Photoshop User Magazine 2013-11

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reviews › › HDR EXPOSE 3 AND 32 FLOAT V3 HDR Image Processing Apps Review by Jef Gamet HDR Expose has already proven itself as a go-to choice for high-dynamic range image processing, and with version 3 out the door, an already great app is even better. This time you more control over HDR image processing than Photoshop, around, Unif ed Color Technologies (UCT) pushed the bar up with new features that let you capture HDR images without relying on a tripod, deghost images, and even improve batch image processing. HDR Expose 3 is a Mac and Windows application that gives Batch image processing is easier now thanks to HDR Expose 3’s and it includes Adobe Lightroom and Apple Aperture plug-ins new interface, which should cut down on the tedium that goes for photographers who prefer to edit and manage their photos along with adjusting large groups of similar images, like interior in those apps. The new version keeps what HDR Expose is and studio shots. You can quickly scrub through large sets of known for, namely natural-looking HDR image processing and thumbnails to choose just the shots you want and apply the same a great set of editing tools. adjustment settings. That’s a substantial time saver, and saves you Quality HDR image capture has always required a tripod— from accidentally applying the wrong settings to image groups. or a level of stability most mortals can’t match—to produce The app already did a good job of avoiding telltale artifacts acceptable images. Where other HDR processing apps have that show you were working with HDR, and version 3 kicks tried to overcome that limitation with varying levels of success, that up a notch thanks to serious under-the-hood reworking of HDR Expose 3 succeeds. Its auto image alignment tool does a its processing algorithms. It also uses UCT’s own Beyond RGB fantastic job all on its own, but for photo sets where you may workspace throughout the process instead of jumping to other have been too jittery, it also includes a manual alignment tool. workspaces for some edits, and maintains color quality, too. Manual alignment lets you tag up to eight reference points Photographers who prefer to stick with Photoshop can use in your image sets and then the app does the rest. Your images UTC’s 32 Float plug-in. It gives you most of HDR Expose 3’s snap into place and usually you end up with shots that look like features but doesn’t offer deghosting, which is an unfortu- they came from a tripod-mounted setup. Don’t expect this to nate limitation. › › photoshop user › november 2013 like magic than science because HDR Expose 3 does such a give up your tripod, but know you can still catch great HDR work with shots from a moving car, but it does work beauti- HDR Expose 3 takes what was already a great HDR process- fully when you don’t have time to set up your tripod to capture ing app and sets the bar even higher with its new alignment that perfect photo. and deghosting tools, plus improved batch processing. Don’t Dealing with image ghosting from moving objects feels more shots without it. ■ good job at cutting out the parts you don’t want. Trying to cap- ture a group of moving people, for example, has always been Company: Unif ed Color Technologies Price: HDR Expose 3: $119; notoriously diff cult, yet the app makes the clean-up process 32 Float v3: $89; surprisingly simple. Just select the image from your HDR set that Combo Suite 3: $149 has the moving objects exactly where you want them, and the app scrubs the ghosts out of the composite shot. HDR Expose 3 Hot: Fantastic motion and ghosting tools; improved batch processing blows the deghosting tool in Photoshop out of the water, and Web: www.unif edcolor.com Rating: ◆◆◆◆ Not: No deghosting option in 32 Float v3 plug-in 114 now I can’t imagine going back.

LIMELITE MOSAIC LED PANELS Stay Cool with Cool Lights Review by Michael Corsentino Professional lighting-equipment manufacturer Bowens Inter- national has recently introduced the Limelite Mosaic line of high-quality LED panels. Available in three models: Daylight, calibrated to 5600 K; Tungsten, with a color temperature of 3000 K; and my favorite, the Bi-Color, which allows users to choose a color temperature from 2800–5600 K (±200 K). Weighing just 3 lbs, these 13.8x14.8\", 3.3\"-thick panels pack Developed with DSLR shooters and broadcast applications in a lot of power for their weight and size. Robust metal construction mind, each panel, comprised of 576 ultrabright LEDs, dimmable helps distinguish the Mosaic from the plastic housings used by from 100–0%, provides output approximately three times as many of its competitors. Add to that their ability to be operated bright as similar lights in this class. using either AC or DC battery power via the rear V-Lock adapter, The digital readout on the back of the Mosaic can be con- and you have a powerful, portable location- or studio-lighting f gured to display light-output values in two ways, either using solution. An optional Anton Bauer battery mount is also available. a 0–255 numerical range or f-stop numbers. Photographers and brackets mentioned above. ■ Accessories include corrective and creative gel kits, barn doors, optional accessory brackets. Price: Starting at $959.95 will appreciate being able to use values they’re familiar with as well as the push-button, 1/10 f-stop increment power control, permitting easy reductions or increases in output. With full Company: Bowens International Ltd. DMX in-and-out control, Mosaic panels can easily be operated Rating: ◆◆◆◆◆ Web: www.limelite.us.com remotely. Panels can also be linked into larger 2–4 unit sources, Hot: Multipurpose; lightweight; compact; battery-operated daisy-chained together with standard RJ45 Ethernet cables and Not: UNIVERSAL RINGFLASH ADAPTER Achieve Ringflash Lighting for DSLRs and Flashes Review by Erik Vlietinck The new Universal Ringf ash Adapter from Ray Flash comes in two sizes—regular and large—and can be used with pretty much any f ash and camera. The difference refers to the maximum dis- tance between the center of the f ash head and the center point of the lens. My setup required the “L” version, which allows you ERIK VLIETINCK to extend the Ray Flash’s neck to 7.5\". The Universal Ringf ash Adapter uses your existing f ash to “bend” the light so that its output concentrates in a ring around little bit hard but nicely even, except for shooting with a wide- your lens—the light wraps around or embraces your subject. angle lens, when vignetting may occur. The Universal Ringf ash The Universal Adapter uses a spring-loaded, preformed top does lose 2 f-stops. I also tried using the Ray Flash as a f ll light jaw that clamps your f ash head against a bottom jaw. This sounds and found that it created a softer effect with less overexposed like a good way to damage your f ash, but the Universal Ringf ash areas than a bare f ash. ■ is lightweight enough not to have any adverse effect on the f ash. › › www. photoshopuser .com In fact, the Universal Adapter comes with a (too) rigid rubber ring Company: Ray Flash s.r.o. Price: £99 that’s designed to keep weak f ash heads from falling into their Web: www.ray-f ash.com Rating: ◆◆◆◆ lowest position, but my test f ash (a LumoPro LP180) didn’t budge. Hot: Easy to mount; even light distribution I tested the universal Ringf ash by shooting a portrait and Not: Doesn’t f t LumoPro LP160 a transparent bottle against a white backdrop. The light was a 115

BOOK REVIEWS peter bauer › › THE WAY OF THE DIGITAL PHOTOGRAPHER: ADOBE PHOTOSHOP CC Walking the Photoshop Post-Production Path to More DIGITAL CLASSROOM Creative Photography (not 256 MB, which was the minimum for CS6) and the tool By Harold Davis By Jennifer Smith and the AGI Creative Team This is an update to earlier versions of Adobe Photoshop The subtitle of the book is “Walking the Photoshop Post-Produc- tion Path to More Creative Photography.” The author concen- Digital Classroom, and that becomes apparent in a number trates on just a few features in Photoshop: layers, layer masks, of places. For example, the system requirements for Photo- shop CC include a video card with at least 512 MB of VRAM color, and textures. (The words f lter, type, and selection don’t even appear in the glossary or index, and adjustment layers are shortcuts list the 3D tools as they existed in CS6. The book the Brush, gradients, and blend modes, with a look at HDR, Lab is organized into 14 separate lessons, with work f les and dismissed in a very short sidebar.) Combining exposures and associated video tutorials. (If you hear an echo while play- images using layers and layer masks is the primary focus of this ing a video with Flash Player, use the Mute button.) Most book. The author presents examples of his own work (along chapters include self-study practice suggestions and a short with information about camera settings for each exposure) and question and answer review section. If Photoshop CC is your shows how he created each f nal image using only a very few f rst Photoshop, this book is a decent introduction to most of the incredibly powerful features in Photoshop. The author’s of the program (3D not included). If you’re an experienced philosophy presented in the book generally outweighs the tech- Photoshop user and want an in-depth look at what’s new in niques demonstrated. Minor technical errors (such as the menu Photoshop CC, skip it. location of Preferences on Windows) can easily be overlooked by readers familiar with Photoshop. › › photoshop user › november 2013 Pages: 422 with DVD Publisher: Wiley Website: www.wiley.com Website: www.peachpit.com Rating: ◆◆◆ Publisher: Peachpit Press Pages: 191 Rating: ◆◆◆ 116 Price: $49.99 Price: $34.99

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department › › PHOTOSHOP TIPS COLIN SMITH I just returned home from a very successful Photoshop World. the screen (i.e., all the layers), choose Edit>Copy Merged, or My classes went very well and all the attendees were happy Shift-Command-C (PC: Shift-Ctrl-C). Now when you paste with the conference. I heard things like, “My head is going (Edit>Paste), everything that was visible inside the copied to explode with all the information,” and “I can’t wait to get selection will be pasted into a single layer. This is very useful home and try this stuff out.” If you can make it to the next for a number of things, especially for creating webpages. If one, it’s an event worth going to. If you didn’t make it, here you choose Command-A (PC: Ctrl-A) to select all, and then are a few tips that will hopefully explode your productivity Copy Merged, you’ll have a f attened version of your entire and not your head. document. When you paste, it will create a composite layer. This is the same result from pressing Shift-Command-Option-E CONTROL YOUR SELECTIONS (PC: Shift-Ctrl-Alt-E). This one is an oldie but a goodie. I’m starting with this tip because I haven’t written about it in a long time and it’s very LENS PROFILES IN ACR useful. When using the Rectangular (M) and Elliptical Mar- Here’s a great way to get rid of lens distortion on your pho- quee tools, there are some tricks to know. Holding the Option tos—you know, when you’ve been using a wide-angle lens (PC: Alt) key will create the selection outward from the and everything looks all barreled out. In Adobe Camera Raw, center, which is the point where you f rst start drawing your go to the Lens Corrections tab, choose the Prof le tab, and selection. The Shift key will constrain the height and width, click the box that says Enable Lens Prof le Corrections. At this which maintains the shape proportionally. Mix the Shift and point, you can choose the Make and Model of your lens from Option (PC: Alt) keys and you get a constrained selection the drop-down menus. (Note that GoPro is a newly added drawn from the center. Finally (and this one is super useful option.) Watch as your photos are instantly straightened. when using the Elliptical Marquee tool), hold down the Spacebar to move the selection to a different location while creating it. TRANSFORM SELECTION One more for the selection nuts: Once you’ve created a selection, choose Select>Transform Selection to manhandle your selection in exactly the same way you would a shape or other object. Don’t forget to Right-click inside the selection for all the goodies, including Warp, › › photoshop user › november 2013 your selection after creating it by OPTIONS FOR OPENING RAW FILES Skew, Distort, and other useful options. You can also reposition choosing any selection tool (not the Move tool) and clicking- and-dragging inside the selection. (If you try to drag on the Speaking of working in Camera Raw, when you open an image outside, it will replace it with a new selection.) directly in Camera Raw and then open it in Photoshop, it opens as a regular image by default. There are some hidden COPY MERGED Usually when you choose to copy (Edit>Copy) a selection down the Shift key, you can open a smart object rather than in Photoshop, the contents of the active layer are copied to a regular image in Photoshop. If you make some changes and the Clipboard. If you want to copy exactly what you see on options for opening the image in different ways. If you hold 118

› › photoshop tips want to open them in Photoshop while leaving the original ber of ways to do this, but the quickest way is to hold down image untouched, hold down the Option (PC: Alt) key, and it the Option (PC: Alt) key and then drag the layer style in the will open a copy of the image. If your Workf ow Options are Layers panel to another layer to duplicate it. What if you want set to open a smart object rather than an image, the Shift key to change the style after it has been copied to all of the lay- works in reverse and will open a regular image. (To access the ers? Make the changes to one of the layer styles, Right-click Workf ow Options dialog, click on the blue line of text below on the updated style in the Layers panel, and choose Copy the image preview.) Layer Style. Then, select all the other layers with the style, and choose Paste Layer Style. This will update the style quickly on AUTO SELECT LAYERS/GROUPS all layers. You can also choose Paste Layer Style to attach the One thing that I f nd myself doing all the time is activating copied layer style to any selected layer. ■ different layers. My favorite way is to switch to the Move tool (V), hold down the Command (PC: Ctrl) key, and click in the document; whatever I click on will become the active layer. Sometimes when you’re trying to activate a layer that’s in a group, the group is selected instead. You can change this behavior in the Options Bar for the Move tool. In the drop-down menu next to Auto-Select, choose Layer instead of Group. The opposite is true when you want to select and move layers as a group; make sure that Group is selected as the option. DON’T CLIP YOUR RAW FILES Camera Raw is the best way to start adjusting your photo- graphs. In the Basic panel, there’s an easy way to show where the shadows and highlights are starting to clip (i.e., adjusted too far). While moving certain sliders, hold down the Option (PC: Alt) key. The image will turn completely white or black and only show color when either shadows or highlights are clipping. The empowered controls are Exposure, Highlights, Shadows, Whites, and Blacks. Try it; it’s a quick way to make sure you’re preserving all the detail in your images! SPACE-FULLY DRAWING PATHS If you have ventured into the world of paths (you will at some point, because this is the best way to get the cleanest edges in Photoshop), you may have discovered that they take a bit of getting used to. Have you ever been drawing a path with the Pen tool (P) and placed a point in the wrong spot? Perhaps you pressed the Delete (PC: Backspace) key to back up, or more likely than not, you messed the whole thing up and had to › › www. photoshopuser .com start over. Here’s a great unsung hero in Photoshop CC: Click to add a point, but before you release the mouse button, hold down the Spacebar to reposition the point while drawing a path. Now that’s something to celebrate. CLONING LAYER STYLES You know how it goes: You spend a ton of time f ne-tuning a layer style on a layer and then decide you love it so much that you want to also use it on other layers. There are a num- 119 ALL IMAGES BY COLIN SMITH

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department › › PHOTOSHOP Q&A RAFAEL “RC” CONCEPCION I installed Adobe Bridge CC Yes it is (I did a triple-take myself looking for it). It looks like and noticed that there’s no Bridge CC doesn’t include the Output module by default, and even the most recent update (September 2013) didn’t add it. section for me to create a This doesn’t mean that you can’t install it in your current ver- PDF of images or a Web sion of CC. Open this link in a browser: http://bit.ly/BridgeC- CAOM (case sensitive), and you’ll be taken to an Adobe page gallery. Is this something where you can download the Output module for Windows (32 bit and 64 bit), as well as Mac OS X. You’ll also find detailed that’s missing? instructions on what’s needed to install it. I used to use the Export panel in Bridge to send f les to You also have another option to make a stroke. If you’re using Flickr.com and Facebook, but now I can’t f nd it in Bridge Photoshop CS6 or Photoshop CC, you can now set the Stroke and CC. Has this been removed? the Fill for a shape in the Options Bar for any of the Shape tools. Yes, this feature was removed in the newest release of Bridge CC (see question above). For more information on what is and isn’t included in Bridge, visit http://helpx.adobe.com/bridge/using/ whats-new.html. How do I use Camera Prof les for better color in my images? I don’t know if I would say that a camera prof le will produce a better image, but it can produce a more faithful rendition of what you saw on the back of your camera. When your camera takes a picture in JPEG mode, the computer in the camera deals with things such as sharpness and color. A RAW f le doesn’t contain this information, as it presumes that you’ll make these corrections later on in an application such as Camera Raw. The problem with this is that we could really use a little bit of help in the initial process. That’s where camera prof les can help. Clicking on the Camera Calibration tab in Camera Raw, you’ll I noticed that in the Info panel in Photoshop there’s an op- notice that the RAW file is set to Adobe Standard by default. tion called Eff ciency. What do I do with this information? Click on the drop-down menu and you’ll be presented with options that mimic the presets that you would have for your The Eff ciency option is a great way to see how well your computer › › photoshop user › november 2013 When I create a stroke around a shape using a layer panel and select Panel Options. Click on Eff ciency in the Info Panel is performing while working in Photoshop. To see Eff ciency in camera (Nikon and Canon). An important point to note, if you the Info panel, click on the f yout menu near the top right of the used a Nikon camera you’ll only see Nikon-specif c prof les; if you used a Canon camera, you’ll only see Canon-specif c prof les. Options, and click OK. When you start working, the Eff ciency number is at 100%, denoting that all of the work that you’re doing is running on the RAM of the computer. As you start working on style, the stroke appears blurry. How can I get the stroke more computer-intensive tasks (bigger f le sizes, taxing f lters), to appear sharper? you may see that number fall below 100%. This indicates that the When you create a stroke around a layer using a layer style, the default option is set to have the stroke appear along the outside of your computer. This will cause your work to slow to a crawl. If you the path. This causes any corners around the path to be anti-aliased, see this occurring, you may want to invest in more RAM for your creating the soft look that you see. If you switch the stroke to appear computer or start looking for an upgrade for it altogether. ■ on the inside of the path, the stroke will appear much sharper. computer has moved from using RAM to using the scratch disk on 126

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Tell your story in new ways Exposure 5 brings you the rich set of creative tools of the fi lm world. Our careful research lets you reproduce the subtle nuances that make analog photography beautiful. With Exposure, your photo will look like it was made by a human, not a computer. The redesigned user interface helps you quickly fi nd just the right look. Exposure can now work as a standalone application, or inside Lightroom, Photoshop, and now Aperture. Photo © 2013 Dustin Abbott. Visit alienskin.com to try Exposure for free. © 2013 Alien Skin Software, LLC. All rights reserved. Exposure and Alien Skin Software are registered trademarks of Alien Skin Software, LLC.