroom for
launch a slideshow of the selected collection (the same Apple TV evolves in the future.
CLICK TO RATE
101
ALL IMAGES BY ROB SYLVAN

Maximum topaz texture effects
Workflow
BY SEAN McCORMACK
Topaz Labs makes plug-ins that are really
good at one thing. Theyre never trying to do
everything at once, but simply take a prem-
ise and do the best they possibly can with it.
Weve looked at Impression before, and today,
were looking at Texture Effects, a relatively
new plug-in in the Topaz arsenal. [Note: Just
days before we published this issue, Topaz Labs
released Texture Effects 2. Click here to learn
whats new in the latest version.Ed.]

lightroom magazine
Texture Effects does exactly what it says on the tin: It allows you to add tex-
ture overlays to your photos. In reality, it does far more than that. It comes
with more than 145 effects and a huge library of textures, borders, light
leaks, and dust and scratches images. Not only that, but it mixes these to
give a huge bank of presets to get you going. If you create something you
love, you can save these as presets and upload it to the Topaz Community,
or you can browse and use presets created by other Texture Effects users
a win for Topaz and the Community.
installation
Run the installer to place Texture Effects on your computer and follow the
registration process to activate it. Unlike a lot of plug-ins, Texture Effects
doesnt create an entry in the Edit In menu, so you need to create one
yourself. Its really straightforward. Topaz also recommends that you run
the standalone application before using it as a plug-in.
Begin by opening Lightroom (PC: Edit)>Preferences. Go to the External
Editing tab, and in the Additional External Editor section, click the Choose
button. This opens a file browser window. Browse to where Texture Effects
is installed (probably in Applications [PC: Program Files]) and select it. For
best quality, leave the settings as TIFF, ProPhoto RGB, and 16-bit. If you
need speed and dont mind lower quality, use JPEG, AdobeRGB, and 8-bit.
In the Preset drop-down menu, select Save Current Settings as New Preset.
Give the preset a memorable name (Ive just gone with Topaz Texture
Effects). Click the Create button to create the preset.
Now when you go to the Photo>Edit In menu, Topaz Texture Effects
shows as an option in the preset section of the menu. Select it to start
the program.
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lightroom magazine
layout
Topaz uses the same layout across a number
of its plug-ins, so if youve already seen one,
this will look instantly familiar.
1. The Login button will take you to the

Topaz Community. To get access to the
Community presets, you need to click
the Register Online link and create an
account to log in.
2. When zoomed in, select the Pan tool to

move about. You can view the original
image with the second icon, and zoom
in and out with the magnifying glass
icons. You can also select Fit or 100%
views from here.
3. This is the main image area where all

the presets and effects are previewed.
4. Choose to show more presets by click-

ing the Browse icon (grid), or select
from a different category in the drop-
down menu.
5.
These are the thumbnail previews of
the presets. The currently selected pre-
set has a blue border and contains a
Clicking the Browse icon reveals more presets circle with a set of sliders. You can click
this icon to open the parameters layer
stack, which are the panels that you can
use to customize the effect.
walkthrough
In general, Texture Effects is a finishing plug-
in. Yes, you can process your image com-
pletely here, but since youre working with a
rendered file, rather than a RAW file, youre

better off doing your corrections in Lightroom
first. When youre happy with the tonal and
color balance in the photo, use the Edit In
menu to open the file in Topaz Texture Effects.
Clicking the circle-with-sliders icon reveals the control panels
file used in this tutorial at http://kelbyone
.com/magazine. All files are for personal
use only.]
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lightroom magazine
choosing a preset
Use the Browse icon to open more presets.
The breadth of choices shouldnt be daunting
if you use the preset management bar located
at the top to narrow down the amount of
presets youre viewing. You can also enter
text to search for specific presets. Choose
from preset types such as Lo-Fi or Pop Grunge,
or by photography types such as Food, Land
scape, or Portrait.
Narrowing down to Local and Nature,
I quickly see that I like the Fading Canvas
preset. Clicking the circular slider icon opens
the parameters for the preset. Once zoomed
in, I can see that the canvas texture is a little
strong, but well start from the top panel
and work our way down.
parameters
Theres a Basic Adjustment panel at the top.
Note that theres a second Basic Adjustment
panel at the bottom in this preset too, so its
worth looking at both of them, as you may
be counteracting effects; for instance, while
Saturation is 0 in the first panel, its 0.32 in
the bottom panel. The first thing I noticed
was that the center of the flowers was blown
out. Theyre very yellow and the detail has
been lost, so reduce the Highlight slider to
0. The image looks a little dense, so open up
the Shadow to 0.4. Theres a Mask option at
the bottom of each panel so you can reduce
or remove each effect separately. Ill leave this
one as is (set to None).
The second panel in the Fading Canvas
preset is Texture (see next page). Just like the
Basic Adjustment panel, there are two Texture
panels in this preset. Well use the first Texture
panel to add a color base to the image. To
change texture, start by narrowing down the
list from All to Color Wash using the drop-

down menu at the top, and then pick a gritty
orange texture from the scrolling swatch
panel. The icons beneath the texture thumb-
nails allow you to move the texture around,
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flip it horizontally or vertically, or even invert

it. Size allows you to change the size of the
texture, Keep Aspect Ratio holds the original
shape of the texture when on, and Opacity
controls the strength of the texture (Opacity
works the same throughout all the panels).
The next most important option is the
Blending Mode. The options here are pretty
comprehensive and match those of Pho-
toshop. As there are entire books on blend
modes, suffice to say that Overlay, Soft
Light, Multiply, and Screen are used more
frequently. Just try out each mode and see
which one best suits your image. Here, lets
use Soft Light, which has less contrast and
saturation compared to Overlay. Whats great
about Texture Effects is that as you move
your cursor down the list, the blend mode
previews in the main window, so you know
what will happen without having to apply
the mode.
Detail controls the level of detail in the
texture (the lower the number, the softer the
texture looks), while Saturation increases the
depth of color in the texture (rather than the
whole image). Color Strength increases the
intensity of the color chosen in the Color con-
trol below. This color blends with the texture
image. After a little play, Ive gone for a Detail
of 0, a Saturation of 0.48, a Color Strength
0.99, and a Color of 1.00.
The next panel is Borders, which is pretty
much identical to Texture, except that you
choose a border instead of a texture file.
The second Texture panel is next (see
next page). This is where we can control the
strength of the canvas look. I mentioned ear-

lier that the canvas texture was too strong,
so well reduce the Opacity to 0.37. Lets also
remove the texture from the main flower in
the center, so click Brush in the Mask section
to open the masking tools. Black removes the
effect; White brings it back. You can also
Undo or Redo a stroke, Reset to begin again,
or Invert your mask. Use the Strength to
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lightroom magazine
control the opacity of the brush, Brush Size

to change the width, and Hardness to con-
trol the feathering on the brush edge. The
thumbnail at the bottom of the panel shows
what the mask looks like.
Next is the Split Tone panel. This works
like Lightrooms Split Toning panel. You can
choose a Highlight and Shadow Hue, and
adjust their Saturation, as well as the Balance
between them. The current toning is one of
the things I liked about the Fading Canvas
preset, so leave this one as is.
The final panel in this preset is the second
Basic Adjustment panel. I want more satura-
tion in the image so change the Saturation
from 0.32 to 0.2.
other adjustments
By clicking Add Adjustment below the pan-
els, youll get a drop-down menu where you
can choose from a range of other effects or
texture panels. These include Edge Blur, Edge
Exposure, Film Grain, Posterize, and Vignette.
For Textures, as well as Texture and Borders,
you can also choose from Color Overlay, Dou-
ble Exposure, Dust/Scratches, and Light Leak.
Weve mentioned how Texture and Borders
are essentially the same panel, just using a
different set of images. This is true of Double
Exposure, Dust/Scratches, and Light Leak. In
each panel, hover over an image thumbnail
to see a preview of the texture. After experi-
menting with the settings in a panel, if you
decide you dont want to use the effect, just
click the Delete Filter icon (trash can) at the
far right in the header of that panel.
Color Overlay is different from the above-
mentioned panels though. In this panel, you
select a color from the Color swatch, and
then choose a Blending Mode. Finally, set the
Opacity to suit.
Now lets take a look at the remain-

ing effects panels that are available in the
Add Adjustment drop-down menu. Diffusion
creates a glow on the image. We wont use
107
lightroom magazine
it for the final image, but it has three

controls: Strength, Softness, and Blur.
Strength controls the amount of the
effect, Softness controls the glow or
defocus, while Blur removes the detail
from the image.
Next is Edge Blur, which defocuses
the edges, giving an old lens effect.
Click on Blur Shape to get a radial-like
control for the edge position, size, and
shape. Use Blur to change the amount
of blur, and Transition to change the
feathering of the blur.
Edge Exposure lets you lighten or
darken the edges. First, choose an
edge to which to apply the effect. Each
edge can have a different look. Expo-
sure controls how light or dark it is, Size
controls the distance from the edge,
while Transition controls the fading of
the effect. Color Strength controls the
hue added via the Color slider
Film Grain emulates the look of old
film. Size controls the size of the grain
from small and fine to large and more
visible. Strength controls the amount of
grain, and Randomizer changes how
the grain looks.
Posterize reduces the total number
of colors in the image, while reducing
the transitions between colors. Depth
controls the number of tones: the num-
ber on the slider equals the number of
tones in the image. The Details slider
controls the amount of detail left in
the image.
Vignette is the final effect (see next

page), and darkens (or lightens) the cor-
ners and edges. Were going to add a
vignette in this example. First, choose
black for the Color, then use Strength to
control the amount of vignette. Size con-
trols how far into the image the vignette
extends, Transition controls the fading of
the effect, and Roundness changes the
shape of the vignette from an oval to a
108
lightroom magazine
rectangle, where a setting of 0 produces

a rectangular vignette. Opacity controls
the effect level. Center lets you reposi-
tion the middle of the vignette; just click
on the Center icon and then either click
or drag in the image where you want to
place the center.
affected by texture
As you can see, there are a lot of
options in Texture Effects. Its definitely
a great tool for finishing images. The
ease of previewing textures and blend
modes gives it a big advantage over
Photoshop, not to mention the sheer
wealth of included textures. You can, of
course, add your own, making it even
more versatile. CLICK TO RATE
Final
109
ALL IMAGES BY SEAN McCORMACK

lightroom magazine
Questions Answers &

SCOTT KELBY
I noticed that there are a lot of missing images When I look at the Sharpening controls in the
in my Lightroom library. Is there an easy way Detail panel in Lightroom, Im totally intimidated;
to find all of the images that are unlinked so I I dont understand all the sliders, so I dont add
can relink them to the originals? any sharpening at all. Is there an easier way to
Thankfully, there is. In the Library module, go under the sharpen in Lightroom?
Library menu and choose Find Missing Photos, and it will There actually isits just a little hidden. If you go to the
display all the photos that are missing their originals. By Quick Develop panel in the Library module, youll see
the way, Lightroom lets you know that a photo is miss- a bunch of controls, but Sharpening isnt one of them.
ing by displaying an exclamation mark in the upper-right Well, thats unless you hold the Option (PC: Alt) key,
corner of its thumbnail in Grid view (G). and then youll notice that the Clarity option changes to
Sharpening. Now you can use the single arrows (a small
amount) or the double arrows (greater amounts) to add
or reduce your sharpening, and its just one simple con-
trol. (Note: You actually have to double-click the Sharp-
ening arrows to apply sharpening in the Quick Develop
panel. All of the other settings only require a single click.
This is a bug on which Adobe is currently working to fix.)
That being said, the Detail panel sharpening in Lightroom
is easier than youd think, and since youre a KelbyOne
member, Id recommend watching our Lightroom Series:
Sharpening class. (There are a number of different ways
and places to sharpen besides the ones weve mentioned
here.) Watch that class, and you wont be intimidated any
longer, and youll unlock some very powerful, but easy-
to-use techniques.
Is it better to apply a vignette in the Lens
Corrections panel or in the Effects panel?
Okay, theres no official ruling on this, so I can only give
you my opinion, but I think the vignette effect you get
from the Effects panel (which is Post-Crop Vignetting,
meaning that it automatically reapplies itself if you crop

the image) is much better (has a better look) than the
one in the Lens Corrections panel. I use the Lens Correc-
tions panel for fixing vignetting problems, and not apply-
ing them as an effect. But hey, thats just me. Anyway,
another way thats really great for creating a vignette
effect is to use the Radial Filter (Shift-M) instead, and
darken the Exposure amount outside the oval it creates.
That way, you can have your vignette appear exactly
where you want it in the imagenot just on the edges.
110 Give it a try and see what you think.
lightroom magazine
I find all the little icons that appear on my I dont have two monitors, but I wish there
thumbnails really distracting. Is there a way was a way in Lightroom (like there is in Photo-
to get rid of them? shop) to have a zoomed-in view of the image
There isgo to the Library module and press Command-J Im working on, but still have a zoomed-out
(PC: Ctrl-J) to bring up the Library View Options dialog view so I can see how what Im doing affects
(shown here). In the section called Cell Icons, turn the entire image.
off the checkbox for Thumbnail Badges, and now those Well, theres kind of a way to do this. Even though you
little icons will be hidden from view. If you change your dont have a second monitor, Lightroom allows you to
mind and want them back, you now know where to go. open a separate floating window that displays what
would appear on a second monitor if you had one. Just
click on the little rectangular box with a 2 in it at the
top-left corner of the Filmstrip. This brings up a floating
window with your image inside it. Now you can zoom in
tight on the image youre working on in Lightroom, and
the floating window will keep the zoomed-out view. See
if that works for you.
Is there any way for me to find out which of

my images dont have smart previews so
I can create smart previews for them?
You bet! In the Library module, start by making the Filter
Bar up top visible by pressing the Backslash key (\) on your
keyboard (if you had it open already, this will just toggle
it off, so press the Backslash key again to toggle it back
on). Go to the Catalog panel (in the left side panels), and
click on All Photographs. Now, click on the Metadata I often like to see if my color images would
tab in the Filter Bar. Click on the header of the first col- make good black-and-white images. Is there
umn at the top left of the Metadata filter, and from the a quick way to compare the color image to a
pop-up menu that appears, choose Smart Preview Status. black-and-white version?
It will display the number of images that have smart pre- One of my favorite keyboard shortcuts of all time is simply
views and how many dont have smart previews. Click the letter V. This lets me see, in just one key, whether my
on No Smart Preview to display all those images. Now current image would make a good black-and-white or
go under the Library menu, under Previews, and choose not, as it does a Black & White conversion instantly. If I
Build Smart Previews. If you only had one photo selected, like the way it looks, Im set. If I see it doesnt make a
Lightroom will ask if you want to build a smart preview good black-and-white, I just press V again and its back to
for just that one image or for all of them. Click Build All the original color version.
and it will build smart previews for all your images that
didnt already have them. Easy peasy. CLICK TO RATE 111
ALL IMAGES BY SCOTT KELBY
lightroom magazine
TipsTricks & SEN DUGGAN
importing images
drag-and-drop importing If there are un-cataloged photos, the Synchronize dialog
You can drag an image, or a folder of images, onto the will tell you how many there are and give you the option
Lightroom icon in the Dock on a Mac, or in both Mac to import them directly or to open the Import dialog so
and Windows, you can also just drag images onto the you can apply keywords, metadata, or Develop presets as
Lightroom interface (i.e., drop it right on the Grid view of the photos are imported.
thumbnails). This will prompt the Import dialog to open
and the location of the folder or images youre dragging use import presets
will be pre-selected as the import source. To speed up the import process, create import presets for
common import locations and configurations. Dont add
import into a specific folder anything specific in terms of metadata (such as keywords)
Right-click on a folder in the Folders panel in the Library since the preset needs to work with all of the photos.
module and choose Import to this Folder. The Import dia- Once you have the details and import destination set, click
log will open with that folder already selected as the des- on the right side of the black Import Preset bar centered at
tination. Just select a source for the images you want to the bottom of the Import dialog to open the preset menu
import, and youre good to go. and choose Save Current Settings as New Preset. You can
access your saved preset from this same menu.
synchronize folder
If you know that youve added photos to a folder in the
Finder (PC: File Explorer) thats already part of your Light-
room catalog, or you just want to check to see if there are
any un-cataloged images in a folder, Right-click on that
folder in the Folders panel and choose Synchronize Folder.
compact import dialog

Press the Backslash key (\) or click the button with the
triangle in the lower-left corner of the Import dialog to
switch to the compact version of the Import dialog.
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lightroom magazine
library module
apply process-oriented keywords into a stack (they need to be in the same folder) and
For multiple-shot series such as HDR or panoramas, apply use the shortcut Command-G (PC: Ctrl-G), or choose
keywords such as HDR or pano to all of the shots Photo>Stacking>Group into Stack. Find the Unstack com-
so you can easily find them again. Many HDR and pano mand in the same menu or use Shift-Command-G (PC:
images arent assembled right away, but if the files have Shift-Ctrl-G).
those keywords, its much easier to find the source images
via a keyword search. show or hide images in a stack
and change stacking order
With a stack selected, tap S to expand or collapse the
stack. Shift-[ or ] will move the selected image up or down
within the stack. Shift-S will move the selected image to
the top of the stack.
turn search filters on and off synchronize metadata or

When you have a search filter turned on in the Filter Bar develop changes to a stack
above the thumbnails (for example, a Keyword search When a stack is collapsed (closed), and metadata or
under Metadata), you can turn it on and off via the key- Develop settings are applied via the Sync Settings button
board shortcut Command-L (PC: Ctrl-L), or by using the at the lower right, the changes are only applied to the top
menu command Library>Enable Filters. image in the stack. To have the changes apply to all of the
images in the stack, expand it first by clicking the two lines
lock search filters to the right of its thumbnail, or by Right-clicking on a col-
To set a search filter so that it will remain the same when lapsed stack and choosing Stacking>Expand Stack. Then
moving between folders or collections, click the lock icon Command-click (PC: Ctrl-click) to add the other images in
on the far right side of the Filter Bar. the stack to the selection, and click Sync Settings.
auto stack by capture time

You can stack images together based on the interval
of time between shots. In the Library module, choose
Photo>Stacking>Auto-Stack by Capture Time and use the
slider to set the time between stacks.
group selected images into a stack

Stacks are a way to group similar images together, and
they can help simplify the Grid view of thumbnails. In
the Grid view (G), select the images you want to group
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lightroom magazine
develop module
drag-and-drop history or snapshots to before view before-and-after view, Shift-Y will toggle on and off a split
When in the before/after view (Y), you can drag-and-drop view of the image. If you leave it set to a split view, this
different History states or Snapshots onto the Before view will be the view you toggle back and forth between when
to compare the current state of the image with other using the Y or Option-Y (PC: Alt-Y) shortcuts.
states in the Develop history. To return the Before view to
the default state, drag the Import History state onto the quick access to the graduated and radial filters
Before view. Access the Graduated Filter via the keyboard shortcut M
and use Shift-M to access the Radial Filter.
cycle through before-and-after views
There are four different before-and-after views. You can duplicate graduated or radial filters
choose different ones using the following shortcuts: Y Press-and-hold Command-Option (PC: Ctrl-Alt) and drag
will toggle between the standard Develop view and, in on the pin of a Graduated or Radial Filter to make a copy
the default setup, a left/right arrangement of the before of it and its settings. Or, Right-click on the pin and choose
and after. Option-Y (PC: Alt-Y) will show you a top duplicate from the contextual menu.
and bottom view of the before and after. While in either
use brush tool to customize
graduated and radial filters
Some adjustments you make with the Graduated or Radial
Filters may need to be customized a bit if the area youre
modifying has sections that you dont want affected by
the filter. To fix this, make sure the pin for the Graduated
or Radial Filter is active and click on the word Brush at
the top of the control panel for the filter (not the Adjust-
ment Brush icon above the panel). Click Erase near the
bottom of the panel, or hold down Option (PC: Alt) to
access the Erase brush and then paint to subtract areas
that are being affected by the Graduated or Radial Filters.
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lightroom magazine
lightroom mobile tips

turn on lightroom mobile syncing mobile app: to auto-add or not to auto-add
In the desktop version of Lightroom, mouse over the Light- In the Lightroom Mobile app on your phone or tablet,
room icon in the upper left of the interface (or the Identity tap the Lr logo at the upper left to view the app pref-
Plate if youve personalized it), and click to open the Activity erences. Theres a setting here that will auto add every
Center menu containing the sync options (this is also where photo you shoot with your phone into the Lightroom
you can turn on Face Detection and Address Lookup). Photos contained within the app (it makes a copy of
Lightroom Mobile can only sync with one catalog at a time. the photos). Use this with caution, or youll have all the
trivial, temporary shots that you take with your phone
specify a folder for mobile downloads remembering where you parked at the airport lot, pho-
In the Lightroom (PC: Edit)>Preferences, click the Light- tos to make sure you buy the right part at the hardware
room Mobile tab and enable the checkbox for Specify store, etc. added to your Lightroom Mobile photos
Location for Lightroom Mobile Images. Click the Choose and your Lightroom catalog.
button, and select a folder location within your image
archive directories that makes sense for these images. This
is where images shot on your mobile device will be stored
(if you use the Lightroom Mobile camera, or you have
Auto-Add turned on in the mobile appmore on that in
the next tip). If you dont specify a folder, Lightroom cre-
ates a hidden folder with a ridiculously long name within
the Mobile Downloads.lrdata file. If the catalog is already
synced with Lightroom Mobile, you can also set a folder
for Lightroom Mobile downloads by Right-clicking on a
folder in the Folders panel and choosing Set as Lightroom
Mobile Downloads Location.
CLICK TO RATE
115
ALL IMAGES BY SAN DUGGAN

Product Reviews
Four New ExpoImaging Products
Create Softer Light Effects with New Rogue Super
Soft Silver Reflectors and White Grid Inserts
Review by Erik Vlietinck
ExpoImaging has released a small avalanche of new products,

including the Super Soft Silver Rogue FlashBender 2 XL Pro
model, which has a specially woven silver surface. The com-
pany also released a 32" reflector with the same silver backing
as well as a natural white surface; White Grid Inserts for the
Rogue 3-in-1 Grid; and an Indicator Battery Pouch.
The company created the Rogue FlashBender 2 XL Pro
Super Soft Silver Reflector with Frank Doorhof, one of the
most prominent Rogue lighting product evangelists. Doorhof
is a well-known fashion photographer whose signature now
proudly figures on the back of the newest Rogue FlashBender
2 XL Pro. The White Grid Inserts for the Rogue 3-in-1 Grid is the
Super Soft Silver refers to the silvery surface that appears third new product on the list. These create a softer falloff
to be woven differently when compared side-by-side with than the black ones. The falloff closely resembles a halo
normal silver backings. The effect is a subtler, softer reflec- thats drawn around the light circle youll get with the black
tion than the rather harsh one that ordinary silver creates. grid inserts. Whats more, I tested the black and white inserts
The amount of reflection is the same as with traditional silver with one of the gels ExpoImaging makes for the Rogue 3-in-1
backings; its only the quality of the light that changes. honeycomb grids, and (contrary to my expectation) the halo
I found the new silver to work brilliantly as a wrinkle falloff wasnt affected by the colored gels when used with
softener; but even when shooting objects such as in prod- the White Grid Insert. The White Grid Inserts for the Rogue
uct photography, youll find the Super Soft Silver works 3-in-1 Grid retail for $19.95.
well with gray areas or with chrome metal, for example. The last item in this release is ExpoImagings Indicator
The effect is less outstanding than with a traditional silver Battery Pouch, which is a nice organizer for your tool chest
reflector, but its undeniable and very pleasing to the eye. even though it isnt an AI, sensor-driven gadget. Its a pouch
The FlashBender 2 XL Pro Super Soft Silver Reflector retails with two reversible red/green inserts. The Pouch has two
for $59.95. compartments, each of which can hold two 9-V block
The second new product ExpoImaging released, the batteries, four AA batteries, or six AAA cells. The idea is to
Rogue 2-in-1 Collapsible Reflector 32" - Super Soft Silver/ fill the Indicator Battery Pouch with freshly charged batteries
Natural White, was sold out only a couple of weeks after it and hang it on your tripod by its hanging tab or attach it to
was announced, and theres a good reason for its popularity. your belt with the loops. When you need to switch batter-
Its low price gets you two differently colored surfaces with a ies, you return the used batteries to the pouch and flip the
collapsible reflector that folds down to a 12" package. In addi- green insert to red. That way, youll know how much power
tion, its Super Soft Silver surface does the same great job as you have left. Of course, it only works if you use each com-
the FlashBender 2 XL Pro Super Soft Silver Reflector. partments batteries at one time. If you dont, its still better
I found the reflectors size, portability, and two surface than the original blister or clamshell packaging. The Indicator
colors worked well with video as well as photography Battery Pouch retails for $9.95.
especially when I was interviewing someone and had little
control over where the light was coming from. The reflector
Company: ExpoImaging, Inc. Prices: See above
is just big enough to make a difference, while the Super Soft
Rating:
Silver coating does a great job of softening a subjects facial
Hot: Soft silver effect; reflector size/folded size; white grid light falloff
contours. The Rogue 2-in-1 Collapsible Reflector 32" - Super
Not: Battery pouch should allow per-battery color insert
116 Soft Silver/Natural White retails for $29.95.
GET THE SCOOP ON THE LATEST GEAR
Phottix Odin II
TTL Flash Trigger Transmitter for Sony
Review by Michael Corsentino
I love the Sony ecosystem of mirrorless cameras. Theyre com-

pact, lightweight, and chock-full of enviable high-end features
such as full-frame, high-megapixel sensors, wide dynamic
range, and amazing glass. As we know, the lack of dedicated
flash trigger/transmitters for market-leading strobes has until
now been a sticking point for many Sony shooters. Well, the
wait is finally over for Phottix off-camera strobe and hot-shoe
flash users! The Phottix Odin II Flash Trigger Transmitter for
Sony puts a fully featured TTL or Manual control center right modeling lights for each of the five strobe groups can also
on top of your camera. Compatible with the entire range of be adjusted using the Odin II. Having one trigger that can
Sony A7, A6000 series, and A99 and A77 II A-mount cam- control both Phottix strobes and hot-shoe flashes at the same
eras, the Odin II triggers all Phottix lights including the Indra time gives photographers the best of both worlds! (Note: This
500/360 and Mitros Plus hot-shoe flashes. is the transmitter only. Phottix Odin II Receivers are available
The Phottix Odin II Flash Trigger Transmitter for Sony comes separately for Canon and Nikon, but arent available for the
complete with all the best-in-class features that photogra- Odin II for Sony transmitter.)
phers have come to expect: full manual or TTL control; up to Phottix and Elinchroms recent collaboration to create the
five individual groups, each with 32 channels; a user-assign- new Elinchrom Skyport HS flash trigger leaves me wondering
able digital ID (to eliminate potential radio interference); High- if a Sony-compatible trigger for Elinchrom users is also around
Speed Sync (up to 1/8000) for those wide-aperture portraits the corner?
with flash; Second-Curtain Sync; and a wireless range up
to 332' (100m). Company: Phottix Pricing: $215
Other noteworthy amenities include Odin IIs simple,
Rating:
intuitive, fast navigation and control using the center Naviga-
Hot: High-Speed Sync (up to 1/8000); easy navigation via interface
tion Wheel, and a bright, clear, easy-to-understand digital
Not: Wireless range could be better
LCD screen interface. In addition to full control of strobes,
CalDigit Tuff
when the USB-C port has been properly sealed with the sili-
Rugged Mobile USB-C Disk Drive con bumpers port plug. I could have left the drive submerged
a full 30 minutes before the silicon plug would start to leak, at
If youre shooting video or photos in the wild, you need a rug- a maximum depth of one meter.
ged mobile drive. CalDigit may perhaps be late to the game, CalDigit ships the Tuff in a half-transparent rugged archive
releasing its bus-powered Tuff drive only recently, but it beats box that closes with two clips and a latch. Better yet, the box
forerunners by a large margin. has a spot for a label on the inside so you can tag the box
The CalDigit Tuff has a backward compatible USB-C port without damaging it and quickly see which drive youre work-
that will also work on Thunderbolt 3 machines. It comes with ing with, even without opening it.
a Type-C and USB 3 converter cable and complies with USB The Tuff is fan-less, but it never became warmer than my
3.1, which allows for 10-GB/sec throughput performance. hand. Heat dissipation was flawless, even at a moist 30C.
The Tuff comes in a 2-TB hard-drive configuration with a 1-TB Speed is excellent: I tested with a USB 3 connection, and
SSD in the pipeline. Blackmagic Designs Disk Speed Test reported a write speed
The drive is MIL-STD-810G shockproof. Dropping the Tuff of 121 MB/sec and a read speed of 129 MB/sec.
on a wooden floor from about one meter indeed didnt cause

any damage. The company doesnt explicitly specify the maxi- Company: CalDigit, Inc. Price: $179.99
mum drop height the Tuff will survive, but I think it will be
Rating:
around two meters.
Hot: Ruggedness; speed; price; capacity
As far as I know, the Tuff is the only drive on the market
Not: 20-cm cables are too short
to have full IP57 Certification. Its waterproof and dust proof 117
REVIEWS
Godox LP- 800x Power Inverter

Versatile, Portable Battery Pack has With its three AC outlets and three USB power ports,
AC Outlets and USB Ports devices such as laptops, smart phones, constant lights, and
Review by Michael Corsentino
fans can also be powered with ease. The one caveat is that
The Godox LP-800x is a lightweight, portable, lithium-ion AC and USB charging cannot be done at the same time, so
battery pack power inverter. It provides an ample supply of AC youll need to make a choice about what to charge and when
power on location or in the studio as an emergency backup. to charge it.
Previously, photographers needed two sets of strobes, a Rock-solid build quality, a durable carrying case with
mains-powered set for the studio, and a battery-operated a shoulder strap, and trapdoors for the Godox LP-800xs
set for location work. Not everyone has the luxury of owning intelligent fans make protected transport and use easy.
two different sets of lights for two different purposes. Even Keep in mind that theres no lock on the power button so,
if you do, when you add the fact that most battery-operated during transport, youll need to remove the top half of the
portable strobes max out at around 500 Watt/s, you may be LP-800x (where the capacitors, electronics, and distribution
left wanting when it comes to overpowering the sun. center are housed), and flip it around on its lithium battery
The Godox LP-800x gives you options. It allows you to take lower-half to avoid inadvertently powering on the unit as
your AC-powered studio strobes on location and use them you travel.
anywhere, anytime. Thats huge! So if you only have one set
of mono block lights, and youve been lamenting about a lack Company: Elinchrom SA Price: $799
of funds to acquire a location kit, now you have a consider-
Rating:
ably less-expensive option while you wait. The LP-800x deliv-
Hot: Portable; up to 1,200 flashes from a 300 Watt/s head
ers an impressive 1,200 flashes from a 300 Watt/s mono head
Not: AC and USB cant be used at the same time
with fast recycle, more than enough even with multiple lights.
Prisma
Free App Transforms Your Photos into Works of Art
Review by Peter Bauer
Photoshop has lots of nifty ways to make your photos look

like painted art and, of course, there are a variety of third-
party plug-ins to do the same thing; but theres also a free
app named Prisma that deserves your attention. Available for
both iOS and Android, it uses artificial intelligence to replicate
the styles of some of the greatest painters of all time.
Since its an app, you can use the photos on your device,
take photos from within the app, or move photos from your
computer to your tablet/phone. After using the app, you can
send the images to your computer via email, message, Face-
book, iCloud, AirDrop, or a variety of other methods.
p h ot o s h o p u s e r O c t o b e r 2 0 1 6
And its easy to use: Once youve downloaded, installed, top right enables you to enter several different split screen
and launched the app, you can take a new photo or click on modes, comparing the original to the new look. When you
Photos or Gallery at the bottom of the screen to open thumb- have the look you want, click the downward-pointing arrow
nails of all of the photos already on your device. Scroll through to save the file (as a new image by defaultit doesnt replace
until you find the photo you want to use, and click on it. Youll the original). Then, to send the image, click the share button
be presented with the option to crop the image and rotate or the Facebook button.
if necessary. The Next button takes you to the wonders of
Prisma: 30 different styles that can be applied to the image. Company: Prisma Labs Inc. Price: Free
Feel free to experiment, because the styles arent cumulative.
Rating:
The variety of styles will blow your mind!
Hot: Great free app for painterly effects from your photos
After you apply a style, you can click-and-drag on the
Not:
118 image to lower the intensity of the effect. The button at the
GET THE SCOOP ON THE LATEST GEAR
Sony A7S II
Low-Light Experiences
The Sony A7S II has dramatic low-light capabilitiesmanu-
ally from ISO 50 to 409,600making low-light photography
accessible to everyone. That doesnt mean youll get perfect
images out of the camera, regardless of the RAW editor youll
be using.
The test unit came with a silent Sony Vario-Tessar f/4
2470mm lens. Picture quality was great and noise virtually
non-existent up to ISO 6400. Above that threshold, noise
became visible; but it got worse much less quickly than with resulting image was razor-sharp. Capture One Pro came in
my old Alpha 700. The maximum ISO value of 409,600 lets second. The same images were slightly noisier, but not by
you shoot in almost complete darkness, but the image straight much. Cranking up noise reduction made the images a bit
from the camera will have a lot of noise. Although I couldnt blurry, more so than with DxO Optics Pro.
test the 409,600 value (even with very little light, the camera The 16,000-ISO images were much less noisy than equiva-
at this level blows out what little highlights there are), I did lent images shot with my A700, but you wont win prizes with
test ISO values up to 64,000 ISO. them either. Only after processing them through one of the
I found that these high ISO images are usable only if your two RAW editors I have available, did they become suitable
RAW editor has been optimized for the camera. I tested with for publication.
DxO Optics Pro 11 and Capture One Pro 9. (I dont have
Adobe Lightroom, so I couldnt test with this more commonly Company: Sony Corporation of America Price: $2,999.99 (body)
used app.)
Rating:
With DxO Optics Pro, the images were almost free of noise
Hot: Low-light capabilities; video capabilities
without any adjustment. To make them completely noise-
Not: Picture quality and noise level heavily dependent on RAW editor
less, I had to set a tiny bit of PRIME noise reduction, and the
Kingston HyperX Fury

120-GB SSD
Slower Writing Speed than a Platter-Based Drive 122MB/sec speed is more than double what I needed for
Review by Erik Vlietinck the video recording.
The Kingston HyperX Fury range of SSDs is a cheap way to To make sure this was right, I ran the SSD through a num-
add storage space and, as Ive always been happy with Kings- ber of additional tests on the Ninja Assassin. These revealed
ton RAM updates for my Macs, I decided to give the 120-GB that the 120-GB HyperX Fury would only reliably write a video
model a go. The HyperX Fury series is the lowest specified in stream when the frame size isnt bigger than 1280x720 at a
Kingstons product portfolio, and the 120 GB is the cheapest frame rate of 50p.
of the Fury series. In short, you shouldnt use the HyperX Fury 120 GB SSD
For my test of the HyperX Fury 120 GB SSD, I shot a for higher video frame size/rate combinations; but its prob-
3-minute 1080p60 video clip with a GoPro HERO4 and an ably reliable enough to serve as a cheap backup medium. Still,
Atomos Ninja Assassin. Much to my surprise, that didnt although I couldnt find any further flaws and the drive lives
work out well: The SSD couldnt even keep up with the up to its advertised performance, Im puzzled about the
440 Mbit/55 MB per second data stream of a ProRes 420 120-GB model not even keeping up with a 7,200 rpm, 2.5"
HQ 1080p60 recording. hard disk drive.
To investigate what had happened, I tested the SSD with

the Blackmagic Design Speed Test. The app reported this Company: Kingston Technology Company Price: $48
SSD to be capable of a Read speed of 277 MB/sec and a
Rating:
Write speed of 122 MB/sec. To put this into perspective,
Hot: Price; read speed is acceptable
a SanDisk Extreme Pro reads at 402 MB/sec and writes at
Not: Write speed is lower than a platter-based disk; becomes very hot
330 MB/sec on my system. More worrying, however, a 119
BOO K RE V I E WS P E T E R B A U E R
Photoshop: From Absolute Beginner to Photoshop Lightroom: 17 Tips

ProfessionalHow to Start Using and You Should Know to Get Started
Mastering Photoshop in Just 10 Days! Using Photoshop Lightroom!
By Daniel Gordon By Edward Bailey
This is the future of Photoshop trainingself-published First, $16.99 for 40 pages? Naw, if youre interested, stick with
eBooks and videos that are already dated by the time you find the Kindle version. And theres a link for a free copy of another
them. With the pace of updates and new releases, its hard of his books, too. Now, if youre an inexperienced or brand-
for the publishing industry to keep up. Yes, youll find regu- new user of Lightroom, you may find yourself saying, Whoa!
lar paperbacks on Photoshop, most often on a specific aspect Thats not what the book says! For example, importing pho-
or set of techniques, and occasionally a beginner book. More
tos: When you insert a USB card and select it as the Source,
often, it seems, products like this are available, publications
you can import all or just selected photos. You have a couple
that lack the vigorous proofreading and editing of books from
of Copy buttons at the top and an Import button at the bot-
established publishers. One example from this book: All you
tom, but no button named Copy New Paragraphs. Also you
have to do is click on the desired shape and then go ahead
and draw it on the canvas. A good editor or proofreader wont find it confusing, but after Image 1 and Image 2, none
would note that you dont draw with the Custom Shape tool; of the images have numbers. Chapter 7 provides the authors
you click-and-drag the tool to create a shape. Other problems own very specific formulae for certain effects, but doesnt
include missing Mac shortcuts and misnaming tools, like the actually define the effects youre creating. (For example, you
eclipse Marquee tool. never learn that HDR stands for High Dynamic Range.)
Publisher: Self-published Pages: 30 (Kindle) Publisher: CreateSpace Publishing Pages: 40

Price: $2.99 (Kindle); $8.95 (paperback) Price: $0.99 (Kindle); $16.99 (paperback)
Rating: Rating:
120
photoshop user October 2016
POP QUIZ!
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D E PA R T M E N T
From the Advice Desk PETER BAUER

answers to photoshop & gear-related questions
At Photoshop World this past July in Las Vegas, you showed me a shortcut that nobody knows aboutone
I could use to Stump the Experts in my local group. Not only have I forgotten the shortcut, I somewhat
recall that you said never to use it. Refresh my memory, please?Paul
To: Paul
From: KelbyOne Advice Desk
I showed a way to access the Stamp Visible command likely they have all of the layers visible and use Stamp Visible
through a menu command rather than using the standard to generate a single layer of all of the content below. Okay,
keyboard shortcut Command-Option-Shift-E (PC: Ctrl-Alt- great! Now they have a single layer with all of the existing
Shift-E). Hold down the Option (PC: Alt) key and select content and can go merrily on their way, continuing to be
the menu command Layer>Merge Visible. The menu creative with the artwork.
commands name doesnt change when you hold down So whats my beef with Stamp Visible? Lets say you
the Option (PC: Alt) key, but the behavior changes. used the Stamp Visible command and continued to add
Merge Visible takes all of the layers visible in the Layers layers, masks, adjustment layers, layer effects, and so on.
panel and creates a new layer from their content, deleting Then suddenly you realize that there was something wrong
the original layers. Stamp Visible makes a new layer and on one of the existing layers when you used Stamp Visible!
merges the content of all visible layers in the new layer, Youd need to go back in the History panel to the step prior
but retains the original layers. I often use the Merge Visible to Stamp Visible, make the change, Stamp Visible again,
command, but not Stamp Visible. then re-do everything you did after the original Stamp
When do I use Merge Visible? If I have a number of Visible command.
layers whose content doesnt overlap (say a logo in the Heres an alternative to Stamp Visible: Use smart
upper-left corner, a copyright notice in the lower-right, objects. When you want to make a new layer that includes
and perhaps some additional artwork or image content all of the content of the visible layers, select all of the layers
that doesnt overlap with the other elements), then I can in the Layers panel and use the command Layer>Smart
simplify the Layers panel by merging these non-overlap- Objects>Convert to Smart Object. Like Merge Visible, you
ping layers into one layer, deleting the originals. (Be sure have simplified your Layers panel. Like Stamp Visible, you
to check the Layers panel to ensure that only the layers have a single layer with all of the existing content. If you
you want to merge are visible.) If you have clipped adjust- need to go back and change something on one of the
ment layers, you can click on one and use the menu layers from which the smart object was created, simply
command Layer>Merge Down. Repeat for others. And double-click the smart objects thumbnail in the Layers
since the layers elements dont overlap, changes can be panel to open it in its own window, make the changes,
made to anything on the layer without affecting the rest save (not Save As), and close. The smart object in your
of the layer content. working document is updated automatically. Might you
Using Stamp Visible with those non-overlapping layers then need to make changes to layers added after creating
would generate a new layer with the content of those the smart object? Perhaps, but you dont lose that work.
layers, but it does nothing to simplify the Layers panel. But Here's hoping your Experts dont read this before
thats not how most people use Stamp Visible. More than your panel!
KelbyOne Member CLICK TO RATE
ADVICE DESK
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
124 member site today!
Photoshop User magazine is the official
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tutorials written by the most talented
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authors in the industry.
As a KelbyOne member, you

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October Photoshop Magazines 2016

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From the Advice Desk

0 96 UNDER THE LOUPE

102 MAXIMUM WORKFLOW

117 Phottix Odin II

118 Godox LP-800x Power Inverter

119 Sony A7S II

From the Editor

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OCTOBER 2016 Volume 19 Number 8

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is the author of Essential Development: 20 Great Techniques for Lightroom 5.

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So if you havent been to Photoshop World because

KelbyOne ARTIST SPOTLIGHT >> Sian Elizabeth Robertson

KelbyOne ARTIST SPOTLIGHT >> Svetlana VanKempen

First, congratulations on your Guru award. Was this

New Camera and Profoto Releases the D2, the Worlds

EF-M 18150mm f/3.56.3 IS STM lens is scheduled

Nikons New Line of New Light, Trigger System, and

the 16x71" Solas Strip Softbox with Grid, and the

CLICK TO RATE 019

Down evil dead with attitude

Its that time of year when we get to do something creepy-cool and

Step One Step Two

Step One: Lets begin by opening the skull image,

Step Two: Since the image is on a solid white back-

Step Three: Press Command-J (PC: Ctrl-J) to copy

Defringe. Set the Width to 1 or 2 pixels and click

Step Four: Create a new document thats

Step Five: Back in the skull image, switch to the

Step Six: I mentioned earlier that the skull was shot

Step Seven: Once the Liquify dialog opens, uncheck

Step Eight: Using the Forward Warp tool, push

Step Nine: Make a duplicate of this layer by press-

Step 12: Immediately after you apply

Step 13: With the top skull layer active

Step 14: Add a new blank layer at

Gradient tool (G) and click on the Radial

Step 15: Now its time to add some eyes. Here we

Step 16: The layer of the man should be at the

Step 17: Return the layers Opacity back to 100%,

brush Opacity to around 75% in the Options Bar.

Step 18: Press Command-J (PC: Ctrl-J) to duplicate

Step 19: Add another new blank layer at the top of

in the Color Picker, and click OK. Then, paint over

Step 20: Click on one of the eye layers to make it

Step 21: Here we have a cool little smoke element

to make the scene a bit more ominous. Open this

Step 22: Set the blend mode of the smoke layer to

bottom and push it to the left a bit. This will help it

Try making cheater layers with