How to add
realistic-looking falling
snow to your winter scenes
H O W -T 0 M A G A Z I N E
BEGINNERS
WORKSHOP
december
Printing 3D models
from Photoshop CC is
easier than you might think
201 5
DYNAMIC
RANGE
IN-DEPTH
ST E P - BY- ST E P
TUTO R I A LS
P H OTOS H O P
DOWN AND
DIRTY TRICKS
NE WS, REVIE WS
A N D OTH E R
COOL STUFF
gonzo holiday
gear guide
TABLE OF CONTENTS
DECEMBER 2015
FEATURE
60
LIGHTROOM WORKSHOP
98 116
MAXIMUM WORKFLOW
104 117
Palette
6 58
Contributing Writers
10 72
12
KelbyOne Community
14
80
Columns
DYNAMIC
RANGE
PHOTOSHOP TIPS
DESIGN MAKEOVER
Avocado Advocacy
PHOTOGRAPHY SECRETS
Kris Kowalewski
24 46
BEGINNERS WORKSHOP
118
Reviews
Painter 2016
ParticleShop
Ultimaker 2 Extended
EL-Skyport Plus HS
Phottix Laso System
17hats
DXT Wireless Mouse 2 Light Click
Cerise Custom Desktop
Photoshop Book Reviews
Printing in the
Third Dimension
A longtime expert in Photoshop 3D, Corey Barker finally delves
into the world of 3D printing. Using Photoshop and an Ultimaker 2
Extended, Corey shows how easy (and addictive) it is to take your
3D creations that have only lived in a digital space until now and
print them into three-dimensional reality.
Corey Barker
How-To
DOWN & DIRTY TRICKS
Make Eye-Catching Composites with iPhone Shots
48
Splash Proof
18 126
115
112 120
Cynthia Hollingsworth
92
Departments
87 114
Lightroom Magazine
KELBYONE.COM
32 54
40 76
KEY CONCEPTS
These icons at the beginning of columns indicate theres a short video on a tool
or function used in that tutorial at the Key Concepts KelbyOne member webpage
at http://kelbyone.com/keyconcepts.
Dodge & Burn tools
Lasso tool
Layer masks
Pen tool
Smart objects
LIGHT IT
Lighting Frida
DOWNLOADABLE CONTENT
SCOTT KELBY
Its that time of year, and you know what that meansthats right, its my 10th Annual Gonzo Holiday Gear Guide! (Wild cheers
ensue!) Its hard to believe this gonzoness has gone on for 10 years, but theres no sign of the gonzo going away. So, what you hold
in your handsyes, in this very issueis my handpicked collection of ideas for the creative somebody on your gift list (or, you can use
it to drop hints to someone for some goodies youd like to get this year).
As always, Ive included everything from inexpensive stocking stuffers to the perfect gift for the rich surgeon or NFL defensive back
on your holiday list. The guide starts on page 60, in case you want to get right to the goodies now.
As much as wed all like the entire magazine to be all about gear and stuff, alas we cant go without including a bunch of education
to round out the year, so heres a quick look at whats in this issue: In the Beginners Workshop, Lesa Snider teaches us how to add
falling snow to an image. In our Dynamic Range column, our own Corey Barker talks about printing 3D models from Photoshop
to a 3D printer (this 3D printing stuff is for real!). In Photography Secrets, adventure photographer Tom Bol tells us the secrets to
capturing amazing over/under images in warmer waters. And, in our Lightroom Magazine section, RC Concepcion shows us how
to organize our travel shots and create a book that we can use in either PDF form or send to a printerall directly within Lightroom.
Outside the magazine, we have some exciting things going on. By now, many of you have tried our totally new, revamped-fromtop-to-bottom member website. It is such a vast improvement from anything weve ever been able to offer our members beforethe
videos play faster and smoother, and the search feature is also faster and so much more refined to help you get to the training you
want quicker than ever before. We have a totally reimagined member dashboard that gives us a way to interact directly with you
(without having to send you emails), and youll always know which classes and which special member discounts are new.
But, all that is just version 1.0 of the new sitethe first step. Were already hard at work on version 1.1, which well be releasing
after the first of the year. This will integrate the old PhotoshopUser.com member site with the fantastic new KelbyOne site, so finally
well all be on just one site (yay!). But, were not going to just move the old features over to the new sitenosireebob. We have
created a totally enhanced online member community, which includes new-and-improved member portfolios, online forums, easier
access to one-on-one help, and more of the stuff you told us you want from a member organization like ours. More on that when we
launch, but I did want you to know that theres lots of great stuff on the horizon.
Weve spent the last two years in a transition with one goal in mind: our job is to make your experience as a member more valuable
than it was the year before. And, not just through delivering world-class training from the industrys best instructors, but by delivering
a better experience all across the board. Weve been heads-down, working hard on all this, but while weve kept our eyes on the
goal, weve kept our ears open listening to what members have been asking for, and Im so proud to finally be able to bring you the
experience you expect and you deserve.
Were very grateful that youre here with us, and honored that youve chosen us as your online educational community and training
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
partner in the coming year. Its a job we take very seriously, and one were 100% committed to being the very best at for our members.
006
Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Photoshop User
EDITORIAL:
Contributing Writers
Ajna Adams Corey Barker Peter Bauer Bruce Bicknell Tom Bol
Pete Collins RC Concepcion Michael Corsentino Sen Duggan
Daniel East Sean McCormack Rick Sammon Colin Smith Lesa
Snider Rob Sylvan Scott Valentine Erik Vlietinck Jake Widman
GRAPHICS:
MARKETING:
WEB:
PUBLISHING:
ADVERTISING:
COLOPHON:
This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.
All contents COPYRIGHT 2015 KelbyOne, LLC. All rights reserved. Any use of the
contents of this publication without the written permission of the publisher is strictly
prohibited. Photoshop User is an independent journal, not affiliated in any way with
Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom,
and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in
the United States and/or other countries. All other trademarks mentioned belong to
their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 1535-4687
Contributing
Writers
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select
group of corporate clients. His latest book is Photoshop CC for Dummies. He was
inducted into the Photoshop Hall of Fame in 2010.
BRUCE BICKNELL
is the founder of Digital Blue Productions. He has been an instructor on Adobes
in-box training, and is an instructor at Sessions.edu. His clients include Time Inc.,
NFSTC, DTCC, and magazines that include People and National Geographic.
TOM BOL
is an editorial and commercial photographer specializing in adventure sports,
portraits, and outdoor lifestyle photography. His images and stories are used
worldwide. You can see more of his work at www.tombolphoto.com.
PETE COLLINS
is an education and curriculum developer and website overseer for KelbyOne.
He is one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts
background, Pete is well versed in photography, graphic design, and illustration.
RAFAEL RC CONCEPCION
is director of content and education for KelbyOne. An Adobe Certified Instructor in
Photoshop, Illustrator, and Lightroom, RC has 10+ years in the I.T. and ecommerce
industries. RC has held training seminars in the U.S., Europe, and Latin America.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker
and international workshop leader. Learn more at www.michaelcorsentino.com.
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
SEN DUGGAN
010
DANIEL EAST
is an author, freelance writer, presenter/trainer, and consultant with more than
20 years experience in photography, pro-audio, and marketing. Daniel is also founder
and president of The Apple Groups Team support network for user groups.
SEAN McCORMACK
is the author of Essential Development: 20 Great Techniques for Lightroom 5.
Based in Galway, Ireland, he shoots subjects from musicians, models, and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com.
RICK SAMMON
is a longtime friend of KelbyOne, and he has more than a dozen
classes on www.kelbyone.com. Check em out! For more of his work,
see www.ricksammon.com.
COLIN SMITH
is an award-winning digital artist, photographer, and lecturer who has authored
18 books and has created a series of training videos. Colin is also the founder of
the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
LESA SNIDER
is the author of Photoshop CC: The Missing Manual, Photos for Mac and iOS:
The Missing Manual, several eBooks, and more than 40 video courses. She also
writes a weekly column for Macworld. For more info, visit PhotoLesa.com.
ROB SYLVAN
is the Lightroom Help Desk Specialist for KelbyOne, on staff at the Digital Photo
Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
SCOTT VALENTINE
is an Adobe Community Professional and Photoshop author. His latest book
is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
ERIK VLIETINCK
founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik
has been a freelance technology editor for more than 20 years. He has written
for Macworld, Computer Arts, Windows NT Magazine, and many others.
JAKE WIDMAN
is a writer and editor who lives in San Francisco. Hes been covering the intersection
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.
Photoshop User
Magazine
Adobe Stock
About KelbyOne
KELBYONE
Member Benefits
PHOTOSHOP USER MAGAZINE
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
012
MEMBERS-ONLY WEBSITE
MEMBER DISCOUNTS
Save anywhere from 24 times your membership cost by using our many
industry-related discounts.
TECH SUPPORT
MEMBER COMMUNITY
KelbyOne members range from beginners to pros and love to lend each
other a hand. Together, we have built the friendliest, most knowledgeable
Photoshop and photography community on the Web.
WEEKLY E-NEWSLETTER
FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 MondayFriday, 9:00 a.m. to 5:30 p.m. EST.
KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
BY AJNA ADAMS
Its a Successful
periscope party!
Wow! What a party. A Periscope party, that is. On November 2, a team of Periscopers joined us in the KelbyOne
studios for a simultaneous Periscope broadcastone of
the first of its kind. The event included broadcasts from
nine different accounts that have a collective audience of
more than 500,000 people! Thousands tuned in, commented, and tapped for hearts (its a Periscope thing).
The result was lots of fun and a handful of winners; we
gave away an Arkon mount to @LoriMBS, a handful of
Scott Kelby books to several viewers, and a full one-year
KelbyOne membership to @GilmarSmith.
Our lineup of broadcasters included: Arkon (www.arkon.com), who sponsored the event; Kim Garst, founder and CEO
of Boom Social (http://kimgarst.com); Terry White, principle worldwide design and photography evangelist for Adobe
(http://terrywhite.com); and long-time KelbyOne member Victoria Pavlov, who is also featured in this issues Whos Who
in the KelbyOne Community on page 17. From the KelbyOne team, our broadcasters included KelbyOne president, Scott Kelby;
director of content, RC Concepcion; on-air talent, Larry Becker; and KelbyOne social media manager, Ajna Adams (thats me).
By the way, if youre not familiar with Periscope, its a live-video streaming app for iOS and Android developed by
Twitter and launched March 2015. Be sure to follow @KelbyOne and @ScottKelby!
Canon Explorers
of light announced
Social media was abuzz when Canon announced its new lineup of Canon Explorers of Light. Many of our KelbyOne
members took to social media to congratulate our KelbyOne instructors who made the list, and now its our turn.
A huge congrats to Peter Hurley, Joel Grimes, David Bergman, Roberto Valenzuela, and Lindsay Adler! Wed also like to
congratulate Jimmy Chin and Charles Glatzer who also made the list. For more information on the Canon Explorers of
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
014
Congrats to Newlyweds
tim and angela wallace
Many of you took to Twitter and Facebook to congratulate KelbyOne instructor Tim Wallace on his recent marriage to his
beautiful new bride, Angela, in Scotland. Thank you all for your kind tweets and Facebook posts.
#KelbyOneLive
+ tweeting = #winning
We love you allin real life and on Twitter. If youve been to a KelbyOne Live event, youll
probably notice some of your fellow attendees busy on their phones Tweeting for a chance
to win cool stuff during the event. At Scott Kelbys seminar tours, we give away these awesome Secret Sauce tour shirts to attendees who post awesome tweets. To learn more about
KelbyOne Live, visit http://kelbyone.com/live.
Who's Who
in the kelbyone community
Victoria Pavlov is a photographer, digital painter, and
designer. Born into a musical family, she started practicing
music at age 3, but that didnt stop her from starting to draw
at age 7. At age 15 she had her first big exhibition, where she
was surprised by all the wows from the people attending.
At age 8 her uncle introduced her to photography. His
work inspired her to see how different photography and
painting could be. Because of her artistic background, her
photography is about telling a story. The technical aspect
in her photography is very important to her, so she spent
about two years finding the lighting technique that she
loves and is happy with.
Introduced to version 1.0 of Adobe Photoshop, it has
become her method of communicating and expressing herself. Victoria says, I truly believe that with Adobe Photoshop,
we can make this world more beautiful with less violence.
What kind of design and photography do you specialize in?
ARTIST SPOTLIGHT KERRIN BURKE LAHR
Victoria Pavlov
site and fell in love right away. Great source for training and
.com/its-photoshop-down-dirty-trick-friday-reflection-light-
ing-advertising-effect.Ed.]
photography.com.
k e l b yo n e . c o m
017
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
018
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Athentech Imaging
announces lucid
Athentech Imaging, the makers of the Perfectly Clear
Plug-ins, has announced Lucid for iOS and Desktop
(Windows and Mac). Perfectly Clear is an amazingly
powerful application for pros and licensing for businesses that can instantly fix a multitude of imperfections in photographs. This application has some serious
science behind it. Were talking 14 years of R&D along
with 20 unique algorithms and multiple patented processes. So it was only natural that Athentech wanted to
bring this technology to the everyday photographer in
the form of Lucid.
Lucid is designed to counteract a cameras limitations, so with one click it will bring out the colors and light that you remembered
when you took the shot. It also includes powerful presets, such as Beautify, to make everyone look their very best in every photo
no editing expertise or extra work required.
We all want great-looking photographs; a chance to capture a memory and then share it with others, says Brad Malcolm,
president of Athentech Imaging. But frequently your smartphone or camera doesnt quite get the job done. Lucid does the work
for you so you can focus on the fun part of photography. We want you to enjoy capturing the best moments instead of spending
your time tossing on filters and adjusting countless sliders and buttons. It simply improves photos in an instant and lets you rescue
the shots you used to delete.
Lucid is available now at the App Store for only $2.99. Lucid Desktop for Mac and Windows is available at www.hellolucid.com
for $49.
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Epson recently announced the SureColor P400, a 13" desktop photo printer that uses
Epsons UtraChrome HG2 pigment inks. This set of inks uses eight colors, including
Red and Orange for deeper reds and richer skin tones. It also has dedicated channels
for both Matte and Photo Black inks, which the printer will select automatically.
The MicroPiezo AMC 1" wide print head with a 1.5 pl minimum droplet size
and ink-repelling coating provides more accurate dot placement and reduced
maintenance. The SureColor P400 also features enhanced AccuPhoto HD imaging
technology and a unique Gloss Optimizer to produce consistent output with smooth
gradations and better highlight and shadow detail for exhibition-quality prints with a professional-lab look and feel.
Advanced media handling, including a front-in and front-out paper path, enables borderless photos up to 13 x19" on a wide
variety of glossy, matte, and ne-art papers, while improved roll paper support allows for panoramas more than 10' long. In addition, custom images can be created and printed directly onto canvas, art boards, and CD/DVDs. The printer also offers connectivity
via USB, Wireless n1, Wi-Fi Direct, or Ethernet. Designed for photography enthusiasts, advanced amateur photographers, and
creative hobbyists, the Epson SureColor P400 is available now for an MSRP of $599.
At the recent PhotoPlus Expo in New York, Epson also introduced Epson Legacy Papers, their most advanced line of photographic papers. They worked closely with the worlds greatest artists, revered European papermakers, galleries, and chemical
engineers to develop these papers for artists who intend to exhibit and sell their prints. Heres a rundown from Epson of the first
four Legacy Papers to be announced: Legacy Platine100% cotton fiber paper with a bright OBA-free, smooth satin finish. With a
unique feel of an artistic paper of centuries past, along with an outstanding color gamut, this paper is exceptional for both color and
black-and-white printmaking. Legacy Fibre100% cotton fiber paper with an exceptionally bright OBA-free, smooth matte finish.
With an outstanding black density, this paper is ideal for all types of high-end printmaking. Legacy Baryta:A baryta paper with a
white, smooth satin finish, using two barium sulfate coatings. Inspired by the F64 group, this paper takes the best of revered silver
halide technology to new levels of quality. Legacy Etching100% cotton fiber paper with a bright OBA-free, uniquely textured
matte finish beloved by artists for centuries. This paper has the feel of traditional etching papers.
For more information on the Epson SureColor P400 and the new Legacy Papers, visit www.proimaging.epson.com.
k e l b yo n e . c o m
Epson Introduces
new printer and papers
023
HOW TO
Corey Barker
be considered useless by
Step Two
tutorial at http://kelbyone.com/magazine/issue/december_2015.
All files are for personal use only.]
Step Two: First, lets dehaze the photo. Go to the Filter menu
and choose Camera Raw Filter. When the Camera Raw dialog
opens, click on the Effects (x) tab below the histogram, and youll
see the Dehaze slider. Drag it to around 75%. Dont click OK yet.
Step Three: Now go to the Basic panel, which is the very first
tab. Dial down the Exposure setting to about 0.30. Then boost
Step Three
Step Five: Click the Create New Adjustment Layer icon (halfwhite, half-black circle) at the bottom of the Layers panel and
choose Hue/Saturation. In the Properties panel, drop the Saturation to around 25%. This will adjust for the slight oversaturation
of color created by the last few steps; however, it also dials back
the contrast just a little.
BY COREY BARKER
Step Six: To fix the contrast, go back into the Cremenu at the bottom of the
Layers panel and choose
Levels.
Make
sure
this
I was flying home from Las Vegas a couple of months ago and I was
intrigued by the view of the desert outside my window, so I grabbed a
shot, but I knew there was something there. Join me and see how to
Step Six
few shots with my iPhone. I wasnt all that thrilled with what I initially
Step Five
k e l b yo n e . c o m
Down
&Dirty
Tricks
Step Four
025
appears to fade into the stars. I could never get this shot from
(File>New) in which to
as shown here to boost the contrast so the star image blends with
Step Thirteen: Now lets take a look at the bright spot in the cen-
a rocket leaving Earth with smoke trails and such. So start by going
to the Toolbox and choosing the Brush tool (B). Click on the brush
Step Eight: Go back to the original image, and click on the top
layer to make it active. Hold down the Option (PC: Alt) key, go
Step Thirteen
Step Fourteen
Step Fifteen
Step Sixteen
Picker and locate the brush thats aptly named Per Stroke Brightness
Step Nine
into the Layer panels flyout menu at the top right, and choose
Merge Visible. This will flatten all the layers into a single new
layer at the top of the layer stack, leaving all the original layers
click on Brush Tip Shape in the left sidebar. Set the brush Size to
35 px and the Spacing at the bottom to 37%.
Step Nine: Using the Move tool (V), drag-and-drop this merged
layer into the new document. Once there, press Command-T
Ctrl-0) to expand the document so you can see the entire trans-
panel. Set both the Size Jitter and the Angle Jitter to 100%. Also,
Adobe Stock/sutichak
Step Ten
Step Eleven
Step Sixteen: Next, activate Transfer. Set the Control dropdown menu below Opacity Jitter to Pen Pressure, even if youre
not using a pressure-sensitive tablet. Make sure that the Control
drop-down menu for Flow Jitter is set to Off, and then uncheck
Step Ten: Add a layer mask to this layer by clicking the Add Layer
Step Seventeen: Choose the Pen tool (P) in the Toolbox. Click
the Create a New Layer icon at the bottom of the Layers panel,
and click OK. Also, make sure the Linear Gradient icon is selected
down and to the right just below the horizon and click-and-drag
in the Options Bar. Now add a gradient to the layer mask starting
Step Seventeen
just below the top edge of the sky and dragging down a little
026
Step Eleven: Now open the starfield image thats also part of
the Stroke Path dialog appears, select Brush in the Tool drop-
the exercise downloads. Drag this image into the main design.
Step Eighteen
down menu, check on Simulate Pressure, and click OK. Now you
Use Free Transform again to scale and position the image in the
have a cool smoke trail. In the Paths panel, click in an empty space
going to add a layer style effect. Click on the Add a Layer Style
Step Twelve: Next, add a layer mask to this layer and add a
icon (x) at bottom of the Layers panel and choose Bevel &
Emboss. The default settings should work fine for this. You can
Ten, only this time start the gradient at the bottom edge of the
star image and drag up so the original blue-sky horizon below
k e l b yo n e . c o m
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
see the difference when you uncheck Preview on the right side
Step Twelve
Step Nineteen
027
Step Twenty: Now lets add a flare to the rocket ship. Ive provided a flare brush as part of the downloads for you to load
and use for this effect. Just double-click the brush file and it will
automatically load into the Brush Preset Picker. Go into the Brush
Preset Picker, choose the flare brush at the very bottom of the
list, and set its Size to around 500 px. Set the Foreground color
to white by pressing D then X. Create a new blank layer and then
just dab one flare on top of the bright star.
Step Twenty
Step Twenty-Two: Add another blank layer and make sure its
at the top of the layer stack. Grab the Pen tool again and draw a
Step Twenty-One
single curved path like we did earlier, but this time make it curve
in the opposite direction as the previous path, and draw it way
above the star/rocket effect.
028
Step Twenty-Three
HOW TO
Step Two: Grab the Custom Shape tool (nested under the
Rectangle tool [U] in the Toolbox), and then up in the Options
Bar, click on the Shape preview thumbnail to open the Custom Shape Picker. In the top-right corner of that panel, click
on the little gear icon and choose All from the drop-down
menu, and click OK in the resulting dialog. Now you should
see all of the shapes. Choose the Diamond Card shape from
somewhere near the middle of the shapes. Also, make sure
the Custom Shape tool is set for Pixels (instead of Shape or
Path) in the drop-down menu near the left side of the Options
Bar, and press D to set your Foreground color to black.
Step Two
BY PETE COLLINS
For this Holiday season, we thought wed give you a gift that will
Step Three
keep on giving all year long. This brush will be simple to make, but it
can give you myriad looks. Youll have three different styles of brush
when were done, but that will just be the starting point for what you
can do with this brush.
Step Four: In the Layers panel, click on the layer thumbnail for
the javelin shape so the layer mask is no longer active. Now
all you need to do is go to Edit>Define Brush Preset. Feel free
to name it if you want, and then click OK. Thats all it takes
to make this brush. Now the fun part is getting the brush to
behave how you want, and well be making three brushes
from this base shape.
k e l b yo n e . c o m
Down
&Dirty
Tricks
Step Three: Now that you have the Diamond Card shape
ready to go, click on the left-hand side of your document and
drag across the page to the other side to make more of a thin
javelin shape rather than a diamond. Click on the Add Layer
Mask icon at the bottom of the Layers panel (third icon from
the left) to apply a mask. Grab the Gradient tool (G), press D
then X to set the Foreground color to black, and in the
Options Bar, select the Reflected Gradient icon, and check on
the Reverse box. Now, simply start in the middle of the shape,
drag a gradient out to the right edge of the document, and
release. This should cause the ends of the javelin to be a soft
fade instead of a hard point.
Step Four
033
Step Ten: This last brush is the most complex, but it really adds
only a couple of extra settings. In the Brush Presets panel
(Window>Brush Presets), click once again on your Flare brush
to use as the base (it should be the second to last brush in the
list). Back in the Brush panel, well once again start with the
Shape Dynamics (this is generally the most-used tab). Change
the settings to the following: Size Jitter to 100% (Control
drop-down menu to Pen Pressure or Off); Minimum Diameter
to 75%; Angle Jitter to 100% (Control set to Off); Roundness
Jitter to 100% (Control set to Off); and Minimum Roundness
to 25%.
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
034
Step Six
Step Seven
Step Eight
Step Nine: Thats it, now you just need to save that brush like
you did the Flare brush. Maybe name it Ice Cracks. Take
that brush and set it to white and paint with it in any area
where you might want to add a touch of frost; the brush will
scatter outward and give you a complex random pattern that
looks cool.
Step Nine
Step Ten
Step Eleven
Step Twelve
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Step Five: With the Brush tool (B) selected, click on the Brush
panel icon (the third icon from the left) in the Options Bar.
This is where the magic happens. The main options that
youll want to change for this brush are under Shape Dynamics, the second item in the list on the left side of the Brush
panel. Here, youll see several Jitter options. Jitter is another
name for randomize, so that means the more Size Jitter you
apply, the more diverse sizes will be created as you draw out
a stroke. You can see the changes taking place in the preview
window at the bottom of the Brush panel.
Step Thirteen
035
Step Fourteen
Step Fifteen
After
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
Before
036
HOW TO
Step One
Step Two: The file with the symbols was originally in the EPS
format, so it took an extra step to open it in Photoshop. If youre
using your own EPS file, locate it in Adobe Bridge, Right-click on
it, and choose Open With>Adobe Photoshop [your latest version].
Adobe Stock/senoldo
The great thing about an EPS file is that you can size it up as large
as you want, so when the Rasterize EPS Format panel appears,
this example, we set it to 6000x6000 pixels. Once the file opens,
BY PETE COLLINS
of the Layers panel, drag this layer beneath the symbols layer,
Step Two
Down
&Dirty
Tricks
make the dimensions way bigger than you think you need. In
ument window, click on one of the black lines that make up one
of the symbols (you may need to press Command-+ [PC: Ctrl-+]
to zoom into your document). When you do this, the thumbnail preview in the Color Range dialog changes to show whats
selected in white. Slide the Fuzziness slider to around 166 so that
all of the symbols are selected.
Step Three
041
This may be a little trickier for the low-res practice file. If all of
Step Six: With the new smart object layer chosen, press Com-
the symbols arent selected, hold the Shift key and youll see a
click on the image and choose Perspective from the options. Now
grab the bottom-left handle and pull downward. Both the top-
this selects the blue grid lines or any of the white background,
hold the Option (PC: Alt) key (the + will change to a [minus
longer looks like its facing flat in front of you, but now appears as
sign] next to the Eyedropper) and click on one of the blue lines
down menu that you could use, but because you have to adjust
each corner individually, most folks get along better with Perspective. Its up to you. Press Enter to commit the transformation.
Step Six
Step Seven: Heres the secret sauce recipe for making this equation look like its interacting with depth of field, sort of like a
giant HUD (heads-up display) from Iron Man. Choose Filter>Blur
Gallery>Tilt-Shift to bring up the Blur Gallery interface already
loaded with the Tilt-Shift filter. Were only using one half of the
filter for this image, so move your cursor to one of the white dots
on one of the solid white lines, and click-and-drag to rotate all the
lines until theyre vertical. Then, move the center point just to the
ground in the Color Range dialog, click OK. You should now see
right end of the equation. Youll notice that the right edge of the
marching ants just around the symbols and not the grid. Press
equation is in focus between the solid white line and the center
Command-J (PC: Ctrl-J) to copy the symbols onto their own layer.
Step Four
point. Your goal is to get a smooth transition from full blur on the
Hide the original symbol layer by poking the Eye icon to the left
left to in-focus on the right, so drag the solid white line (transition
line that sets the progression of blur) and the dotted line (full blur
boundary line) into position as shown here. The blur will be too
Step Four: The symbols are black and we want them to be white,
strong in the low-res practice file, so set the Blur to 3 px in the Blur
so press Command-I (PC Ctrl-I) to invert them, then click on the layer
filled with white at the bottom of the layer stack, and invert that, as
well. The end result is just a little blah, so click back on the duplicated
symbol layer, press Command-L (PC: Ctrl-L) to bring up the Levels
dialog, and drag the highlight and midtone sliders toward the left to
Step Seven
042
Step Eight: Using the Move tool, drag the symbol closer to the
your Lasso tool (L) and draw a selection around one of the equa-
panel to about 95% and adding a slight gradient mask to the left
side of the equation will help it settle into its space a little more.
on its own layer. Now grab that equation with the Move tool (V)
To add a gradient mask, click on the Add Layer Mask icon (circle
in Step One. (Tip: If you hold down the Shift key while dragging-
set the Foreground color to black, select the Gradient tool (G),
tion, Right-click on its layer name in the Layers panel and choose
click OK, select the Linear Gradient icon in the Options Bar, and
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
then drag from the left edge of the document to the middle of
Step Five
the symbol.
Step Eight
043
Step Nine: Now you can repeat the process with a new equation
or symbol. We used Distort on this second one to make it look like
it was angling in from the top-right corner, and then we applied
the Tilt-Shift filter right in the middle so that both the top and
bottom edges were blurry.
Step Ten: Now its just a matter of putting in all of the elements
you want and blurring each of them to look the part. How much
and where to blur is going to be driven by where the symbols
fall within the scene. The goal is to create a cocoon of clarity in
the center of the image while having all of the edges fading into
blurriness. This may take a little bit of tweaking, but because
each layer is a smart object, you can double-click on the words
Blur Gallery in the Layers panel and redo the blur for any layer
at any time.
Step Nine
044
layers, and set it to Hard Light in the Layers panel (the image we
used was from Adobe Stock and it was called blue shiny bokeh
background). This will give the eye of the viewer a reason to
accept the wonky depth of field and not be so critical if there are
any inconsistencies (an old compositors trick).
Bokeh Background: Adobe Stock/nikkytok
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
picture, grab a nice debris image, place it on top of all of the other
So there you have itdistort a few symbols to change their perspective, add a little blur, and youre done. It took longer to write
this article than it will take for you to get the hang of this technique. Its a great go-to design option that can take you from
stuck to styling in no time. Instead of symbols, try leaves, flowers,
rain, etc.; the possibilities are endless.
Step Eleven
BEGINNERS' WORKSHOP
HOW TO
Beginners' Workshop
how to add artificial snow to a photo
tical to make the snowflakes fall straight down. Next, set the
Stroke Length to 5 for low-resolution images or 1015 for highresolution images, and then set the Light/Dark Balance to about
The Sketch category of filters is handy for adding texture to an image. It houses a variety of pens, crayons, paper,
etc. that give images a hand-drawn look. In fact, the Graphic Pen filter generates random streaks in the direction
and length you choose, which makes it perfect for adding realistic snow. Read on!
90. You can think of Stroke Length as flake size and Light/Dark
Balance as the volume of snowfall: Set it to 60 for a blizzard or
to a higher number (like 90) for lighter snow. Click OK when
youre finished.
Step Five
Gallery Groups and Names. This enables you to see all the filters
in the Filter menu; otherwise, the menu is truncated and you have
click OK.
also causes the filters real names to appear in the Layers panel
when you run them; otherwise, theyre generically named Filter
Gallery. If the filters dont immediately appear in the Filter menu,
Step Seven
Step One
photo and set the Background color chip at the bottom of your
the D key on your keyboard to set your Foreground and Background color chips to the default of black and white, respec-
tively. If your color chips are already black and white but white
white is on bottom.
Step Three: Add a new image layer filled with black and
Step Two
snow in the Name field and set the Mode drop-down menu
046
If the new layer isnt at the top of your layer stack, make it so by
serve your layers. This lets you reopen the file and tweak the
effect later if you need to. To generate a version in a differFile>Export>Export As or File>Export>Save for Web. Here
object around the layer so any filters that you run affect the
wrapper instead of whats inside. The filters name also appears
as an entry in your Layers panelif you dont like the result, drag
the filters name to the trash icon at the bottom right of your
Layers panel.
Step Four
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
OK. The Screen blend mode lightens the underlying photo and
Step Nine
047
HOW TO
DYNAMIC RANGE
Dynamic Range
printing in the third dimension
COREY BARKER
Many years ago when I was starting my career, I was hired at a sign shop in Orlando as a designer and also to run
the printers. As a working sign shop, it was just getting into large-format printing, and they were mainly using a cutplotter machine to cut the vinyl for the signage. This was my first exposure to this kind of technology and I found it
rather interesting. A vinyl sign plotter is like a printer but, instead of a printhead with ink, theres a small cutting blade.
Once the vinyl sheet is loaded into the machine, the knife cuts along a predefined vector path thats already been set
in the computer, resulting in a precise decal. Then you peel away the background to reveal the sign.
Ultimaker 2 Extended
once youve done that, its time to load the filament mate-
work? The printhead is at the top and can only move on the
is very real and very cool. While 3D printing has been around
start printing, and then slowly moves down the Y axis as the
So, with my printer all set up and ready to go, the next
thing to do is load the material.
one came along with the idea to make the printhead lay
print and ship the 3D model back to you. And this is a great
048
Ultimaker 2 LED
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
049
DYNAMIC RANGE
DYNAMIC RANGE
the machine and feeds into a tube that leads to the print-
page (www.photoshop.com/products/photoshop/3d/printing),
head. Just like loading paper in a regular printer, you set the
click on the link for the latest 3D printer profiles, locate your
has a simple user interface and intuitive tools to help you set
Cura interface
The other method allows you to process and export the formatted model right out of Photoshop but youll need to install
the printer profile first. Just go to the Photoshop 3D printing
3D print file to the SD card, and then plug the card into the
tains some sample 3D models that you can print right away,
advanced features.
050
and I was able to work out a few bugs and tweak a few
things before printing my own creations. Id certainly recom-
mend doing this. You can also connect the printer directly to
your computer via USB; however, the manufacturer recommends the SD-card method, because a direct connection can
Print Settings, which will open the Properties panel. You can
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
Photoshop webpage
Expert screen
051
DYNAMIC RANGE
DYNAMIC RANGE
printing. The longest print Ive done on the Ultimaker was 6.5
hours, and that was for a 3.5" tall model of R2-D2. So, plan
your prints later in the day, and leave them to print overnight.
decided to print that first, and it came out okay until it got to
the file through Cura to set it up for printing. When you load
and have sped it up for you so you can see the entire process.
came with a standard glue stick so you can apply a thin layer
how easy the setup and output was. If theres anything truly
print spare parts for home appliances and such. But there are
complicated about the process, its on the front end with the
those innovative few who are making big strides using the
even Photoshop 3D, that will be your biggest hurdle; but the
052
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
Thors Hammer
053
ALL IMAGES BY COREY BARKER
HOW TO
SCOTT VALENTINE
This issue, Im taking a little departure from talking about how Photoshop does its thang. Instead, lets talk
about my favorite kind of extension: the kind that helps you do your own work faster and more efficiently.
Flow to very low values so you can build up the effect gently,
which is key for getting a refined, smooth look. But the script
Check out the highlights in this crop. Can you see them easily?
the most control over the final result. And since this months
cies.
strom (http://retouchingtools.com).
one
feature
so of setup to a couple
This
aimed
be in any photographers
toolkit.
toolkit
is
centerpiece
The
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
054
with
to tweak.
brush
I described in an earlier
February
March
90).
2015,
find problem areas very, very quickly. There are other helpers
for color, hue, luminosity, and saturation. You can work with
these turned on above your editing layer, or toggle them
on and off for quick checks as you work. I tend to leave the
Solar (solarization) layer on when Im doing my first pass at
frequency separation.
setup
p.
2015,
The highlights, tonal variations, and color shifts all stand out
p.
92),
k e l b yo n e . c o m
This
Eye Help layers. Theses are tools for helping you to see the
055
So Much More
A Better Path
Heres the takeaway: the Retouching Toolkit enables faster,
more consistent workflow. This is not trivial or just a feelgood message; its a professional-grade set of tools. Ive
found myself going to them for almost every image that
needs traditional retouching and cleanup, including landscapes and abstracts.
The Retouching Toolkit wont be a fix for poor technique,
and it wont give you a signature style, special effect, or anything like that. Its much, much more. It gives you a better
path to getting the tools out of your way and into your service. And that is, after all, why I write this column.
[The Retouching Toolkit normally retails for 59.95
(around $66), but KelbyOne members can get a 15% discount at http://kelbyone.com/discounts through December
056
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
31, 2015.Ed.]
Before
Before
ALL IMAGES BY SCOTT VALENTINE
PHOTOSHOP TIPS
D E PA R T M E N T
Photoshop Tips
COLIN SMITH
Consistent Color
Combine Images
Ive really enjoyed bringing you tips all year and for more than the
Have you ever combined two photos and one of them looks really
Say you have two images open in separate documents in tabs and
weird because the colors are all muddy and desaturated? This is
last decade. I wish you Happy Holidays and a great New Year.
Here are some tips for you to enjoy with a nice hot drink (unless
because the color spaces of the photos are different. Color man-
do you do? There are several ways to do this, but heres the most
youre Down Under, then a cold one). Ill see you all in 2016!
agement can get really deep, but heres what you need to know:
efficient way. Choose the Move tool (V), click in the middle of the
first image, and drag it to the tab of the second document. Wait a
CC Libraries
as Photoshop would set the ideal space each time, this isnt the
into this document and youll now have the two images on sepa-
just proceed to the next tip; if youre on CC, I hope youre using
choosing the Destination Space Profile. There are three main RGB
rate layers in the same document. Bonus tip: Hold down the Shift
rect (hence Optical kerning). Other times its just off. One place
profiles that we use: ProPhoto RGB, which supports the most col-
key and the image will be perfectly centered when you drop it.
that you reuse, such as logos and layouts, nice and handy. You
ors; Adobe RGB (1998); and sRGB, which is the smallest but best
can save all kinds of things to your Libraries (but I did say lay-
for Web. Note: Youll lose some colors going to a smaller profile,
Custom Workspace
outs, right?).
too much space added. Its easy to fix, though. Grab the Type
so try to stay in the largest profile until youre ready to share the
file, then its more important for the colors to look right.
tool (T) and place the insertion point in between the two charac-
ters youd like to kern. Hold down the Option (PC: Alt) key and
shop. You know how it is. You find your favorite panels that
tip to make this possible. Group the layers together into a smart
tap the Left Arrow key to close the kerning (tighten), or the Right
you use all the time, and there are others that you never use.
object or a layer group (I prefer the latter), and then add the
Im sure the panels that you never use are useful for someone
else; you just dont need them. So why deal with panels that
058
get in your way and have to hunt for the ones you use all the
time? Then, heaven forbid, you need to clean up all the open
tom Shapes, Styles, Gradients, and more. You can also load in
(folder) at the bottom of the Layers panel and drag your layers
custom presets, as well as save your own. You could dig around
a custom workspace. Close the panels you dont use and open
the ones you use most often. Drag the panels around to group
place all the layers into a smart object, select all the layers in the
and dock them together until you have your perfect working
theres a central source for all the presets: the Preset Manager
to Smart Object.
one place to load, organize, and save all of your presets. You can
Smart objects are useful for many things, the most obvious of
Layers Beneath
Object. Add your filters, layer styles, adjustment layers, etc. Now,
above the currently active layer. You can alter this behavior by
when you want to update the image with a real working image,
the Create a New Layer icon at the bottom of the Layers panel.
When you do this, the new layer will now be created directly
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
group or smart object to the Libraries panel. This Library will now
059
ALL IMAGES BY COLIN SMITH
The Rules
These are my annually self-imposed guidelines for which products make it into the guide. Its just two rules actually.
First, to be listed here, they have to be products that I use myself, and that I absolutely love, and now cant live without
(well, I could live without them, but I just wouldnt want to). Second, if a product makes the guide, it has to be one Id
recommend to a close friend without hesitation, especially if my friend was Justin Bieber.
Also, to make things easy, we put up a webpage with direct links to all the products in the guide, so you dont have to
wonder if youre getting the exact right one. Just go to http://scottkelby.com/15gearguide. Okay, folks, hang on to any
loose body parts; here we go!
As is my sacred Gonzo tradition for more than a 10th of a century, Im breaking things into three distinct categories:
S tocking Stuffers: But you can use these as actual holiday gifts if youre not that crazy about the person.
Great Value Gear: Stuff thats a really good deal for the money, and even though its not a lot of money, theyll
still totally dig it.
Cha-ching!: Stuff you buy for the surgeon/Wall Street banker/rap mogul on your Holiday gift list. This is the stuff that
makes them burst into spontaneous tears of joy. Well, at least I would.
060
elcome to my 10th Annual Gonzo Holiday Gear Guide. I know its hard to
believe that its been ten years. When I wrote the first one, Roosevelt was still
President, The Dick Van Dyke Show was a prime-time hit, and the Spice Girls
had just released Sgt. Peppers Lonely Hearts Club Band (please dont dwell too long on
any of thatjust let it go). Anyway, thats not important; whats important is that there
are some really cool, fun, and tasty gear in this years guide (including my throwback
pickthe Flowbee). Its almost time to unleash the gonzoness of this guide upon you,
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
Stocking
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061
If theyve ever wanted to create really professionallooking headshots, theyll love Peter Hurleys The
Headshot. It came out this year and its already
going into its third printing. A huge hit! (Full
disclosure: I was the development editor, and
despite thatits still a good book.)
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
www.tethertools.com
Price: $24.95
062
Great
ValueGear
Perfectly Clear Plug-in 2.0
k e l b yo n e . c o m
063
http://camranger.com
Price: $299.99
064
This is a shelf that attaches to a tripod to hold your laptop for tethered shooting, which by itself is incredibly convenient
for shooting in-studio or on location, but the optional accessories they make for it are awesome, including a little
under-mounted holder for external hard drives, to a secondary holder for your iPad, to a pullout drink holder that
I personally just love. Its totally worth it.
www.tethertools.com
Price: Starting at $175.95
k e l b yo n e . c o m
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
www.platypodpro.com
Price: $49.95
065
This is a really personal giftgiving one of your images, framed, to someone else. The impact this will make is pretty
incredible. Expect them to follow you around like a puppy for the rest of the year for giving them something only
you could do. You upload your image to MPIX.com; pick your mounting, framing, etc.; and theyll ship it directly to
the person on your gift list. Dont go chinchy on the sizeget a 16x20" or larger (figure around $100 with mounting,
framing, printing, and delivery or more if you choose a larger size).
www.mpix.com
Price: Varies
www.fjwestcott.com
Price: $169.90
066
www.vellogear.com
Price: $49.95
Not exactly sure what to get them? Get them this! That way they can get whatever they want (within the limit of
how much you put on the card, of course) from the greatest photo store on earth. You can order gift cards directly
from the B&H site. Theyll send a card and a catalog so it looks pretty substantial.
www.bhphotovideo.com
Price: Up to you
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p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
DxO ONE
067
Cha-Ching!
If you want the photographer on your list to fall in love with you with a burning passion that knows no bounds,
get them this awesome little battery pack that can use two small lightweight (but very powerful) flash heads. This
is what I use when I want studio-quality light on location, and this latest version is better than ever. It has its own
built-in (better) version of high-speed sync for freezing motion and strobe special effects thats just awesome. Very
lightweight battery back, well designed, and incredible for the money.
www.elinchromus.com
Price: $1,019 (without optional Lithium-ion battery or strobes)
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
An Ultra-Wide-Angle
Fisheye Lens
068
Canon imagePROGRAF
PRO-1000 Professional
Inkjet Printer
k e l b yo n e . c o m
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COLUMN
DesignMakeover
JAKE WIDMAN
DESIGN MAKEOVER
CLIENT
CLIENT
www.CaliforniaAvocado.com
www.CaliforniaAvocado.com
avocado advocacy
before
072
the project
At Red Door Interactive the project got under way with a review
of the websites Google Analytics data stretching back to 2010,
and measuring it against key performance indicators. The review
showed that site visitors engaged most with recipe-oriented
content and how-to information focused on growing, buying,
ripening, and using California avocados. It also revealed that
dated content and pages located deeper in the site structure
didnt attract much interest from users. Similarly, while the site
contained a popular blog called The Scoop, it wasnt integrated
within the main site structure. Users had to follow a link to view
the blog content, so one goal for the redesign was to achieve a
more unified experience.
The designers also felt that the visual aesthetic of the existing
website had grown dated and didnt match up with modern design
trends. We wanted to leverage long scroll pages and interactive
components to raise the visibility of high-value content, and avoid
unnecessary levels of navigation, says Charles Wiedenhoft, Red
Door Interactives director of strategic planning. A lot of focus
was on making it easier for users to discover new recipes by showcasing them in a visual mosaic, and improving search functionalityshowing more recipes up front instead of requiring users to
dig into the recipe categories.
Specific redesign strategies included optimizing the site for
smartphone and tablet devices; better visual communication to
enhance the overall site experience; simplifying global navigation
that would make it easier to scan, with labels representative of site
content; cross-linking related information to increase engagement
throughout the different sections; integrating social content and
the blog; and increasing the size of the social icons and on-page
sharing features.
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.
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DESIGNER
DESIGNER
www.reddoor.biz
www.reddoor.biz
the process
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DESIGN MAKEOVER
the result
From the Commissions side, the redesign effort was a great success. When landing on www.CaliforniaAvocado.com, youre
now greeted with appealing visuals, a clear distinction that youre
on a website that focuses on California-grown avocados, and delicious-looking recipe images that entice the appetite and reinforce
CACs premium positioning, says Benedict.
He also points to the successful integration of the site with the
Commissions offline campaign efforts, saying, There are subtle
nuances throughout the site that tie in to the offline look and
feel. Red Door Interactive is also involved with the Commissions
existing creative efforts, which both makes it possible to incorporate the upcoming campaigns overall appearance and lets the
Commission adapt the site to future campaigns.
The site redesign also came at an ideal time: Just a week or two
after it was launched, Google announced a change to its search
algorithm that would penalize websites that didnt have a mobilefriendly presence. The responsive design effort should pay off in
that respect.
Red Door has continued to run analytics on the site. In its first
full month since the launch, the site attracted an all-time high
number of visitors, while page views increased almost 150% over
the same month last year. More than half of the site traffic is coming from mobile devices (a year-over-year increase of 1,000%), and
visits from organic search have remained steady.
As the manager of the project on the client side, Im pleased
and satisfied with where we ended up, says Benedict. Red Door
Interactive did a fantastic job.
Started in 2002, Red Door Interactive (www.reddoor.biz) currently comprises a team of more than 60 people distributed among three offices: at Petco Park in San
Diego, California; by the beach in Carlsbad, California; and in downtown Denver, Colorado. With more than a decade of experience, a competitors attitude, and a
yearn to learn, the firm claims the ability to help its clients find opportunity in the haze of constant battle, zig when others zag, and work a plan.
Red Door builds its culture on such management and leadership tools as StrengthsFinder 2.0, Topgrading, Ownership Thinking, and Lean Six Sigma. The result
is award-winning work and a workplace to attract and retain the best talent.
The company culture is defined by the values of inspiration (working with passion, pride, and purpose to encourage each other to take chances); sharing ideas,
skills, and philosophies; evolution, or changing in order to grow; and exceeding, or looking for ways to take the next step. The company is also committed to a
100% jerk-free culture of open-minded acceptance and respect.
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>>LIGHT IT
LIGHT IT
LIGHTING
WHAT FUN WE HAD A FEW MONTHS AGO, TRYING TO PHOTOGRAPH-
MY STUDIO
By Rick
Sammon
WEB. I FOUND THE POSTER AFTER WATCHING THE MOVIE FRIDA (STARRING SALMA
HAYEK AS FRIDA AND ALFRED MOLINA AS HER HUSBAND/ARTIST DIEGO RIVERA),
AND THEN BY DOING A SEARCH ON THE WEB FOR THE MEXICANS ARTISTS LIFE AND
WORKWORK THAT I FIND CREATIVELY EVOKING AND PERSONALLY INSPIRING.
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FRIDA
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LIGHT IT
THE MODEL
Here are two fun shots of Glo, my model for this shoot. The one
on the left is while I was testing the lighting; and on the right,
I was joking around with Glo so shed be relaxed for the shot.
I find this pre-shoot time is important in developing a rapport
with my subject.
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Earlier on the day of the shoot, our team went to a Jo-Ann Fabric
and Craft store to pick up the props that we needed: material
background, flower headpiece, and costume jewelry. (Cost was
$80 with Glos student discount.)
I took this shot in our kitchen, as Susan helped Glo get
ready. We had a printed copy of the Frida poster, and also had
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Glo has a natural inner and outer glow about her, but to
enhance that glow and soften her skin, I used Perfectly Clear,
a Photoshop and Lightroom plug-in from Athentech Imaging (www.athentech.com). Its my number-one plug-in for
enhancing portraits: softening skin, reducing shine, removing
dark circles, and so on.
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THE PROPS
RE-CREATE
If you want to learn about lighting and portraiture, try this: Find
a photograph or painting that you like and try to re-create it,
but using your own style. Try to re-create highlight and shadow
patterns, and to capture the same kind of expression.
Another way to put it is like the title of the best-selling
book by Austin Kleon: Steal Like an Artist: 10 Things Nobody
Told You About Being Creative. I found the book to be inspiring. My favorite inspiring quote by Salvador Dali is: Those
who do not want to imitate anything, produce nothing.
To illustrate this idea further, do a search on the Web for
Rick Sammon Girl with a Pearl Earring, and Rick Sammon
Old Man in a Military Custom, and youll see how I recreated two other images.
LIGHTING TIPS
Here are some tips for creating softer light on your subjects.
The larger the light, the softer the light.
The closer the light, the softer the light.
Dont point the lights directly at the subject; instead,
place them so the light falls across her face at an angle.
The pros call this technique feathering the light,
which produces a softer light than direct light.
And heres a softbox tip: Get a softbox with a recessed
diffusion panel, as opposed to one with a panel thats
flush with the face of the softbox. The recessed panel
lets you shape and model the light on a subjects face
more accurately.
Susan Sammon
bright flash can intimidate a subject, and Glo isnt a professional model. Its also easier to see the shadows and highlights
on a subjects face when using constant lights. (Although having said that, with some Speedlites, like the Canon 600EX-RT
that I use, you can get a modeling light when you hold down
the depth-of-field preview on some Canon cameras, such as
the Canon 5D Mark III and Canon 5Ds.)
One advantage of using Speedlites over constant lights is
that you can shoot at a lower ISO (for less noise) and a smaller
aperture (for more depth of field). So, when using constant
lights, you may need to shoot at ISO settings of 400, 800, or
even higher. If you do get some noise in your photographs,
dont worry: You can reduce the noise in Adobe Photoshop,
Lightroom, or with plug-ins such as Topaz DeNoise. For more
advice on lighting, see Lighting Tips.
LIGHT IT
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PHOTOGRAPHY SECRETS
proof
by Tom Bol
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There are three basic camera systems you can use to shoot over/
under images. Ill start with the least expensive compact cameras
($200300), which offer a lot of performance and great image
quality. Most major camera manufacturers, including Nikon,
Canon, and Olympus, to name a few, have a waterproof compact camera in their lineup. Im a Nikon shooter, and I love the
bombproof (waterproof, shockproof, and freezeproof) Coolpix
AW130. Similar to other compacts, the AW130 has minimal
doors, which means less rubber gaskets (i.e., fewer places for
water to seep into your camera). The lens is the equivalent of a
24120mm, and this is important for over/under photography, as
you need to have a wide-angle lens that can capture below and
above the water. The 24mm is about the minimum, and a wider
angle is better and easier to create these images.
Most compacts are waterproof to 100' or more, so you
dont have to worry about shooting on the surface. Perhaps
the best thing about these cameras is that you can knock them
around and they still dont leak. And theyre small enough to
put in a shirt pocket. (The GoPro could also qualify in this category; but I put this camera more into the video category, rather
than a dedicated still camera.)
Next in the lineup is a unique camera offered by Nikon: the
mirrorless AW1. This camera is the only one on the market that
is waterproof and has interchangeable lenses. Each lens firmly
attaches to the camera body, and a rubber gasket keeps the
water out. For over/under photography, use the 10mm lens for
a wide-angle perspective. The image quality in this camera is
noticeably higher than in the compacts, and with this comes a
steeper price: $699.95. The Nikon 1 AW1 has more doors and
interchangeable lenses, so you need to be a little more care-
ful to avoid hard knocks on the lens. This is, however, a great
option between a compact and DSLR with housing.
Last, and most expensive, is a system that uses a dedicated
housing with your DSLR. Often the housing costs more than your
camera, and will only
work with that particular
model; but you have full
access to all your controls,
and the ability to use different lenses with different lens ports attached
to the housing. Hands
down, my favorite lens
for shooting over/under
images is a 16mm fisheye
with my full-frame DSLR.
The 16mm lens gives
you a 180 view, making
over/under images simple, with room to spare. I use an Aqua
Tech housing (https://aquatech.net) with dome port for my fisheye lens. The AquaTech is a sport housing thats meant to be
used at or near the surface, and it can take a lot of bumps and
knocks and still keep your camera safe and dry.
Note: You can go deeper with a standard dive housing,
which is meant to keep things sealed tight as you descend into
more water pressure; but at the surface, these housings can leak
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PHOTOGRAPHY SECRETS
Once youve chosen your gear, the fun begins. You get to jump
into the bathtub-warm, cerulean waters of the Caribbean and photograph marine life and super models snorkeling past! Well, maybe
something like that, but you do get to shoot in the water. Lets
discuss a few tips that will help you with your over/under shooting.
Start shooting first in shallow water, ideally where you can stand:
Most people arent nearly as agile in the water as they are on
shore, especially with a camera in hand. If youre standing on the
bottom, its easier to get a good shot; however, be careful not to
stir up the sand as this will reduce clarity and cause backscatter.
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Shoot in calm water: Next, shoot in the calmest water you can
find. If youre shooting with a small waterproof compact camera,
the lens diameter may only be 1" across. To perfectly split the
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Cree Bol
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Over/Under Techniques
under and above water parts of the image, you need flat water.
Even the smallest waves will cause lots of trouble when youre
trying to capture the perfect over/under shot. (But you may get
some cool creative shots just trying.)
Cree Bol
with just one little bump. And the inexpensive, plastic waterproof
camera bags will keep your gear dry, but they often fog up and
dont give you much access to camera controls and settings.
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PHOTOGRAPHY SECRETS
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ALL IMAGES BY TOM BOL EXCEPT WHERE NOTED
After
the
Shoot
One of the greatest joys of photography is our ability to go out and make
beautiful pictures of the places that we visit. Lightroom is one of the best
places to collect and organize these travel images. Unfortunately, many of
us spend lots of time shooting the images, only to mass-import them into
Lightroom, and then never really do anything with them. In time, we forget
all of the details of this vacation, and we dont go back to these images to
find those great moments. Id like to give you a few tips and ideas to keep in
mind for your travel shots that will help mitigate this process.
Rob Sylvan
BY SEN DUGGAN
&
&
Tips Tricks
BY SCOTT KELBY
Questions Answers
Maximum Workflow
BY SEAN McCORMACK
palette
B Y R O B S Y LVA N
Lightroom Workshop
BY SCOTT KELBY
BY RC CONCEPCION
Scott Kelby
Rob Sylvan
Scott Kelby
RC Concepcion
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During the import process is a great time to apply some keywords to your travel images; but its not the time for you to
get specific. In the bottom-right of the Import panel, add
keywords to your images
that will apply generally to
the trip that youve taken,
but dont try to add individual keywords to individual images. (Doing so will
just separate you from the
excitement of looking at all of these pictures.) Once youve set
general keywords for your images, you can always go back
and add specific keywords to them at a later point in time.
for several days, you could do something similar, for example: Create multiple collection sets in this main collection set
for Day 1, Day 2, and so forth. In each of those collection
sets, you can then place two additional collections named,
All Images and Favorites.
While this may sound a little time-consuming, youll be
surprised how fast you can get it done after youve tried it a
couple of times. Having an organization like this will solve a
few issues:
When your Lightroom collection is really big, the All Photographs view is hard to navigate, and you may find it difficult
to isolate the set of images for your vacation without overshooting them with your mouse. Having all of the images
in one place makes scrolling within that subset a lot easier.
By focusing your editing sessions on one location (or day)
at a time, you can speed up the culling/editing process.
If you want to build a site or a book, this type of organization will give you a good foundation to start laying
out your trip visually.
lightroom magazine
Select your cell phone image first, then Shift or Command-click (PC: Ctrl-click) on all of the other images in the
Filmstrip to select them, then click on the Sync Metadata
button at the bottom right of the module. A Synchronize
Metadata dialog will appear, allowing you to copy the GPS
Once youve created a couple of collections inside a collection set, you can select those sets by Shift-clicking them
and then Option-drag (PC: Alt-drag) those selected collections into a new collection set to copy them.
Now you can drag the images into the appropriate collections inside the collection sets and get your travel shoot a
little more organized.
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step one:
Lightroom
Workshop
in the left side Panels area, where youll find eight dif-
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step five:
step four:
step six: Now, go the Split Toning panel. In the Highlights section, set
the Hue to 54 (for an amber tone) and
Saturation to 80, so theres a lot of it.
In the Shadows section, set the Hue to
218 (kind of a powder blue) and the
Saturation to 45. The Balance slider in
the middle lets you choose the balance
between the Highlights Hue and the
Shadows Hue. Drag the Balance to 36,
so the image is leaning toward the blues
in the shadows. Now, lets save it as a
preset. In the Presets panel, click on the
+ (plus sign) button on the right side of
the panel header to bring up the New
Develop Preset dialog (shown here).
Give your new preset a name (I named
mine SK Cross Process 1), click the
Check None button at the bottom of
the dialog (to turn off all the checkboxes), then turn on the checkboxes beside all the settings you edited (as seen
here). Now, click the Create button to
save all the edits you just made as your
own custom preset, which will appear
under the User Presets collection in the
Presets panel.
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step seven:
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Under
the
Loupe
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step two: Click the Choose button and go to the Applications folder (PC: Program Files).
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place where you can enter your serial number to get out
of trial mode.
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step one: Unzip the plug-in file, which will have an .lrplugin file extension, and place the plug-in in a folder that youll
be able to find easily. I created a folder named Lightroom
Plugins for this purpose.
step two: Open the Plug-in Manager via the File menu.
The Web module often gets overlooked for being too simple,
Lightroom that can greatly expand your website options.
There are a few Web engines available on The Photographers Toolbox worth checking out, including some that
allow you to go way beyond the basic Web gallery. My
favorite source for Web module plug-ins is The Turning Gate
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what is palette?
Palette is a modular system based on magnetic modules with
pins and contacts. The Palette power module (called the
Palette core) connects to the computer via a USB cable. No
further power is required; it all comes from the USB connection (theres a power adaptor connection, so its possible to
power it externally). The Palette core contains an OLED screen
thats bright and easy to read, showing the currently active
profile. There are three module types that connect to the
Palette core: the slider, the dial, and the button. The button
looks like a proper arcade gaming button with a reassuring
feel in use. The dial rotates continuously, while the slider is a
simple but efficient fader. The modules are well constructed
and reassuringly solid, with an Apple laptop aluminum finish
(theres a wood version in the works, as well). Each top panel
is surrounded by a small gap near the edge where an internal
programmable LED shines through.
Each module has pins on one side, and contacts on the
other three. The pins from any module must connect to the
Image courtesy Palette; Picture of model: Ted Belton
palette
BY SEAN McCORMACK
you apply and can be saved for reuse. The application will tell
miere Pro. Its also profile based, meaning you can change
setup for rating, another for editing, one for lens correction
what the setup does by changing the profile. You can have a
or split toning, etc. Any of the Lightroom functions available
can be added to any profile. You can also program buttons
to change between profiles for quick access.
setting up palette
Lets take a look at how to install and set up Palette.
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Maximum
Workflow
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where the party asked for another shot. For images I want to
or click on the Palette core in the app. Type the name and
want to apply. Here its the Right Arrow key (KEY Right). Click
click Done.
Youll also see the name of the profile in the tab at the top
of the application. Its neat how the app reflects the current
the option to move to the next shot isnt in the menu. Thats
okay though; I can add it manually. I could add a Pick button, but really I just want to go to the next image, so I need
to add a Right Arrow shortcut.
step twelve: The Palette is ready to go! But thats not all
we can do to help speed up our workflow. Each module also
has a colored LED surround that can be changed to make
the addition.
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little, and occasionally Ill use Shadows. I find dials better for
als, and two sliders. You can purchase a few different kits and
step ten: Next, click the green button to activate the Press
Action button.
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step five: The setup I have contains two buttons, two di-
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In use, the dials and sliders can control the same things,
Now that youve created your first profile, its worth saving it
for easy access and for sharing. Click Save Profile on the top
right of the screen. For easy reference, use the same name
on how you rotate the dial. You can also press the dial down
that the sliders represent what you see with Lightroom slid-
itll be dials.
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using palette
to Lightroom.
Lightroom Magazine
Lightroom Magazine
&
Questions Answers
I dont see the advantage of Lightrooms
built-in HDR except for the fact that it
combines three images into one. When
its done, it looks just like the normal
exposure. What am I missing?
Well, I always say it looks like the normal exposure with a
1/2-stop or so brighter; but youre right, it doesnt look
HDRd or tone-mapped, as youd normally see. So, whats
the advantage? Its mostly that you can now open up the
shadow areas quite a bit without seeing noise, so you can
push what you do farther in Lightroom postprocessing without the image getting all noisy on you. Ive also found that
the images seem sharper (to my eye anyway), and oftentimes,
I dont apply any sharpening to these combined HDR images
for that reason: They already look on the edge of crunchy.
Give it a look and see what you think.
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First, make sure that you have the latest version of Lightroomtethering support is often added in free updates from
Adobe, so check that first. If you do have the latest version,
its possible that your camera make/model isnt supported for
tethering. Adobe posts a list of cameras they currently support at this link: https://helpx.adobe.com/lightroom/kb/tethered-camera-support.html. If your camera isnt on that list, it
wont tether (and my guess is, thats what the problem is).
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SCOTT KELBY
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&
TipsTricks
soft proofing in lightroom cc
SEN DUGGAN
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When viewing the soft proof of the image, you may decide that
you want to make some changes to get certain colors to look
better. Since changes made to an image for a specific output
device may not be how you want the main version of the file
adjusted, click the Create Proof Copy button under the histogram to create a copy for soft proofing. Or, once you begin to
make any changes to the Develop settings, Lightroom will ask
you if you want to make a proof copy. Proof copies are essentially the same as virtual copies, but are used for soft proofing.
To activate soft proofing, you need to be in the Develop module. Turn it on and off by clicking the Soft Proofing checkbox
under the large preview or simply use the handy keyboard
shortcut of S. A label on the top-right side of the preview area
will indicate that youre viewing a Proof Preview.
ADOBE PHOTOSHOP
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ALL IMAGES BY SAN DUGGAN
Product Reviews
ParticleShop
Corels Painter Particle Brush Technology
Comes to Photoshop
Review by Corey Barker
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sound level and frequency. Its fun, but I doubt if it will add
much to your creative control.
In my opinion, new dab types are more useful, and Painter
2016 has a few. The new dab types apply to both Particles and
Liquid Ink or Watercolor brushes.
Paper and Flow Map rotation are also a big improvement.
These two allow you to change the angle of the texture and
Flow Map, resulting in subtle or dramatic changes (depending on the media) in the look of a stroke. Its the grain that
gets rotated, which makes it look like youre really working on
physical media.
Blending 2, an improvement thats probably long overdue,
improves multicolor blending so you wont have to put up with
white or black fringes anymore.
A last overdue feature that I welcome is a set of Hints and
Tooltips. Unless you turn them off, youll now get help with
almost anything you do. Change a brush parameter? A Tooltip
shows you graphically what to expect. Brushes come with a
complete help panel (Hints). For a complex app like Painter,
these two helping hands will appeal to newcomers as much as
experts who dont want to memorize every brush.
Company: Corel Corporation
Price: $429
Web: www.painterartist.com/us
Rating:
Hot: Improved help; new brushes; rotation of Flow Maps and grain
Price: $49.99
Web: www.painterartist.com/us
Rating:
Ultimaker 2 Extended
Easy-to-Use 3D Printer
Review by Corey Barker
a variety of colors starting around $41 per roll. Both PLA and ABS
filaments are available.
Since I havent used other 3D printers, I cant say with certainty
how well it ranks with the others, but all-told its an impressive
tool thats effortless to set up and use. While 3D printing at a
consumer level is still somewhat a novelty, the costs have come
down. When it comes to 3D printing, the one thing you need
regardless of the printer is patience!
Company: Ultimaker B.V.
Price: $3,030
Web: http://ultimaker.com/en
Rating:
Not:
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Painter 2016
As a longtime Photoshop designer, Ive rarely been a user of special effects plug-ins. Many have come and gone over the years,
and some have even ended up in Photoshop as a standard feature,
but Ive never discovered one that became a key part of my special effects workflowuntil now. Corel, which is best known for
Painter, its extremely powerful painting software (see review on
the opposite page), has released a new brush plug-in for Photo
shop called ParticleShop.
The coolest thing about Painter has always been its brush
engine. You can create unique brushes to achieve effects that you
just couldnt do in any other applicationnot even Photoshop. Id
often go into Painter to generate a brush effect and then bring
it back to Photoshop to finish a design. Well, that process is
history for me, because ParticleShop brings the very brushes
that I love in Painter to the Photoshop workspace. Using the
Corel Painter Particle brush technology, ParticleShop allows
you to create photorealistic effects from dust and debris to fur
and hair, to flames, smoke, and steam. Corel refers to these
as living brushes, which means that theyre not simply static
brushes; they spring, flow, gravitate, and glow, based on the
artists pressure and stroke.
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EL-Skyport Plus HS
17hats
Elinchrom strobe users rejoice! The much-requested, long-anticipated refresh of the Skyport radio transmitter has finally arrived,
and Im happy to report its been well worth the wait. Elinchroms
new EL-Skyport Transmitter Plus HS (Skyport HS for short) is a
quantum leap forward, boasting must-have features, real-time
visual feedback, and a simple, easy-to-use digital interface.
First and foremost, the Skyport HS features a large LCD screen
that allows users to visually monitor and precisely adjust strobe
power from the camera position. Designed in collaboration with
Phottix, and sharing the same physical housing as that companys
Laso Transmitter (reviewed below), the Skyport HS has four function buttons and a large digital dial for fast setup and control.
With 20 Channels and four Groups for both Normal and Speed
Sync modes, users get a ton of built-in flexibility.
Additional amenities include features such as Hi-Sync, up to
1/8000 sec with Canon and Nikon cameras; an AF illumination
beam; a sure-lock mounting foot; and an extended working
range up to 656' (200 m). Created with the future in mind, the
Skyport HS also includes a built-in USB port, allowing new fea-
From a one-person operation to a small- or medium-sized business, you must have intuitive and easy-to-use software to stay
organized. Simple tasks, such as getting complete contact information or following up on contracts, can fall by the wayside if
you dont have your workflow under a standard operating procedure. With 17hats, you have an effective online-based process of
going from business lead to receiving payments, and the followups and automated tasks can also save a lot of time.
Theres a slight learning curve for anyone who has used a similar product, so its best to use a forget-what-you-think-you-know
approach and start fresh. The interface is in very direct language,
and each aspect of a new entry is done in a simple, step-by-step
method. Its also not much of a chore to add contacts, send
quotes, or even use the questionnaire feature; however, the best
results come from using 17hats from beginning to end.
The time-tracking and workflow features help ensure that you
have all of the elements you need in a format that syncs with
both Google and Apple Calendar (they still refer to it as iCal).
Your daily overview lets you know at a glance whats due and
tures to be added as they become available, and making firmware upgrades fast and easy.
The Skyport Transmitter Plus HS is currently available for Canon
(model EL19366) and Nikon (model EL19367) cameras. According
to the company website, Sony will follow. The Skyport HS runs
on two AA batteries and is compatible with the three previous
generations of flash units, including the EL-Skyport Transceiver
RX module for Style RX, Digital RX, and Ranger RX systems; and
the integrated EL-Skyport modules for D-Lite RX, BRX, ELC Pro
HD, and ELB series.
Company: Elinchrom
Price: $249.95
Web: www.elinchrom.com
Rating:
Hot: Large LCD; real-time feedback; precise power control from camera
Not:
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
Web: www.17hats.com
Rating:
Making micro-movements with our hands in a rotating position may generate pain that evolves to permanent agony (read
carpal tunnel or repetitive strain injury [RSI]). The DXT Wireless
Mouse 2 Light Click is an ergonomic mouse that helps to prevent this from happening.
The small DXT Wireless Mouse has an upright design so you
can keep your hand in a handshake position. It has a curved front
with two upward-sloping buttons and a generous wheel. In the
back, it has a molded recess for your thumb, allowing you to
pick up and move the mouse without effort. There, youll also
find a button to switch from left-handed to right-handed use, a
micro-USB charging port, an on/off switch, and a button to cycle
through four speed settings from 5002000 dpi.
The mouse is light as a feather, and a precise grip (like writing
with a pen) is all it takes to operate it. Most other mice, including
ergonomic ones, require you to use a pinch gripsimilar to turning a key to open a door.
The DXT mouse may be ergonomically close to perfect, but it
takes some getting used to. I started using it with my left hand,
and one of the frustrating things I found was the light clickno
muscle tension required at all. After a couple of days, I realized
116
Web: www.phottixus.com
Rating:
Not:
that I was pinching when I didnt need to; then moving the mouse
around felt immediately natural. Using my right hand took another
couple of days before it felt okay. Once it did, I could switch hands
using the mouses L/R button, and be comfortable using it with
either hand.
One thing that bothers me (a little) is that, because its vertical,
I sometimes bump it when I reach for something across my desk!
Company: City Ergonomics
Price: $99
Web: www.cityergonomics.com
Rating:
Not: May be too small for someone with very large hands
k e l b yo n e . c o m
REVIEWS
117
REVIEWS
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
118
Its not enough that the Cerise included the horsepower, it also
incorporated three solid-state hard drives (SSD) in this unit: One
Intel 480-GB SSD for the operating system and applications; one
Intel 400-GB SSD for multimedia editing; and a third Samsung
500-GB SSD for storagea brilliant plan that allows the drives to
operate cleanly and uncluttered! What I think is the best addition,
however, is the PNY Quadro K2200 VCQK2200-PB with 4-GB of
128-bit GDDR5 GPU memorya true workstation card. It handled my two hi-res 27" monitors with ease, and gave better detail
than the card in my Mac Pro. Needless to say, this card is a game
changer, and pushes the computers capabilities above anything
I could have expected. Other notable features are: an Atech Flash
Technology PRO-77U 5.25" USB 3 Hub & Card Reader, and an
ASUS DRW-24B1ST 24X DVDR DVD Burner.
In conclusion, this computer didnt disappoint at all, and
deserves a very hard look if youre thinking about purchasing
a machine thats dedicated to your profession. The cost is reasonable for this high-quality machine, and the attention to your
needs by the staff is invaluable. Im thinking that this one is the
replacement for my desktop.
Company: Cerise Computers LLC
Web: www.cerise.com
Not:
BOOK REVIEWS
PETER BAUER
ply a book) has a table of contents and index that each runs
how many days and hours to work each week (as well as how
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
By Martin Evening
120
By Alicia Caine
Website: www.focalpress.com
Website: www.peachpit.com
Photoshop
December 2015
I N D E X
O F
A D V E R T I S E R S
For advertising information, please contact Kevin Agren, V.P. Sales, at 813-433-2370.
email: kagren@kelbymediagroup.com
4 Over, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
www.4over.com
[A]
[H]
[P]
Epson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC3
www.epson.com/printyourlegacy
Profoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
http://profoto.com/us/home
[R]
Adorama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
www.adorama.com
How Do I Do that in Lightroom?* . . . . . . . . . . . . . . . . . . 109
http://kel.by/howdoilr
[K]
[S]
[B]
KelbyOne . . . . . . . . . . . . . . . . . . . . . . . . 3839, 71, 119, 124
http://kelbyone.com
B&H Photo* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
www.bhphotovideo.com
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
122
Squarespace* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
www.squarespace.com
KelbyOne Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
http://kelbyone.com/live
[T]
Best of The Digital Photography Book Series, The*
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
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[M]
[E]
Elinchrom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
www.elinchromus.com
Mpix* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
www.mpix.com
Tamron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
www.tamron-usa.com
Topaz Labs* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
www.topazlabs.com
*Advertiser offers discount to KelbyOne members. Visit http://kelbyone.com/discounts for more information.
While every attempt has been made to make this listing as complete as possible, its accuracy cannot be guaranteed.
COLUMN
How come when I zoom in on a subject my images are often blurry compared to the same shot not
zoomed in?Irene
p h ot o s h o p u s e r d e c e m b e r 2 0 1 5
To: Irene
From: KelbyOne Help Desk
126
Most point-and-shoot cameras and zoom lenses have different maximum apertures at different zoom factors. Keep
in mind the relationship among aperture, shutter speed,
and ISO settings: These three factors determine your exposure. (Also keep in mind that the larger the aperture number, the smaller the aperture opening.) When the aperture
is smaller (higher aperture number), less light enters the
camera, and to create a proper exposure, either the ISO
must be increased or you need to use a slower shutter
speed. When your camera is shooting in Auto, Aperture
Priority, or Program mode, the camera adjusts the shutter
speed to compensate for changes in the aperture. (The ISO
is typically set manually by the photographer.)
If youre shooting wide open (using the largest
aperture available) to keep the shutter speed at its fastest,
or to minimize the depth of field (the range of distance
from the lens thats in focus), perhaps for shooting sports
or wildlife, your zoom factor can determine the aperture
size. (If youre shooting at an aperture of the smallest
available for the maximum zoom or smaller, the shutter
speed wont change, regardless of zoom factor.)
Some zoom lenses have a fixed maximum aperture
setting throughout the zoom range; but that comes at a
cost. Lets take a look at a real-world example:
Canons 24105mm f/3.55.6 lens has a maximum
aperture of f/3.5 when shooting at 24mm, but the maxi-
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Photoshop and Lightroom questions answered either by other KelbyOne members or by our Help Desk experts. Not only that, you
can get photo and computer gear help and advice, as well. What are you waiting for? Visit the Community section on the KelbyOne
member site today!
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