Photoshop User Magazine 2013-11

Shiny Metal: You can also create realistic shiny metal text by using a simple little fea- ture called Image Based Lights (IBL), which uses an image as a light f lter. This example, which is based on the recent movie Oz: The Great and Powerful, was created by simply converting a text layer into 3D, setting the Ref ection properties, and then adding the background image as an Image Based Light with a gold color cast. The rendered result is a distorted re f ection of the background image along the surface of the shiny object, just as you would expect to see in real life. BACKGROUND ELEMENTS: FOTOLIA Sometimes 3D isn’t always about getting 3D objects to look good but also 3D effects. [For a tutorial on creating this 3D text, see Photoshop User, October 2012, p. 34.—Ed.] BRICK WALL: FOTOLIA, FRESHPAINT, IMAGE #43209893 Photorealism: Another example of 3D text in Photo - shop is adding it to a photo and using textures and matching the light in the scene to make it look as if the text is actually there. This 3D text was created in Photoshop and then added to a simple photo of a brick wall. I used the existing lighting in the photo as a guide for the placement of the lights on the text. I rotated the text in relation to the ground plane so the text would appear to be casting a shadow on the wall. I then added › › www. photoshopuser .com the light bulbs as a new 3D object and then added an illuminated glow using the Properties panel. This shows that lighting and shadows alone can help you place 3D elements into 2D images quite convincingly. 063

LOGO: FELIX NELSON; 3D ART: COREY BARKER Once you’ve played around with every aspect of 3D Just knowing something is possible is only the beginning; to really see what it can do—like combining 3D objects, where you take it from here is up to you. Who knows surface textures and ref ections, extruding and manipu- what the future holds with CC and beyond, but I’m lating 3D objects, and lighting and camera features— really looking forward to the journey ahead. ■ you can really push the envelope and achieve something that no one has ever seen come out of Photoshop. For › › photoshop user › november 2013 in Photoshop CS6. example, this logo for this past year’s Photoshop World was created and rendered entirely using the 3D features This piece really encapsulates everything we’ve been talking about. It shows how far you can go with realism and depth. Just think, a few years ago something like this was only possible in high-end 3D applications, but now designers can enjoy the benef ts of 3D without the steep learning curve of a dedicated 3D app. ALL ILLUSTRATIONS BY COREY BARKER EXCEPT WHERE NOTED 064



h o w -t o › › BEGINNERS’ WORKSHOP LESA SNIDER Applying Digital Makeup It’s easy to apply digital makeup to portraits in Photoshop, though it’s important that your subject has some makeup on before you snap the shot—even if it’s a subtle neutral color—so you have realistic texture to work with. By applying the makeup on separate layers, you can easily f ne-tune the results! STEP ONE: Open an image and add a new layer by pressing Shift-Command-N (PC: Shift-Ctrl-N). In the resulting New Layer dialog, enter “lips” in the Name f eld and then set the Mode drop-down menu to Color. This menu lets you change the way color on one layer blends with color on another layer. Using the Color mode keeps the brightness of the tones in your photo, but adds the hue and saturation values from the paint you’re Step One about to apply, letting the details of the image show through (Overlay mode also works). Click OK, and make sure the new layer lives above the photo layer in your layer stack. [NAPP members may download the f le used in this tuto- rial at http://members.photoshopuser.com/magazine/issue/ november-2013. All f les are for personal use only.] Step Two STEP TWO: Press B to activate the Brush tool (circled) and us- ing the Brush Preset Picker in the Options Bar (also circled), pick a soft-edged brush. Step Three STEP THREE: At the bottom of the Toolbox, click the Fore- ground color swatch. In the resulting Color Picker, use the vertical rainbow-colored bar to set the color range (magenta › › photoshop user › november 2013 Click OK to close the dialog. ISTOCKPHOTO, JACOMSTEPHENS, IMAGE #3391020 was used here), and then click inside the large square to tell Photoshop how dark or how light you want that color to be. STEP FOUR: Mouse over to your image and paint across the lips. Use a larger brush for the inside of the lips and a smaller one for the edges. Tips: Press the Left Bracket key ([) to decrease brush size and the Right Bracket key (]) to increase it. Zoom in and out of your image by pressing Command -– (PC: Ctrl -–). Step Four 066

› › beginners’ workshop STEP FIVE: If you make a mistake, you can f x it with the Eraser tool. Press-and-hold the E key to temporarily activate the Eraser tool and, in the Options Bar, set the Mode menu to Brush and then pick a soft-edge brush from Brush Preset Picker (just like you did in Step Two). Then, while still holding down the E key, mouse over to your document and paint away the mistake. When you’re f nished, release the E key and Photoshop automatically reactivates the Brush tool (this feature is called spring-loaded tools). STEP SIX: With the lips layer active, choose Filter>Blur>Gaussian Blur. In the resulting dialog, experiment with the Radius to produce a very soft blur Step Five (4 pixels was used on this 1698x1131- pixel image). This helps the new lip- stick blend in with surrounding pixels. If necessary, use the Eraser tool to f x blush, etc. If adding multiple colors of eyeshadow—say, one for Step Seven areas of paint that have blurred beyond the lip edges. STEP SEVEN: Reduce the Opacity of the lips layer in the Lay- ers panel to your liking (50% was used here). STEP EIGHT: Repeat Steps One–Seven to add eyeshadow, lower lids, one for upper lids, and one for the outer lid edges— be sure to add each color on a separate layer for maximum editing f exibility. Here, you can see how the brushstrokes were applied prior to lowering layer Opacity and blurring. Step Eight STEP NINE: To change the color on any layer, click to activate the layer and then load it as a selection by Command-clicking (PC: Ctrl-clicking) the layer’s thumbnail (when you do, you’ll see marching ants surround that area in your document). Next, click the half-black, half-white circle at the bottom of the Layers panel and choose Hue/Saturation. Photoshop adds the new layer above the currently active one and opens the Properties panel. Click the icon at the bottom left of the Properties panel to clip the Hue/Saturation layer to just one layer beneath it. Finally, use the Hue, Saturation, and Lightness sliders to tweak Step Nine the color of makeup on that layer. › › www. photoshopuser.com STEP TEN: Choose File>Save As and save the document as a PSD f le. Saving the document in PSD format lets you go back and edit the individual layers later. Here’s the before and after version of the image. As you can see, adding digital makeup is easy. Happily, you can also use this exact same technique to add color to a black-and- white image. Until next time, may the creative force be with you all! ■ Step Ten 067

h o w -t o › › CLASSIC EFFECTS PETE COLLINS Classic Christmas Card The holidays are here and you want to work a little personal touch into your cards, or you need to mock up a card for a design project and you donÕt have a lot of time. Well, youÕre in luck as IÕm going show you how to dazzle your friends, family, and co-workers with a very simple technique. STEP ONE: Either photo- graph or f nd a good-looking paper image. The original image that we used here is from Fotolia and was a plain FOTOLIA, HAMSTERMAN, IMAGE #29307313 white. This is going to serve as the background for our decora- tive elements, so change the color to suit the holiday. We added an adjustment layer (Layer>New Adjustment Layer>Brightness/ Contrast) to add contrast to the texture in the paper, and then added a layer style (Layer>Layer Style>Color Overlay) to that Step One adjustment layer to change the color, as seen here. This method will allow the color to remain editable. For this one, a dark red was appropriate, so we clicked the color swatch in the Layer Style dialog, selected the red color from the Color Picker, clicked OK to close the Color Picker, changed the blend mode to Linear Burn, and lowered the Opacity to get the right tonal qualities. STEP TWO: Bring in another paper image to create some diversity between the top part of the card and the bottom surface. Add a layer mask to the top paper layer by clicking on the Add Layer Mask icon (circle in a square) at the bot- tom of the Layers panel. With FOTOLIA the Brush tool (B) set to black (press D then X), mask away part Step Two of the top paper image in any shape you want, which will reveal the paper layer below. Double-click on the layer thumbnail to open the Layer Style dialog and add a bit of Bevel & Emboss and a Drop Shadow according to how you want the separation › › photoshop user › november 2013 layer mask thumbnail to make it active again. Paint with white between the layers and the thickness of the card to appear. Click OK to close the Layer Style dialog, and then click on the (press X) over the masked area to hide the paper layer below and to get the paper ready for the next step. STEP THREE: Choose your holiday icons or shapes that you want to use. A lot of stock image options will have both vector and JPEG versions for their designs. Always choose the vector version because even if you don’t feel comfortable using another program such as Illustrator, Photoshop can handle Step Three 068

› › CLASSIC EFFECTS those f les easily. Once you purchase them, simply open them in Photoshop. The Rasterize EPS Format dialog will pop up with some dimensions already plugged in. These numbers are a sug- gestion; just change the numbers to a size and resolution that you need for your card and click OK. Photoshop will open the f le and it will be crisp and sharp and act just like any other layer FOTOLIA, CIENPIESNF, IMAGE #55412489 at this point. STEP FOUR: In the f le you just opened, you’ll need to select the parts of the elements that you want to use in your card. Since most of these elements will have solid areas of color, the easiest way to select them is to choose Select>Color Range. Click on one of the shapes and it will pick all the other parts that have that same color. Adjust the Fuzziness slider if neces- Step Four sary to help isolate the selection to that color. Click OK. In this example, we’re selecting all of the white elements in each of the decorative elements. STEP FIVE: Once you see the marching ants surrounding the areas you want, switch to the Move tool (V), and drag that element into the holiday card f le you’re working on. Now that you have a new layer with the shapes you want to use, you’ll need to select all of the elements on that layer by holding down Command (PC: Ctrl) and clicking on that layer’s thumbnail. Any parts of that layer you don’t want to use at the moment can be Step Six subtracted by using the Lasso tool (L) while holding the Option (PC: Alt) key. Click the Eye icon next to this layer in the Layers panel to hide it from view. STEP SIX: With the selection active, click on the layer mask of the top paper layer and use one of the Marquee tools (M) to reposition the selection if needed. Now you can cut out the top card by painting with black inside the selections. The selection’s boundaries act just like the walls of a cookie cutter. Alterna- tively, you could press X until the Foreground color is black and press Option-Delete (PC: Alt-Backspace) to completely f ll the selection with black. Step Seven STEP SEVEN: Since you’ve cut out the paper using a layer mask, you’re free to keep the image as simple or complex as you want. You can paint the top paper layer back in using the Brush tool set to white, or you can add other elegant designs › › www. photoshopuser .com by creating your own brushes from custom shapes (see the next step). STEP EIGHT: To make a custom brush, start by hiding all of the layers and click the Create a New Layer icon at the bottom of the Layers panel. Then, choose the Custom Shape tool (nested under the Rectangle tool [U] in the Toolbox). Up in the Options Bar, click on the Shape thumbnail to open the Custom Shape Picker for the different shapes available. If you only have Step Eight 069

CLASSIC EFFECTS › › a few shapes available, simply click on the f yout menu (gear icon) in the upper-right corner of that panel, select All, and then click Append in the resulting dialog. Set the drop-down menu on the left of the Options Bar to Pixels, and then set the Fore- ground color to black. Pick the shape you like and drag it out to the desired size. Then, go to Edit>Def ne Brush Preset, name your brush, and click OK. You’ll f nd your new brush at the bot- tom of the Brush Presets panel (Window>Brush Presets). STEP NINE: The reason for creating a brush is so that you can quickly decrease and increase the size of the brush using the Left and Right Bracket keys, respectively. Now you can embel- lish your card by dotting the layer mask (clicking once) with Step Nine your new brush set to black. I like to use this technique to make rings inside areas that have been masked out using a round, up battling your inner angst trying to decide which design looks hard-edged brush: click once with the Foreground color set to the best since you can make so many of them in no time. white to reveal the top paper in the mask, press X to switch the color to black, press the Left Bracket key several times to make Now you’re all set to create wonderful cards for any occasion, the brush smaller (without moving your cursor), and then click and folks will think you’re so gifted and talented. All you need again to cut out the center of that circle. It’s so easy, you’ll end to do is smile and act like it took a lot of work. ■ › › photoshop user › november 2013 070 FOTOLIA



› › key concepts: Pen tool FROM BERT’S STUDIO BERT MONROY The Flash of the Neon Lights You might know that I’ve done a few neon signs in my past, and it just so happens my last piece was dedicated to neons. This is the theater in downtown Ventura, California. All the tools you need to create a neon like this one are in Photoshop. Before you begin creating this neon, let’s see what a neon tube looks like. Here’s a closeup of the neon tubes with varying colors and shapes that are dancing all over this theater marquee. These tubes are made of glass and have a stripe of light run- ning through them—a light that illuminates its surroundings and bathes it with color. See how the purple and green neons are casting glows on the walls of the structure? Now that you know what a neon light looks like, let’s get to work on yours. STEP ONE: First, you need a connector to attach your neon to layers, you get a sense of depth. The black oval is centered over a surface. Here’s what your connector could look like. It’s made up of f ve layers, each containing an oval of a different size and color. I used the Ellipse tool (nested under the Rectangle tool [U]) set to Path in the Options Bar to create the ovals but you can just as easily use the Elliptical Marquee tool (nested under the Rectangular Marquee tool [M]). By off-centering the four color the top color oval and creates the hole for the tube. Select the layers in the Layers panel, Right-click on one of the layers, select Group from Layers, and click OK. Press Command-J (PC: Ctrl-J) to duplicate the group so that your tube has an in and out con- nection. Use the Move tool (V) to position the two connectors. STEP TWO: Using the Pen tool (P), draw a path that will serve as your tube. For our purpose, create a straight tube that exits from one connector and enters the other. Your shape can be a leaf, a hat or the name of your town. Look at neon signs— they’re made of simple shapes that convey an image. STEP THREE: With the path for your shape done, select the Brush tool (B). In the Brush Preset Picker in the Options Bar, choose the second brush (solid circle), then open the Brush panel (Window>Brush). When the panel opens, it displays the › › photoshop user › november 2013 by using the slider. Step One Brush Tip Shape section. This is the only place you’ll make a change. Set the Spacing to the lowest value of 1%. Hardness should be set to 100%. The Size is better chosen visually than STEP FOUR: Click the Create a New Layer icon to create a new layer for the neon tube. Place the cursor over the path and press the Left and Right Bracket keys to resize the brush, making it smaller or larger, until you have the desired thickness for your tube. STEP FIVE: Now that you have the shape and size for your brush, you need to choose the color for your neon. Click on 072 Step Two

› › FROM BERT’S STUDIO the Foreground color swatch at the bottom of the Toolbox. In the Color Picker, choose the color you want for your light. It can be red, yellow, or green, like the one here. It’s your choice. Since this is a tube of light, choose your color from the brighter values along the top left of the panel. Click the Add to Swatches button to save your color, and then click OK to close the Color Picker. STEP SIX: The center of the light within the neon tube is a Step Six brighter version of the color of the tube. You’ll now select the color for that bright light. Once again, click the Foreground color swatch and in the Color Picker, move the cursor over the color selector box toward the lighter values along the top-left area until you have the brightest value you want your light source to have, and click OK. Make sure you still have the Brush tool selected. Open the Paths panel (Window>Paths), and click on the path for your tube. Click the Stroke Path with Brush icon (second from left) at the bottom of the Paths panel. Your path should look like this. to open the Color Picker. Click on the color swatch you saved STEP SEVEN: Double-click on the tube layer to bring up the Layer Style dialog. This is where the tube will be colorized. Choose Inner Glow from the Styles list on the left. This will give you the edges of the tube, where the color is more distinct. In the Structure section of the dialog, click on the color swatch earlier in the Swatches panel, then click OK to close the Color Picker. Since this color is darker than the color of the light, it will not show. Change the Blend Mode to Multiply. Playing with the other settings will give you the edge you’re looking for. Since the tube is now lit, choose Outer Glow from the Styles list. Again, choose your saved tube color. This time, the Blend Mode can remain in Screen. Experiment with the settings to create your Step Seven glow, and click OK. STEP EIGHT: Create a new layer and add paint to the ends of the tubes using one of the spatter brushes in the Brush Preset Picker set to black. Press-and-hold the Option (PC: Alt) key, hover your cursor between the paint and tube layers, and click the mouse button to turn the layer into a Clipping Group, which will conf ne the paint to the tube. Make the tube layer active, and click the Add Layer Mask icon (circle in a square). Using a soft-edged brush with the Opacity lowered in the Options Bar, paint the ends to soften and blend them into the darkness of Step Eight the connector. To mask away the glow effect, as well, double- click the word “Effects” in the Layers panel, turn on Layer Mask Hides Effects in the Layer Style dialog, and click OK. STEP NINE: Finally, create a new layer and drag it below the tube layer. Create a stroke with a large, soft-edged brush and › › www. photoshopuser .com the same previously saved color to simulate the glow cast onto the wall by the light. Play with the Opacity for the layer until it looks perfect. You are now ready to light up the night! ■ 073 Step Nine ALL IMAGES BY BERT MONROY

PHOTOGRAP WWII Veterans from Canada, U.S.A., and U.K. Two people helped inspire me to write this article: my late father, Russell H. Ford (born Russell E. Pierce), a former captain of the U.S. 9th Infantry Division, North Africa, and a POW in Poland (1943–45); and my wife, Maureen Jennings. Maureen’s father was a sapper in the British Engi- neering Corps and perished in the Italian campaign. During the last three years, Maureen helped create Bomb Girls, a television series starring Meg Tilley, that’s set in a munitions factory in Canada. During that time, we were lucky to meet the most wonderful veterans from World War II (WWII), mainly women who had worked on the home front in Canada where they built aircraft and bombs that were later shipped overseas to the British for the f ght. In my search for veterans to photograph in Canada, the U.S.A, and the U.K., I found two very common threads: Many didn’t want to revisit the war or talk about their experiences at all, but a few were thrilled to have their sacrif ce and efforts recognized. I want to thank them all. Kimmy COLLYER MILLER Kimmy Collyer (Miller) arrived in Ajax, Ontario, from Alberta in 1944 to work at the Defence Industries Limited (DIL) plant, where she worked on the Pellet and Tracer line. The DIL was one of many munitions factories created by the Canadian Prime Minister, Mackenzie King, that were built to send bombs over to the British at the request of Winston Chur- chill. The factories in Britain were being bombed so much that Canada was asked to participate in the making and shipping of weaponry to their ally. Kimmy became one of the pin-up girls for the factory.

APHYSECRETS By Iden Ford Queenie CURNOE Queenie Curnoe was quite young when she started to work on the line, building air- plane parts for the war effort, at an aircraft factory in Eto- bicoke, Ontario. A year into her factory job, she decided an important part of the war effort and worked long, hard hours. The to join the Canadian Wom- en’s Army Corps (CWAC) and was transferred to Lon- don, England, serving in an administrative position for the duration of the war. These women were CWAC was disbanded in 1946. Barbara ÒMÓLYONS One day in 1942, with no LieutenantJamesV. prior notice, Barbara “M” Lyons’ mother decided to MORGIA, RETIRED sign Barbara up for the The most decorated veteran I had the opportunity to photograph, United Service Organizations Lieutenant James (Jim) V. Morgia, Retired, is now a resident of Strat- (USO) in New York City—her ford, Connecticut. Jim came by his Silver Star because his superior mother said she thought it off cer was granted leave the day before his platoon was assigned to was a good idea. The local take the higher ground in a troop movement known as the Battle for USO hall was in the gym at Beho during the Ardennes campaign. Temple Emanu-El located at Jim led the platoon of less than 200 men through a feld, 65th Street and Fifth Avenue plodding (not marching because of deep snow). He then left the in Manhattan. group behind so he could investigate a farmhouse and barn, but A shy girl at the age of the path took him right past a German guard (the rest of the 20, Barbara was a tall beauty and loved to dance. Along with enemy squad was asleep at the time). At f rst, the guard didn’t other USO girls, she entertained soldiers from all divisions of the notice Jim, but then he did, took a shot, and missed. This alerted services who were on leave. The USO women mainly served meals Jim’s troops who weren’t far behind, and he led his men into to the soldiers and danced with them, but they weren’t allowed the gunf ght, ultimately resulting in the capture of the German to date them. soldiers and the taking of the higher ground. He was given the › › www. photoshopuser.com I photographed Barbara against the backdrop of the Central Silver Star for his heroic and courageous effort. Park concert bowl, where I have no doubt music emanated from I really felt that Jim was an exceptionally proud American hero. its stage during those dark years and for many years after the war. I was granted the opportunity to meet him thanks to Jack Lynne, Thanks to Barbara’s son, photographer Fred Cohen, for assisting who lives nearby. Jim went on to work for Sikorsky Helicopters me the day I took the photographs. after the war until he retired. 075

St. Paul’sCATHEDRAL No one can argue that Britain suffered during WWII from the endless bombing raids, but the famous shot of St Paul’s Cathedral in London symbolized hope to a war-weary nation. It stood even during the worst days of the Blitz, so when I photographed this iconic church, the clouds gave me a historic feeling of the past. Lloyd(“RED”) ANDVickyRYDER › › photoshop user › november 2013 went to work in the DIL munitions plant, the same factory as Kimmy LudlowCASTLE Lloyd Ryder and Vicky were dating about the time the war started. Nicknamed “Red,” he became a f ghter pilot soon after, and Vicky Miller (see page 74). Reluctant to speak of his war experiences, Red did tell me that he f ew many types of aircraft during the war, most AND DinhamBRIDGE notably Spitf res. Ludlow is a 12th-century town in England, near the Welsh border. When the war ended, Red and Vicky got married and, as you can see, shared a lifetime of love. I took these photos the night For more than two years, starting in 1942, U.S. troops were commemorating the efforts of the munitions factory workers they were sent south to get ready for D-Day (June 6, 1944). The Castle and Dinham Bridge are picturesque locations in a Tudor at the Ajax plant. (This is the plant used as the factory model for town where Henry VIII and Queen Elizabeth I would visit and stay. the Bomb Girls TV series.) 076 of the fundraiser for the memorial to be built in Ajax, Ontario, stationed in Ludlow for training and as a gathering place until

JohnPALMIROTTO John Palmirotto joined the Merchant Marines in 1943 and served until 1946 as a gunner. Assisted by the Navy, his crew’s mission was to trans- port the bombs and weaponry from Pier 92 in New York City to Liver- pool, England. Fortunately, they never were f red upon. He was trans- ferred to California one year later, where he had the same mission, but this time across the Pacif c to Australia, transporting troops, trucks, and jeeps for the Pacif c theater. Born and raised in Glen Cove, Long Island, John married Rose after the war and raised a family of six. He had never shared his war experiences with his family until we all got together for my interview. It was both cathartic and touching when he broke down and described the loss of men on his ship because of a f re in the engine room as they arrived back in port. FredericBRERETON In 1938, Frederic (Fred) Brereton was training to be a wool assessor at the Wool Board in the Marston Brothers Building in Ludlow when he noticed the recruiting off ce behind the warehouse. He decided to volunteer and, once conf rmed, began his training as a gunner in what was known as the Shropshire Yeomanry. Fighting in the Italian campaign alongside the U.S. 5th and 8th Armies as they marched north, Fred was in charge of the sight on the gun, which f red 25-lb shells—always making sure that they never f red on their own troops. Just before the end of the war, Pri- › › www. photoshopuser.com vate Brereton was plucked from the front lines and brought home to train for radar work. He never saw action again and, when the war ended, became a farmer. He now resides in Bitterley, a small town located just outside Ludlow. 077

JoanPHILOTT In the early 1940s, Joan Philott (now 91 years old) worked as a nursemaid with a family in Devonshire. Everyone expected the war to last only a few months, so she decided to join the Women’s Land Army (WLA), which was set up to work primarily in agriculture to replace men serving in the military. The cows that Joan worked with had their milk sent to Cadbury’s, which had a contract with the government to provide products— in this case, primarily chocolate—to the soldiers. She worked side by side with captured German and Italian soldiers who she remembers as being great workers. When the war ended, Joan carried on being a Land Army Girl until the WLA was disbanded in 1950. Pola GELLERMAN I decided to end this article with the toughest and most heartbreaking story of all the veterans that I’d met. And that’s the story of Pola Geller- man, who was freed by the Russian Army when the concentration camp at Auschwitz was liberated. As a young girl, Pola grew up in Lodz, Poland, where her father was well known as a successful fur- niture maker, and her brother was training to become a concert pia- nist. The life she knew was taken from her with the Nazi occupation. She and her family survived in the Lodz Ghetto for four years, living primarily on borscht, before they were transported to Auschwitz. Because of her age, Pola wasn’t taken to the gas chambers, but she never saw her mother and father again. › › photoshop user › november 2013 TechnicalINFORMATION She moved to Canada after the war and built a new life with her husband—also an Auschwitz survivor. They had a family of three girls and now she lives in the north part of Toronto. I photographed everyone in Canada and the U.S.A. with a Profoto Pro-B3 pack with one head attached to either an Elinchrom Rotalux Deep Throat softbox or a Profoto 3' Octa. The camera I used was a Canon EOS 5D Mark III with a 50mm f/1.2 prime lens attached. The U.K. photos were taken with the same camera system, but in some cases I had a soft graduated neutral-density f lter attached for the location work, or a shoot-through umbrella and one f ash attached. ■ ALL IMAGES BY IDEN FORD 078

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Adobe Photoshop Lightroom Section › › MIKE MACKENZIE FEATURED PHOTOGRAPHER Bob Ring Born and raised in Massachusetts, Bob has a bachelor’s degree in electrical engi- neering (Northeastern University). His work experience includes R&D, applications, manufacturing engineering, marketing, and sales, all in the electronics industry. Now a full-time photographer, Bob loves teaching others about all aspects of pho- tography. Bob is a co-founder and co-owner of New England Photo Workshops (www.nephotoworkshops.com), where he and Don Toothaker teach Lightroom and photography around New England. He has won awards in national and inter- national competitions and teaches (and judges) at local camera clubs. Bob feels that printing an image is when a photograph is complete. This philosophy resulted in his award as Print Photographer of the Year for the Merrimack Valley Camera Club. Bob is a member of the Photographic Society of America, the Merrimack Val- ley Camera Club, and Greater Lynn Photographic Association, and was recently accepted to be a Nikon Professional (NPS). Q. When did you know you wanted to be a photographer? Canon EOS-1Ds Mark III, Canon 24–70mm, Q. Can you give us a short list of the equipment you use? I’ve been a long-time Canon user who (last year) added Nikon and Fuji cameras and lenses to my equipment bag. The Nikon D800E is what convinced me to add and use Nikon predominantly now. Brief list in alphabetical order: Fujif lm X-E1 body with 1/8 at f/9, 35mm, CR2 Fujinon 18–55mm, 55–200mm, 27mm, 60mm macro, and 14mm lenses; Nikon D800E and D600 bodies with 18mm CZ (Carl Zeiss lens), 21mm CZ, 25mm CZ, and 50mm CZ lenses; 35mm Sigma; and NIKKOR 24–120mm, 70–200mm f/4, 80–400mm VR II, 85mm, and 105mm micro lenses. I wanted to paint and draw as a kid but didn’t have the talent. When I was around 21, I knew photography was the answer: I could be creative and artistic, so to speak, but could also enjoy the engineering aspect of photography equipment. Best of both worlds for me! Q. What’s your favorite feature in Adobe Photoshop Lightroom? That’s a tough one as there are so many, but if I had to only pick one, it’s Lens Corrections. I used to own a couple of tilt-shift lenses but got rid of them once I started using Lightroom, as it does such a great job helping me to correct and adjust images.  Q. Has your involvement in marketing and sales in the electronics industry helped you to market your work? My photography is now really focused on two avenues. I sell prints and images through my www.robertringscenics.com website and teach photography through www.nephotoworkshops.com. My electronics industry sales experience has most likely helped me, but I feel in a more subliminal way. The marketing experience has provided me with more direct tools and know-how to help me promote my scenics business and our workshop business. As I look back on my electronics background, the broad mix of engi- neering, marketing, and sales has been a huge help for me in growing my endeavors in the f eld of photography. Q. As an engineer, would you characterize your approach to making a photo as scientif c or artistic? I’d like to believe that my approach is mostly artistic. I really strive to take photographs that are pleasing to my eyes. I imagine an engi- neer would be more clinical in nature, and I don’t feel that I am. Whether it’s a scenic or a nature shot, I want the f nal image to use the basics of good composition. Rule of thirds is a great example, so I usually start with that in mind. The scientif c or engineering aspect for me comes into play by ensuring that the image is sharp and clear where it’s supposed to be. I tend to use prime lenses and typically › › photoshop user › november 2013 Contact Bob Ring at www.robertringscenics.com or www.nephotoworkshops.com those that are manual focus. So far in 2013, about half of my images were taken at f/5.6–7.1 with the intent to use the sharpest apertures of my lenses. So, to sum it up, I compose an image artistically and then use proper techniques and equipment for sharp images. Folders/Bob Ring 080

› › FEATURED PHOTOGRAPHER Canon EOS 20D, Canon 17–40mm, 1/500 at f/16, 17mm, CR2 › › www. photoshopuser .com Canon EOS-1Ds Mark III, Canon 24–70mm, 1/30 at f/11, 32mm, CR2 081

› ›FEATURED PHOTOGRAPHER Nikon D600, Carl Zeiss 18mm, 0.8 sec at f/14, 18mm, NEF Nikon D800E, Carl Zeiss 18mm, 1/200 at f/10, 18mm, NEF › › photoshop user › november 2013 Canon EOS-1Ds Mark III, Canon 24–70mm, 1/15 at f/7.1, 46mm, CR2 Nikon D600, Samyang 14mm, 25 sec at f/5, 14mm, NEF Lightroom users, if you’d like to be considered for the “Featured Photographer,” email [email protected]. 082



adobe photoshop lightroom section › › UNDER THE HOOD Importing 101 Matt Kloskowski One of the most important things in Lightroom is starting of on the right foot by having a consistent process for importing your photos, and I want to begin with a suggestion that’s helped a lot of people in my seminars. .... One question I’m asked quite often is how to import older reader or certain drives with photos on them (such as your photos that are scattered among multiple drives, or even phone). In case you want to turn this preference off or worse, photos that exist in another program such as iPhoto back on, go to Lightroom (PC: Edit)>Preferences, and un- or Aperture. There’s really no trick to it other than follow- der the General tab, you’ll see the option to Show Import ing the steps here (especially Step One) and starting from Dialog When a Memory Card Is Detected. scratch. One thing I always suggest, however, is this: If STEP THREE: Once you’re in the Import dialog you’ll see refer back to very often. It’s just a suggestion, but I’ve had these photos aren’t crucial to your everyday work and you a Source panel on the left. This is where your photos are don’t need to have instant access to them, consider only importing new photos into Lightroom going forward. coming from. For new photos, the source will most likely be a card reader that you have connected. But if you’re im- Maybe save a folder of all of your favorite photos and import that into Lightroom, but leave the others as they are. You porting older photos that are already on your computer or may end up doing a ton of work for photos that you don’t a connected hard drive, then use the left side to navigate many people tell me that this saved them from many hours to that folder with the photos you want to bring in. of work. Okay, now that’s out of the way, let’s get started. STEP ONE: The f rst thing to do is come up with a con- sistent way to store your photos on your hard drive. I keep it pretty simple: I create a folder called Photos. The name you choose doesn’t matter; you could call it My Photos, Lightroom Photos, or anything that makes sense to you. Then, inside that folder I’ll store all of my photo shoots or projects in subfolders, which will be created in Lightroom during the import process (more on that later). The entire structure looks something like the image here. If you have STEP FOUR: Then next step is to choose what you want older photos that you want to bring into Lightroom, then to do with the photos. You’ll see a few options at the top I’d suggest organizing them like this before you even open (Copy as DNG, Copy, Move, and Add). You really only Lightroom to help make things easier down the road. [For need to worry about two of them. If you’ve just taken the more tips on importing older photos, see “Lightroom Tips photos and they’re on a memory card, then chances are › › photoshop user › november 2013 STEP TWO: When you’re ready to bring your photos into your computer or another external hard drive, and they’re you’re always going to use the Copy option to copy them & Tricks” on page 86.—Ed.] somewhere. If they’re photos that you’ve already put on already stored where you want them, then you’ll use the Add option because it simply leaves them where they are, but makes Lightroom aware of them. For now, let’s as- sume we’re bringing in photos already on the computer (or an attached hard drive), so choose the Add option. Lightroom, go to File>Import Photos and Video to open the Import dialog. There’s a preference in Lightroom that will automatically open the dialog when it detects a card 084

› › under the hood STEP FIVE: Now we move Note: There’s also a Copy as DNG option. DNG is a over to the right side. Re- RAW f le format created by Adobe, and Lightroom has a member, this is “Importing lot of new features that support DNG, so it’s worth check- 101,” so we’re not going ing out. You can f nd more over at http://kel.by/19Z2llK. to exhaustively go through every setting here. I just STEP NINE: We’re going to copy our photos into sub- want to get you up and folders with descriptive names that will help us f nd them running with your import later (you can also use dates if you prefer, but I’d sug- process, so we’ll cover the main options. First, under File gest a descriptive name instead). So your f rst step in the Handling, is Render Previews. This tells Lightroom what Destination panel is to turn on the Into Subfolder checkbox size of a preview to build for the photos as it imports them and give your folder a descriptive name. Below that, under (these are the JPEG previews that are embedded automati- Organize, choose the Into One Folder option. cally in your images). I’d suggest you choose Minimal as a beginner. It’s fast and it gets you looking at your photos STEP TEN: Remember pretty quickly. Keep in mind that if you decide to zoom in back in Step One when we on a photo, you’ll have to wait a few seconds for Light- created that top-level folder room to build a larger preview. called Photos? Well now all you have to do is tell STEP SIX: A new feature Lightroom that’s where you in Lightroom 5 is smart want to store these photos. previews. If you’re storing All of your connected drives your photos on an external will be listed in the Destina- hard drive and you want to tion panel, so locate the drive you want the photos on (it be able to work on those could be an external drive if you’d like), then choose the photos without the hard Photos folder that you created on that drive back in Step drive attached, then turn on One. When you click on that Photos folder, the subfolder the Build Smart Previews option. But if you’re working off you created in the last step will appear in italics with a of an internal hard drive or your photos are always on a little + icon, showing you where the photos will end up. drive attached to the computer, then leave it off. Lightroom will automatically create this folder on your hard drive when you import the photos. STEP SEVEN: Next, go to the Apply During Im- STEP ELEVEN: That’s it. You’re ready to do the import. port panel. The only thing You can always uncheck any photos you don’t want to I change here is Metadata. import in the preview area of the dialog, but other than Select New from the drop- that, just click the Import button and your photos will start down menu, and add your showing up in Lightroom. If you look over on the left side copyright, website, email, of the Library module in the Folders panel, you’ll even see and contact info. This info is the folder that has your photos in it listed there. ■ embedded into your photos during the import process, so it will always travel along with your photos. STEP EIGHT: That’s pret- ty much it for importing if you’re bringing in photos that are already on the computer or on an at- tached hard drive. But if › › www. photoshopuser .com you’re bringing in new photos from a card reader, then start by clicking the Copy option at the top. The main (and most important) thing you’ll see different is that there’s now a Destination panel on the right side. 085 ALL IMAGES BY MATT KLOSKOWSKI

adobe photoshop lightroom section › › UNDER THE LOUPE New and Improved Spot Removal Rob Sylvan Historically, the Spot Removal tool was very well-named, as it was only very good at remov- ing spots. It was primarily a tool for dealing with sensor spots, the occasional skin blemish, and very little else. In Lightroom 5, Adobe has taken that functionality to a new level. .... One of the nicest feature upgrades in Lightroom 5 is Slide the associated slider to the right to reveal more the evolution of the Spot Removal tool. The original spots or to the left to only show the worst offenders. spot-removing func- tion is still there, but now it’s even easier to f nd and remove those darn spots, so at f/22 to get that let’s start there with a little refresher on how it works. Here’s a a photo I took in Gla- cier National Park starburst effect on the sun. The effect is cool, but it has the side effect of show- ing you every spot on your sensor, and my sensor was in dire need of a cleaning. STEP THREE: Place the cursor over a spot and size the In previous versions of Lightroom you would have to brush circle to be just a little larger than the spot that needs zoom in and do your best to discern the spots from the to be removed. You can resize the brush using the Size slider background, and then remove each one with a single in the Spot Removal panel, or use the Left and Right Bracket click. The addition of the Visualize Spots checkbox and keys to make the brush smaller or larger, respectively. slider on the Toolbar makes this job a snap. STEP FOUR: Click the brush cursor on the spot and STEP ONE: Select the photo you want to work on and Lightroom will automatically choose a location to use for press Q (from either the Library or Develop module) or the sample pixels and apply the correction to the photo. click the Spot Removal icon in the Toolstrip under the By default, the Spot Removal tool is set to Heal, which uses Histogram in Develop. The cursor will change into the the sample pixels to blend into the target area, and usually › › photoshop user › november 2013 Shift-Q to switch back and forth between Heal and Clone). gives the best results. However, if you would rather do Spot Removal brush circle. a straight clone of pixels from the sample to the target area, you can click the Clone option in the panel (or press STEP FIVE: If you want to choose the location of the sampled pixels, hold the Command (PC: Ctrl) key when you click, and then drag to the desired location. I usually f nd it quicker to just click and let Lightroom select the sample STEP TWO: In the Toolbar below the image preview, check Visualize Spots (or press A) to display a mask that circles to tweak the placement after the fact, so no need to worry about getting it right the f rst time. In fact, if you reveals the edges of any spots that appear in the photo. area. You can always click-and-drag the target or sample 086

› › under the loupe don’t like the auto selection of a sample point, you can noncircular healing in Lightroom. For example, take the press the Forward Slash key (/) to force it to pick a new guide rails along the edge of the path in that photo. I f nd sample. Repeat this process until all spots are removed. they’re a little distracting and would like to clone them out. In previous versions of Lightroom it would be time to send STEP SIX: Once all spots are removed, uncheck Visual- a copy of that photo to Photoshop for additional editing. ize Spots and inspect the photo to make sure all of the Thanks to the new abilities of the Spot Removal tool, I can removals were clean and blend well. Press the H key to paint right over the rails, posts, and even the shadows to hide/show the tool overlays (white outlines) and make it heal them all away. easier to see the photo without leaving the tool. Is it as good as using Content-Aware or the Clone Stamp tool in Photoshop? No. Is it a whole lot faster and STEP SEVEN: When you’re satisf ed the job is com- easier for some jobs? Absolutely! If you’re striving for plete, you can exit the tool by clicking the Done button in perfection in your retouching, then Photoshop is still the the Toolbar, pressing Q, or pressing the ESC key twice. go-to app for that, but if you just need to quickly remove STEP EIGHT: If you have multiple photos from that same some distractions, then save yourself a trip to Photoshop and give this tool a try. You might just be surprised at shoot, they’re going to contain the same sensor spots, and how well it works. instead of having to touch up each photo individually, you You can reposition the sample and target areas with can synchronize your work across a batch of selected pho- noncircular spot removal, but you can’t resize the area tos. Starting with the adjusted photo, select the rest of the after the fact. I f nd using the smallest possible brush photos from that shoot in the Filmstrip, and click the Sync size before painting works best. Hold the Shift key while button. Make sure Spot Removal is selected in the Syn- you brush to constrain the brush to a perfect vertical or chronize Settings dialog, and click Synchronize to apply horizontal line (depending on the direction you’re moving that adjustment to all selected photos. Note that this the brush). You can also click once, and then hold the works even if you rotated the orientation of the camera, Shift key and click in a different area to have Lightroom but keep in mind that sampled areas in the synchronized join the two clicks with a straight line (handy for poles photos should be inspected for accuracy (and tweaked and power lines). as needed), as the subject matter in each photo may not To delete a Spot Removal adjustment, just click on line up the same in all photos. its tool overlay to make it active and press Delete (PC: Backspace), or to delete a bunch at once, hold the Option key (PC: Alt) and click-and-drag over an area to select them all and delete them. While pressure sensitivity isn’t supported, I do f nd using a Wacom tablet makes this job a lot faster and more precise. Here’s a performance tip. If you f nd that using the Spot Removal tool is very slow and your computer seems to be › › www. photoshopuser .com working harder than it should, try unchecking Enable Prof le NONCIRCULAR HEALING Corrections in the Lens Corrections panel. Once you’ve com- That’s a great enhancement on the old workf ow, but pleted your spot removal work, you can go back and Enable there’s a lot more to love about the Spot Removal tool Prof le Corrections again. This way Lightroom won’t have to as it’s no longer limited to just spots. Yes, we f nally have work so hard while removing spots. ■ 087 ALL IMAGES BY ROB SYLVAN

adobe photoshop lightroom section › › Seán Duggan LIGHTROOM Tips & Tricks This issue’s column provides some tips for new Lightroom START WITH CURRENT IMAGES AND WORK BACKWARDS users who need to create a Lightroom catalog for an existing If you already have a large collection of images to transfer to folder structure of images. Lightroom, it might seem like a daunting task. To make it easier, ORGANIZE BEFORE IMPORTING break it up into manageable bits. Once you’ve established a INTO LIGHTROOM basic organizational structure, begin with current images and, A good organizational structure is key to any photo archive; as time permits, gradually work backwards to add older f les therefore, before you bring your images into Lightroom, take into the catalog. some time beforehand to organize them and clean up the folders. If your image f les are all over the place and not really START WITH A “CLEAN” FOLDER AND arranged in any logical order, this is a recipe for future head- ADD TO IT To help keep the migration process clear in terms of what has aches. If you f nd that it’s hard to f nd f les now and your orga- and hasn’t been added to Lightroom, some people start with nizational structure (or lack thereof) is confusing, you’ll just be a “clean” folder for the archive. Folders of images, organized transferring that confusion into Lightroom. according to whatever system works best for you, can then FIND AN ORGANIZATIONAL STRUCTURE be added to the new archive folder and imported into Light- THAT WORKS FOR YOU room. Once that main image archive folder is a part of the There’s no one organizational structure that’s right for everyone. Lightroom catalog, you can add additional image folders to Photographers have different needs depending on the type it and update it in Lightroom with the Synchronize Folder of work they do. The main thing is to create a logical system command (see below). for storing your image f les. I use a chronological date-based folder structure, and add content-specif c information to my HOW DO I IMPORT? LET ME COUNT THE WAYS images via keywords. You may prefer to organize images by The Import button in the lower left of the interface is one way subject matter: Family, Travel, Client Work, Animals, Street to begin the process but you can also drag a folder from the Photography, etc. Spending time organizing your images Mac Finder or Windows Explorer view and drop it onto the before importing them into Lightroom will make it easier and preview area in the Library module to open the Import dialog. quicker to apply further organizational f ne-tuning once they’re The nice thing about this approach is that you don’t have to in your Lightroom catalog. navigate to f nd the folder you want to import; the Import dialog is already set to Add the images to the catalog without moving them. Of course, if you do want to move them to another location as part of the import, you can choose that option immedi- ately above the thumbnails. Once you’ve added a folder to the Lightroom catalog (i.e., an upper-level folder that contains other image folders), if you add new subfolders to it outside of Light- › › photoshop user › november 2013 ESTABLISH A CENTRAL LOCATION Library module). ■ room, you can also update the Lightroom catalog by choos- ing Library>Synchronize Folder (the same command can be Subject-based organization Chronological date organization accessed by Right-clicking on a folder in the folder list of the FOR PHOTOS Having a central location where all your photos are stored is one way to simplify the organizing process. I prefer to use external hard drives for my image archive because it’s easier to add additional hard drives, or replace existing ones with new drives that have more storage capacity. The external drives are dedicated to my photo archive (meaning, that’s all that’s stored on those drives). And, of course, the content is backed 088 up to protect against drive failure.

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column › › CREATIVE POINT OF VIEW KATRIN EISMANN Class Is in Session, Part 2 ÒI hear and I forget. I see and I remember. I do and I understand.Ó This is a famous quote from Confucius, Chinese teacher, politician, and philosopher (551Ð479 BC). When teaching software techniques in a computer lab, itÕs essential to take these ancient words to heart with the three-step approach: Explain; show the technique; and repeat together. EXPLAIN THE GOALS tural terms of density, color, focus, distractions, etc., and visual When teaching software techniques to a group of enthusiastic literacy terms including content, subject, intent, and impact. students, it’s easy to get caught up in the energy of questions, Practicing seeing and articulating what’s in the image on a comments, and alternative approaches, and f nd yourself going variety of levels builds the students’ visual literacy. After a few down the Adobe Photoshop or Lightroom rabbit hole of possibili- weeks, I’ll ask the students to analyze the image’s strengths ties. As a teacher, you want to engage with your students and and weaknesses, and to outline a plan on what they’d do to encourage curious energy, while making the best use of your make a good image even stronger. Fostering independence is class time by following a plan, as addressed in last issue’s “Cre- an essential task for every educator. ative Point of View.” [See Photoshop User October 2013, p. 100.] The f rst step is to explain and show what the goal of the SHOW THE TECHNIQUE lesson is by showing and discussing a before-and-after example Demonstrating a software technique takes planning, practice, and identifying examples to clearly illustrate the concept and (in this case, a lesson on white balance) to allow the students to see and understand the lesson’s goal. Clearly def ning the lesson. For introductory classes, make sure that the image used goal of the lesson reduces anxiety and allows everyone to con- is straightforward and only requires one or two steps to improve centrate on the lesson. it; for example, how cropping and enhancing color saturation draws the viewer into the scene. › › photoshop user › november 2013 In intermediate and advanced classes, start with a basic When showing the before example, explain what you see examples. Starting with a basic example allows everyone to focus in on the class (get in the groove, so to speak) and have a nique you’re about to show. Discuss the image in both struc- 090 and show how the image could be improved with the tech- example and then move on to more complex or involved

› › CREATIVE POINT OF VIEW successful experience early in the class. Success and under- Tip: Make sure that the students are watching and not work- standing build the foundation to develop the skills needed to ing along. It’s important that they see the entire process once master more involved tasks. before applying the lesson themselves. For example, when teach- ing involves channel masking, which can easily take 10–15 steps, BREAK IT DOWN break the lesson into manageable parts: The variety of what we can do with Photoshop and Lightroom is limitless, but a lesson should never feel interminable, as in 1. Create the Alpha Channel “Will it ever end?” Breaking down the lesson into manage- A. Identify the best channel to pull the mask with. Explain able parts allows the students to grasp the concepts and ask that this is the one with the greatest contrast and detail. questions while the material is still fresh. Start by showing the before and after images, then show the steps. B. Duplicate the channel. Explain that duplicating a channel creates MARK BECKELMAN C. Enhance contrast with curves. an alpha channel. Explain the importance of not adding too much contrast, which would destroy important f ne de tail and transitions. D. Ref ne mask channel with dodging and burning tools. Explain how to use these tools with low exposure settings to build up the effect. E. Pause and review. Verbally repeat what was shown: Iden- tify, duplicate, enhance, and ref ne. Address questions, and then continue with the lesson. 2. Target the RGB image or layer that you plan on composit- › › www. photoshopuser .com ing into. 3. Activate the Alpha Channel as a Selection Activate the alpha channel via Select>Load Selection. Note: I recommend showing and teaching the menu path f rst and then incorporating the shortcuts and quick keys (see image next page). Pause and review. Verbally repeat what was shown: Tar get and converting an alpha channel mask to an ac tive selec- tion. Address questions, and then continue with the lesson. 091

creative point of view › › REPEAT TOGETHER After showing the steps, revert the demonstration f le to its original state, and repeat the same steps exactly, as the stu- dents work along step-by-step. Of course, some students will zoom ahead, and others will falter, so walk around the class- room, assisting any students and encouraging the students to help one another. When the students have completed the steps, encourage them to address questions, concerns, or new solutions they may be interested in exploring. For example, to continue with the channel-masking example, ask and discuss, “When would you use Ref ne Edge vs. the painting tools to ref ne 4. Do Something a mask?” A. For example, after copying a new back- APPLY ground, select Edit> Following a step-by-step example is similar to painting by Paste Special>Paste numbers or following the bouncing ball on the TV cartoon Into to add the new sing-alongs (I’ve just seriously dated myself). It’s a good way A. Ref ne the layer mask with the Brush, Dodge, and Burn tools to learn a technique, but the true learning takes place when background (see below). the students apply the lesson or technique to their own B. Or add an adjustment layer to apply color cor- images. This is where they’ll develop their Photoshop Spidey sense and create unique and original images. Develop rection. Explain how the assignments that are challenging, clear, and allow for cre- active selection is transferred to the layer mask. 5. Ref ne the Image ative interpretation. As Dennis Keeley, Chair of Art Center’s BFA Photography and to carefully enhance edge density and composite transitions. Imaging Department, told me, “We don’t want our students to B. Clean up f nal details, and choose File>Save As. be problem solvers; we want them to be problem makers—to think, collaborate, and create in unimagined ways.” Teaching, Pause and review. Verbally repeat all f ve steps: Create, Target, learning, and sharing are among the most rewarding things you Activate, Do Something, and Ref ne. can do with your life. Share, grow, and be a lifelong student. ■ › › photoshop user › november 2013 092 ALL IMAGES BY KATRIN EISMANN, EXCEPT WHERE INDICATED



DYNAMIC RANGE Fixing Tricky Lighting By Connor Walberg “But even with the composition and great lighting, there’s still more work to be done in Photoshop…” For those of you not familiar with the sport, highlining involves walking a narrow band of climbing webbing across FOCUSING THE FOCAL POINT valleys and canyons. Most pros walk with a tether attaching them to the line because it’s not something you can recover from if you fall off without a tether. The sport originated Shooting the sport involves climbing into a location that from slacklining, which involves strapping webbing between can be sketchy at times. Picking an angle involves lots of two trees and walking the line. These lines are typically only a scrambling around on the edges of cliffs and boulders. But few feet off the ground and for most people are plenty exciting. when you fi nally fi nd a great angle and get the composition I was fortunate enough to shoot one of the sport’s pro- just right, it’s all well worth the effort. fessionals, Mickey Wilson. He’s an athlete that I sponsor I shot at about a 100° angle to the sunrise to have through my clothing company, Concrete Coast. Watching Mickey well lit, which also allowed me to use the dark the sport is not for the faint of heart. Even with the tether, mountain as a backdrop, causing Mickey to stick out › › photoshop user › november 2013 eral hundred feet in the air on a narrow line. When they great lighting, there’s still more work to be done in Photo- from the scenery. But even with the composition and it’s downright nerve-racking when you see someone sev- fall off the line it makes a loud snap! as they bounce upside shop so that Mickey will be the focal point of the image. I’ll start by making the colors pop a bit more, then down. For average spectators (myself included), the fall brighten up Mickey a bit, and darken some other ele- makes their stomachs turn. For Mickey, it’s actually fun and exciting to fall. He even does a trick where he dives off, loops ments in the image so they aren’t quite so distracting. around the line, and lands back on top. From there, a simple contrast boost will wrap up the edit. All fi les are for personal use only.] Images: iStockphoto Layout Design: Taffy Clifford 094 [NAPP members may download the fi le used in this tutorial at http://members.photoshopuser.com/magazine/issue/november-2013.

STEP ONE: Let’s make the colors pop a bit more by using Lab Color mode in Photoshop. Choose Image>Mode>Lab Color. This separates the image out from RGB (Red, Green, Blue) channels to Lab (Lightness, A, B) channels and chang- es the look of stacking layers. STEP TWO: Press Command-J (PC: Ctrl-J) to duplicate the Background layer, then change the blend mode to Soft Light near the top left of the Layers panel. This will mix the new copy of the layer you created with the old one and have a very strong effect. You can click the Eye icon next to the new layer to see a before and after. Because the after effect is incredibly strong, we’re going to tone it down a bit. Set the layer Opacity to 28%. It’s important to never overdo any adjustment in Photoshop because they add up quickly and the image will start to look fake. STEP THREE: Now that the image has more contrast and the greens are more vibrant, we can switch back to RGB color mode. This way all of the options are available again for editing. Choose Image>Mode>RGB Color. In the dialog that appears, click Flatten. STEP FOUR: Now we’re going to brighten up Mickey because Step Two he’s wearing a black shirt and could stick out from the adjustment so you can really see the effect. After we apply background more. Click the Create New Adjustment Layer the adjustment locally, it can be backed off as much as icon (half-black, half-white circle) at the bottom of the Lay- you’d like because it’s an adjustment layer. ers panel and choose Curves. In the Properties panel, click on the lower-left part of the line and drag upwards. Then STEP FIVE: Press Command-I (PC: Ctrl-I) to invert the click on the upper-right part of the curve line and drag it mask on the Curves 1 adjustment layer, making it black back down to the diagonal line on the grid. This will bright- and hiding the curves adjustment. Click on your new en the shadows and midtones, while retaining the same adjustment layer’s mask so that you can isolate the brightness for the highlights. Don’t be afraid to increase this effect to just Mickey. Choose the Brush tool (B) and with a soft-edged brush set to white (press D), paint on Mickey carefully without painting the shadows around him. If you accidentally paint outside the lines, press X to switch your brush to black, and paint over the bad spot. › › www. photoshopuser.com 095

DYNAMIC RANGE Step Nine What this is doing is revealing the adjustment in the white it’s so bright. Layer multiple strokes over the whole bush to parts, and hiding the adjustment in the black parts. When darken it quite a bit. Next, paint the rocks around and you’re satisfi ed that the painting is correct, you can play below Mickey to darken them a bit. I used only one or two around with the curve more in the Properties panel, or you strokes for the rocks, so they aren’t darkened as much as can adjust the Opacity in the Layers panel. For this curve, the bush. Finally, paint the tree a bit in the top left because I dropped the Opacity down to 70%. Again, don’t overdo it’s distracting, as well. Remember, we’re working in the the effect! Subtlety goes a long way. Midtones here, so the shadows won’t be darkened and the highlights will remain bright. STEP SIX: Next, let’s darken some bright spots around the image with the Burn tool (nested under the Dodge tool [O]). STEP EIGHT: Switch your Burn tool over to the High- In the Options Bar for the Burn tool, set Range to Midtones lights in the Options Bar. This will make the brightest and the Exposure to about 10%. This way you can use lots spots darker. This is for the rocks below Mickey in the of strokes to make the adjustments and are less likely to middle of the image. One or two strokes should suffi ce overdo the process. Now click on the Background layer in the since we don’t want them to look the same as the other › › photoshop user › november 2013 go south we can delete the layer and start over on this part. STEP NINE: Adjust the Opacity to a comfortable level Layers panel and press Command-J (PC: Ctrl-J) to duplicate it. rocks, as they truly are brighter. This lets us work in a nondestructive way, so if things really Make sure you have the new Background copy layer active in the Layers panel. for this layer. Depending on how much painting you did, this can really vary. For my edit, the Opacity looked best STEP SEVEN: Begin painting with the Burn tool over the at 30%. It’s crazy how fast those strokes add up and how little you notice them until you lower the Opacity. bush in the foreground; it’s distracting currently because 096

STEP TEN: Now that everything is looking fairly balanced, the colors are a bit more saturated, and Mickey is sticking out from the background more, it’s time to add some contrast to the overall image with another Curves adjust- ment layer. Click the Background layer, then click Curves in the Adjustments panel. To add contrast, click a point near the top right and drag it upward slightly. Now click a point near the bottom left and drag it downward. It will create a nice “S” shape. Adjust the Opacity of this layer to a level that looks best. Because my curve was small, 80% looked about perfect. That’s it! Photography is about lighting and color. Having the right light in the right places makes a huge difference. Editing enables us to even out the lighting and make some areas stand out more than others. Starting with a great image is always important, but sometimes tricky lighting makes it diffi cult to render a shot accurately because our eyes see a larger range of light than our cameras. By not overdoing any adjustment, we’re able to make multiple changes to an image while retaining a natural, clean look. I’d like to thank Mickey Wilson for his talents on the line and bringing me along on this incredible photo shoot. ■ › › www. photoshopuser.com Connor Walberg is a professional architectural and action sports photographer out of Denver, Colorado. He’s a Getty Images photog- rapher and has been published in many major national and international publications. Connor runs a website with professional photographer Daniel Milchev that teaches action photography through a large collection of free articles at www.actionphotoschool.com. He also owns and operates a clothing company called Concrete Coast (www.concretecoast.com) that specializes in skate and surf style clothing. You can view his portfolio at www.cnwphoto.com. ALL PHOTOS BY CONNOR WALBERG 097

› › key concepts: Layer masks DIGITAL PHOTOGRAPHER’S NOTEBOOK KEVIN AMES Photoshop CS6 Workarounds Some photographers have drawn a line in the sand between getting the latest features in Photoshop CC (which is only available by subscribing to AdobeÕs new Creative Cloud) and staying with the features they already have in Photo- shop CS6. HereÕs a workaround in Photoshop CS6 for the new Camera Raw Filter and its Radial Filter in Photoshop CC. First, my position on Adobe’s new Creative Cloud and the previ- ous methods in which they licensed their tools is that of Switzer- land—I’m neutral. I see both sides and refuse to choose one. This will sort itself out over time. For whatever reason a person chooses to wait to upgrade, the desire to use the latest and great- est tools still beats strongly in our hearts. I love the new Radial Filter in Camera Raw 8 and Lightroom 5, as well as the Camera Raw Filter in Photoshop CC. Step Two for this tool is making a spotlight effect. Download the sample f le The following workarounds aren’t only for RAW f les but also for JPEG and TIFF f les. It’s important to note that Photoshop CS6 can be upgraded to Adobe Camera Raw 8.1 (ACR) for camera support only. It doesn’t include the new features such as Upright, the Heal and Clone brush, or the Radial Filter. To me, the really big jump in the ACR toolset is the Radial Filter. One of my favorite uses from the NAPP member website and let’s get going. [NAPP members may download the f le used in this tutorial at http://members.photoshopuser.com/magazine/issue/november- 2013. All f les are for personal use only.] STEP ONE: Navigate to the Courtney.TIF f le in Adobe Bridge CS6. Highlight it, then press Command-R (PC: Ctrl-R) to open it in Camera Raw. (Note: If the image doesn’t open in Camera Raw, go to Adobe Bridge CS6 [PC: Edit]>Camera Raw Preferences, and change the JPEG and TIFF drop-down menus at the bottom of the dialog to Automati- cally Open All Supported JPEGs/TIFFs.) Hold down the Shift key to change the Open Image button to Open Object, then click to open it as Step Three a smart object in Photoshop CS6. This is critical to the success of this project. This is the only way to bring a TIFF or JPEG directly into Photo- shop as a smart object that will open in Camera Raw. › › photoshop user › november 2013 above it. STEP TWO: Right-click the name of the layer (Courtney) then choose New Smart Object via Copy. A new layer named Courtney copy appears STEP THREE: Get the Elliptical Marquee tool (nested under the Rectangular Marquee tool [M] in the Toolbox). Draw a selection around Courtney’s face. While drawing, add the Spacebar to move the selection into place. Next, click the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. The selection becomes a layer mask with black surrounding the white circle. The Layer mask is active, indicated by the white brackets around it. The white area of a layer mask shows whatever is on that layer; black hides it. This mask is the equivalent of 098 clicking on the Radial Filter’s Inside option in Camera Raw in CC. Step Four

› › digital photographer’s notebook STEP FOUR: Double-click on the Courtney copy layer thumbnail to open it in Camera Raw. Lower the Exposure to –0.85, increase the Highlights to +90, and click OK. Courtney’s face becomes much darker. Open the Properties panel (Window>Properties). With the layer mask active, either click the Invert button or use the shortcut Command-I (PC: Ctrl-I). This is the equivalent of the Radial Filter’s Outside option. (Note: In Lightroom, swap outside for inside by checking the Invert box in the Radial Filter’s panel.) STEP FIVE: Next, blend the sharp edge of the layer mask by dragging the Feather slider in the Properties panel to about 234 px. By darkening Courtney’s hair and the background using the soft- edged mask on a copy of the smart object with a lower exposure, her face compels us to see it. STEP SIX: This is where the Camera Raw Filter would come into play in Photoshop CC. Make a new smart object copy of the layer Courtney. Double-click it to open it in Camera Raw. Increase the Exposure to +0.70, and push the Vibrance up to +31. Select the Step Eight HSL / Grayscale tab (fourth from the left), click on the Hue tab, Zoom in to 100% (Command-1 [PC: Ctrl-1]). Get the Brush tool (B), and move the Blues control to +31 or so. Click the Luminance tab and move Blues to +43. Click OK. STEP SEVEN: Hold down the Option (PC: Alt) key, then click the Add Layer Mask icon to hide the bright version of Courtney. and in the Brush Preset Picker in the Options Bar, set the brush Size to 15 px and its Hardness to 0%. Set the Opacity to 100%. Press D to set white as the Foreground color, and paint over the round catchlights in her eyes. Lower the brush Opacity to 50% by pressing 5, and paint over the iris of each eye, then along the edge of her lower eyelids. STEP EIGHT: One more Camera Raw Filter workaround will change the color of Courtney’s lips. Once again, duplicate the layer Courtney using New Smart Object via Copy to make Courtney copy 3. Double- click its layer thumbnail to open it in Camera Raw. Again choose the HSL / Grayscale tab. Click on the Targeted Adjustment tool (T), or TAT for short, in the toolbar across the top of the Camera Raw dialog, and then click the Hue tab. Click on the lips and drag the TAT to the left. It samples the colors at the point you clicked, and as it’s dragged, it changes the appropriate slider or combination of sliders that represent the targeted color. Your f nal reading should be around Reds –100 and Oranges –61, depending where you started. Choose the Lumi- nance tab, and click-and-drag the TAT to the right to brighten the lips: Reds +31, Oranges +3. Click OK. STEP NINE: Courtney now looks super sunburned. Hold the Option (PC: Alt) key, then click the Add Layer Mask icon. Paint white at 100% over her lips and (magically) her lips are wonder- fully pink! Compare the original with our Radial Filter and Camera › › www. photoshopuser .com Raw Filter workarounds. Nice! New tools are great timesavers once they’ve been learned. Photo- shop CS6, however, has a very rich toolset that can, with a little bit of creativity, do most everything the latest version can do. Until next time, keep shooting! ■ 099 Step Nine

h o w -t o › › BEYOND PHOTOSHOP SCOTT ONSTOTT Creating Animations from Stills In this article, you’ll learn two dif erent methods for creating animations from stills. The f rst method will have you adding transitions to clips on the timeline in order to render a video, and the second method deconstructs the video you created to generate an animated GIF for posting on the Internet. STEP ONE: The stills in this project come from NASA’s Visible Earth site. Go to http://kel.by/17wGJcR and look for the Blue Marble Next Generation w/Topography and Bathymetry images. Each of these images will have a month in front of its name. Download the smallest JPEGS (about 2.5 MB each) ranging from February through December. They seem to be missing the January image so we’ll make time-lapse animations spanning 11 months of the year using one JPEG per month. STEP TWO: Choose File>Scripts>Load Files into Stack. Select Files from the Use drop-down and then click Browse. Navigate to and select all 11 images you downloaded, and then click Open. Do not choose to either align the images or create a smart object and click OK. The f les are converted to layers within a single document. Step Two STEP THREE: Choose Window>Timeline if this panel isn’t already displayed. Click the Create Video Timeline button in the middle of the Timeline panel. Click the Timeline panel’s f yout menu, choose Panel Options from the list, and set Timeline Units to Timecode in the Animation Panel Options dialog. Drag the f rst track’s right edge to the left until the tooltip next to the cursor says Duration: 01:00. Do this 11 times, once for each track. STEP FOUR: Position the cursor inside the second track and drag it to the right of the f rst track. When you release the mouse Step Three button, the clip will snap into place after the previous clip in the f rst track. Repeat this process once for each of the remaining tracks. You may have to click the Zoom Out Timeline icon (two little mountains) near the bottom left of the Timeline panel in order to see the entire timeline, depending on your screen size. In the end you’ll have one track containing 11 clips arranged in sequential order. › › photoshop user › november 2013 panel, and observe that the animation is like a slide show, jump- Step Four The end of the track is at 11 seconds on the timeline. STEP FIVE: Click the Play icon near the top left of the Timeline ing suddenly from one image to another. To create more subtle transitions, click the Transitions icon (half-white, half-black square) near the top left of the Timeline panel and drag the Cross Fade transition in between the f rst two clips. Repeat this process at each boundary between clips until you have applied 10 cross transition takes place throughout the entire video as each clip cross fades into the next one. 100 fade transitions. Play the animation again and observe a smooth Step Five

› › BEYOND PHOTOSHOP STEP SIX: Choose Image>Image Size to reduce the number of pixels you’ll render. Select Resample Image and select Bicubic Sharper (best for reduction) from the drop-down menu at the bottom of the dialog. In the Pixel Dimensions section, type 800 in the Width f eld, and click OK (in Photoshop CC, select Pixels in the drop-down menu next to the Width f eld, and then enter 800). Double-click the Zoom tool (Z) to switch to 100% magnif cation. STEP SEVEN: Click the Render Video icon (curved arrow) in the lower-left corner of the Timeline panel. Type the name “Seasons .mp4” in the Name f eld. Select Adobe Media Encoder and set Format to H.264. Set Size to Document Size and Range to All Frames, and click Render. Locate the Seasons.mp4 f le that you just rendered and play it in QuickTime. The transitions Step Seven from month to month are nice and smooth. Watch the ice and vegetation alternately advance and recede over the year. CREATE AN ANIMATED GIF The MP4 format works great as a video but if you want to post this on the Web, an animated GIF might be preferable because it doesn’t require plug-ins to play in a browser. You’ll create a GIF with more than 11 frames using the video you’ve already produced as input. STEP EIGHT: Open Seasons.mp4 in Photoshop and it appears Step Eight as a video layer. Open the Timeline panel f yout menu at the top right and choose Convert Frames>Flatten Frames into Clips. You now have 179 new layers. Play the video and you’ll see that there is no longer any animation. Click the Go to First Frame icon at the top left of the Timeline. STEP NINE: Open the Timeline panel f yout menu and choose Convert Frames>Make Frames from Clips. Each track is now visible for exactly one frame. Play the video and you’ll see it animates as it Step Nine did before when it was a video layer. To produce a smaller GIF f le, we’ll throw away most of the layers; how many to throw away is up to you. I’ll throw out 90% of the layers. To follow my lead, click the top layer in the Layers panel, scroll down to the bottom of the list, and Shift-click the Frame 0 layer to select all of the layers. While holding the Command (PC: Ctrl) key, click Frame 10, Frame 20, Frame 30, and so on to deselect these layers. When you’re done, click the Delete Layer icon (trash can) in the lower-right corner of the Layers panel. STEP TEN: Click the Convert to Frame Animation icon in the lower-left corner of the Timeline and then delete any blank frames by holding the Command (PC: Ctrl) key, selecting each one, and then clicking the Deletes Selected Frames icon (trash can) in the Timeline panel. Shift-select all remaining frames, click below one of the frames where it says 0.3 sec, and set their dura- tion to 0.5 second. Change loop from Once to Forever near the › › www. photoshopuser .com bottom left of the Timeline panel. Choose File>Save for Web and select GIF as the format. Save the f le and open it in a browser to see the animation play whatever number of slides you chose to retain from the video. ■ Step Ten 101

h o w -t o › › ADOBE PHOTOSHOP CC JANINE WARNER Adobe Generator Automates Web Graphics Common practice in the world of Web development is to mock up a design in Photoshop and then slice the image into pieces and use the Save for Web dialog to optimize each element one image at a time. Thanks to the latest update to Photoshop CC, you can put that tedious workf ow behind you. responds to the format you want, and Photoshop instantly, and IMAGES CLOCKWISE FROM TOP LEFT: ISTOCKPHOTOÑGRAPIX, IMAGE #19855742; A new set of features in Photoshop, called Generator, makes DAMIRCUDIC, IMAGE #19217578; IMAGE #16239097; ALEXMAX, IMAGE #12148264 optimizing images for the Web as easy as renaming a layer. Seriously. You just name each layer with the extension that cor- automatically, generates the Web optimized image. It’s so easy it’s hard to believe it really works until you try it. AS EASY AS RENAMING A LAYER Simply add .jpg to turn any layer into a JPEG, add .png for PNG, and .gif for GIF. Okay, there’s one step you have do f rst; you have to turn Generator on. And you have to turn Generator on for each PSD f le, but once it’s on, the feature works until you turn it back off again. To turn Generator on, choose File>Generate>Image Assets. With Generator activated, you simply add a Web graphics exten- sion to the name of a layer (jpg, gif, or png), and Photoshop automatically saves just that layer in that format. Optimized images are saved in a folder called Assets that’s automatically created in the same folder as the PSD f le. › › photoshop user › november 2013 the group. This works well if you’ve mocked up a design that You can even add an extension to the name of a group of layers to save an optimized image that includes everything in has sections made up of multiple layers. For example, many websites, including the example shown in these f gures, feature an animated slider that includes two or more slides that rotate. Each slide may be made up of multiple layers saved in a group. In this case, the slides are named slider1, slider2, and slider3. To save the three slide groups as individual images, simply add .jpg to the end of the group name, and Photoshop generates a JPEG with all of the layers saved as one image. 102

› › ADOBE PHOTOSHOP CC CONTROLLING IMAGE QUALITY If you’re familiar with the Save for Web dialog, you may already be wondering how you set compression levels and other set- tings using Generator. In the Save for Web dialog, if you choose the JPEG format, you can specify the percentage of compression by using the Quality scrubby slider or by entering a number in the Quality f eld. The lower the number, the more compression. To specify the amount of compression with Generator, you simply add a number after the f le extension that corresponds to the compression setting you want. For 90%, add the number 9, for 80% add the number 8, and so on. Here’s an example: To save slider1 as a JPEG with 90% compression, you would name it “slider1.jpg9.” Note: Don’t add a space between the exten- sion and the number. And don’t worry, the number will not be included in the f lename of the optimized image. Although you can include spaces in layer names when using Generator, it’s good practice not to because some Web servers don’t support names with spaces or special characters (dashes For example, you can create three versions of slider1 by naming and underscores are okay). If you’re used to comparing the image quality of the same image at different compression levels, you may be pleased to learn that you can generate multiple versions of the same image by simply entering a list of names, separated by commas. the layer “slider1a.jpg9, slider1b.jpg8, slider1c.jpg7.” Keep in mind that each image must have a different name, hence my addition of a, b, and c to the layer names. If your PSD has more than one layer with the same name, Photoshop will only gener- ate the f rst one. PRESERVING TRANSPRANCY AND SPECIFYING PNG OPTIONS Similar to JPEG compression, you can specify whether you want to generate an image in the PNG 8, 24, or 32 format by add- ing the corresponding number to the end of the name. If you want to save an image for the Web and preserve transparency, the PNG format is your best option, and if you include a drop shadow or gradient in the image, PNG 24 or 32 will give you the best results. If you don’t specify a number, generator cre- ates PNG f les using the png32 format by default. If you want to try all three, enter a list of names, separated by commas. For example, “slider1a.png-8, slider1b.png-24, slider1c.png-32” generates three images, each saved in the PNG format specif ed by the number at the end of the f lename. Again, don’t add spaces between the extension and the num- ber. The dashes in this example are optional. › › www. photoshopuser .com The process of generating optimized images is so fast that as soon as you add an extension to a layer name, the image appears in the Assets folder. If you change a name (as I did in this example) from jpg to png, the JPEGs disappear and the PNGs appear in their place, almost instantly. 103

ADOBE PHOTOSHOP CC › › IMAGES CAN BE INSERTED USING in this example: “50% kids1.jpg, 150% kids2.jpg, 250% kids3. ANY WEB PROGRAM jpg.” In this case, three images are generated, kids1.jpg is half the After the images are generated, you can insert them into a size of the original, kids2.jpg is one and half times the size, etc. webpage using any of your favorite Web design programs. If you’re using Dreamweaver, simply choose Insert>Image as you CUSTOMIZABLE OPEN SOURCE JAVASCRIPT always would and select the version you want in your webpage. Perhaps one of the most promising things about Generator is (Note: Make sure to copy the optimized image into your site that it’s written in JavaScript and it’s open source, which means folder.) If you use WordPress or an online website service, such if you know a little JavaScript, you can customize it to automate as Zenfolio, Squarespace, or SmugMug, simply upload your even more tasks. For example, you can create your own version optimized images. of Generator that will save your images to a special folder. You could even write a script that would automatically upload CREATING IMAGES FOR RESPONSIVE DESIGNS generated images to a Web server or save them to an external If you use Edge Ref ow, one of newest programs from Adobe hard drive. for creating responsive Web designs, you’ll have an added If you don’t know JavaScript, don’t fret. Because it’s open advantage. Generator is integrated with Edge Ref ow, making it source, you can expect many new versions of this tool to be super easy to use these two programs together. created, much like plug-ins or f lters, which you’ll likely to able Because responsive designs often use multiple versions of an to add to Photoshop in the future. image, you can also enlarge and reduce the dimensions of an If you want to disable Generator for any reason, you can image as you generate it. In this case, you want to include the turn it off completely by choosing Photoshop (PC: Edit)> percentage change you desire before the image name, as you see Preferences>Plug-Ins, and unchecking Enable Generator. ■ › › photoshop user › november 2013 ISTOCKPHOTO, MACHINEHEADZ, IMAGE #19917411 104

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column › › THE ADOBE CREATIVE CLOUD JAY NELSON Typekit for Web and Desktop Back in May when Adobe released the Creative Cloud, one of the most exciting features they announced was Typekit: a collection of fonts in both Web and desktop (print) format that you can download and use on your documents and websites. Typekit is exciting for designers because it allows them to desktop fonts, when you stop paying for your Creative Cloud maintain consistent branding for clients by using the same subscription, the Web fonts are removed from your computer fonts in printed materials, digital documents, and website and are no longer served to your websites. designs. It’s also exciting because hundreds of these fonts are included with a subscription to Adobe Creative Cloud, GETTING STARTED and those fonts are available on any computer the designer If this system makes sense for your needs, here’s how to use logs into (Adobe calls this “Font Syncing”). Typekit. First, link your Creative Cloud account to Typekit. The Typekit’s Web-only fonts were available for use by website easiest way to do that is to use the Creative Cloud app and click designers right away, but Adobe ran into some technical prob- on the Fonts tab. After signing in, you can browse the fonts. This lems that caused the delay of releasing the desktop fonts until takes you to the Typekit website, which has lots of ways to help recently. The good news is that Adobe has now made Typekit you f nd just the right font. desktop fonts and font syncing available to people who are lucky enough to be included in a special Early Access program, and should have it available to everyone by the time you read this. What this means is that subscribers to Adobe Creative Cloud can freely use a collection of hundreds of fonts that work not only on websites, but also in printed projects—even in applications not from Adobe. THE FINE PRINT Before we get into how to access and use these fonts, there are a few details that may help you decide if you want to use Typekit at all. First, not all Typekit Web fonts are also avail- able for desktop use—if you need both formats you’ll want to enable both the Web and desktop f lters at the Typekit web- site. Also, Typekit’s desktop fonts behave almost the same as other fonts you have on your computer. You can use them in any application, embed them into PDF and EPUB f les, convert the characters to outlines, and so forth; however, you cannot use a font management utility to enable or disable them, nor › › photoshop user › november 2013 invisibly on your hard drive, you simply can’t get at them, and script, decorative, etc.), Web and Desktop use (some fonts are can you include them when packaging an InDesign document or share them with others. Because the font f les are stored neither can your font management utility. Also, when you stop paying for your Creative Cloud account, the fonts go away. In contrast to desktop fonts, Typekit Web fonts are stored For example, you can limit your search by Classif cation (serif, on Adobe’s servers and delivered to Web browsers when visi- Web-only), Recommended use (paragraphs or headings), weight, tors access the pages you’ve created. It’s important to remem- you f nd a font you like, you can add it to your Favorites by click- each domain where you use these fonts. If your website goes viral, you’ll need to upgrade to a paid Typekit plan, which is ing the heart icon in the top-right corner, or immediately add it to your Creative Cloud subscription for syncing to any computer. $99.99 per year for 1,000,000 page views. And like Typekit’s 106 ber that Adobe has imposed a limit of 500,000 page views for width, x-height, stroke contrast, and languages supported. When

› › THE ADOBE CREATIVE CLOUD to link those accounts into Typekit for management and syncing. If you have previously purchased Web or desktop fonts from After making all these choices, Typekit creates a kit of fonts for you on its server and displays a few lines of JavaScript code other foundries, the Purchased Fonts tab provides a handy way Currently, Typekit supports just a few foundries, but they’re add- for you to copy-and-paste near the top of the <head> tag in the CSS or HTML page code for your website. You can then ing more. use those fonts when designing webpages in Adobe Dream- As Typekit’s font collection grows, choosing just the right font weaver, Muse, or any other website-creation tool—even can be overwhelming. So, they have several features that help. The WordPress and other dynamic content servers. When a person Browse Lists tab organizes fonts by theme or use, such as Alterna- visits your website, the JavaScript tells Typekit to deliver your tives to Helvetica, Good for Longform, Formal, Sci-f , Typewriter, fonts to their Web browser. (This is also lets Adobe count your and Wild West. In addition, if you happen to know the name of page views.) the foundry that makes a font you like, you can search for other Using Typekit’s desktop fonts is much easier: you just click the fonts by that foundry. And f nally, the Gallery tab shows active Sync button in the Creative Cloud app and your chosen fonts websites that use Typekit fonts, and it lists the fonts they use. are delivered to your current computer and activated for use in all applications. Just like other fonts on your computer, you can USING THE FONTS print with them, convert them to outlines, and embed them into Once you’ve found a font you want to use, Typekit walks you PDFs and EPUBs. Fonts you’ve embedded into PDFs and other through about a dozen important decisions about how you want digital documents stay there forever, but when your Creative to use it. First, will you use it on a website or a desktop project? Cloud subscription ends, you can no longer use Typekit fonts If on a website, which domain(s) will use it? Do you mind if they when editing existing documents or creating new ones. add a colophon badge to your webpages so your visitors can click through to Typekit? Do you want to enable support for vari- Typekit isn’t for everyone. If you get squirmy thinking about your ous mobile platforms, such as iPad, iPhone, Android, Windows fonts disappearing if you stop paying Adobe for Creative Cloud, Phone, and Blackberry? well, think some more. But if you want instant access to hun- You also need to decide which weights and styles you want dreds of Web fonts and matching desktop fonts, and if the fonts to include (each weight or style increases the size of the font you want are included in Typekit’s collection, you’ll enjoy having › › www. photoshopuser .com f le that’s delivered to your viewers’ Web browser), and which access to them from any computer for as long as you subscribe languages do you need to support? The Default option includes to Creative Cloud. characters for English, Spanish, Italian, and Portuguese. To sup- For lots more information on using Typekit, click the Help port any other language, click the All Characters radio button button at their website (www.typekit.com), which links to dem- instead, which signif cantly increases the size of the font f le. onstration videos and truly helpful FAQ documents. ■ 107

column › › THE COPYRIGHT ZONE ED GREENBERG AND JACK REZNICKI Excuses—A Refuge for Scoundrels Excuses are like a (pick a body part or two, any part); everyone has one or more. Some excuses are simple, innocuous, and sometimes needed to grease the wheels of business. We’ve all used them and heard them at least a time or two. Whenever Ed’s offce sends a letter to an entity that’s been 1. There was no copyright notice or photographer’s name infringing on a photographer’s photo or an illustrator’s work, on the image. This defense from the school of “throw something or to a company employing a model’s image without permis- at the wall to see if it sticks” is illogical. How many people sion, he’s barraged with a variety of excuses—some comical, engrave their names and addresses on their cars, televisions, some heartfelt, some arrogant, but most just plain typical. and other property? Imagine a thief stealing such an item and tell- Recently, Ed issued several dozen of those letters in two ing the cops, “Nobody’s name was on the Mercedes! How could copyright cases and a modeling case, all within about a week. I know someone owned it?” It was a rainstorm of infringements and another type of storm If the user of the work in question didn’t create it or obtain with the incoming excuses. a license to use it, then the image had to be owned, created, or however, before going down the list, one thing to note is that registered by someone else. For the record, there hasn’t been a requirement for a copyright notice or symbol since the Carter PREDICTABLE RESPONSES presidency. A copyright notice is helpful to prevent theft and We were struck with the predictable appearance of some very prove willful infringement, but it’s not necessary; however, as our lame excuses by both infringers and attorneys alike. We went through some 50 replies and saw the very same excuses we’ve mothers said about chicken soup, it couldn’t hurt to use one. been seeing for decades. A selection of our favorites follows; especially when the image is used for advertising purposes. no matter who authored it (artist, lawyer, or corporation), every Frequently, such notices are impractical or impossible to use, letter contained some version of the following line early on: 2. We are a small business. There is no small-business exception “We’re glad you’ve brought this to our attention. We take mat- or defense under the Copyright Law. In addition (after stating the ters regarding intellectual property very seriously.” obvious), we point out to the infringer (or his attorney) that our This line—and it is a line—is employed as a “softener” by the client is a one-person operation that’s much smaller than that writer. You’re supposed to believe that the responder isn’t really of the offender. Many of these small businesses have insur- a thief or a bad guy, but rather someone who is just like you ance coverage, thus making their own claims about fnancial and shares your ethics and morality. In real life, it’s very rare that stability totally irrelevant. the infringer has any respect for intellectual property—unless of Ed actually had a lawyer in a case try this excuse in front of course it’s his or her own property. a judge and, when Ed asked where exactly in the law a small- Once they’re caught with their hand in the proverbial cookie business exception existed, the judge agreed with Ed [that it did jar, these thieves commence morphing into veritable saints. If not exist]. In another case, where Jack was suing an infringer, the they were in fact concerned with matters of copyright, they small mom-and-pop business was netting almost a million dollars a wouldn’t be on the receiving end of a “gotcha” letter from some year for Mom and Pop. lawyer. Rather, they’d have secured a license and paid a fee to 3. We haven’t made a proft in X years. We’re frequently invited use the photo from a photographer or model, or their agents, as › › photoshop user › november 2013 away scot-free with the appropriation of an image are very good. proft. It’s most often of absolutely no concern to the aggrieved to review tax returns to buttress this statement; but we don’t the case may be. But that, of course, will cost them money, so go down these rabbit holes as to whether a business makes a why bother? Nearly all infringers know that the odds of getting registrant. Many businesses have run for years without making a proft. (See General Motors, Kodak, The Washington Post, The THE TOP 11 EXCUSES Before we start with the list of top 11 excuses, remember that Los Angeles Times, etc.) Lack of proft doesn’t grant them a pass they all came after receipt of a lawyer’s letter. As we’ve both to evade the Copyright Act. In some cases, a nonproft is simply a stated many times, lawyers often tell their clients if anyone tax designation, not necessarily a business philosophy. A business should simply ignore the letter, until and unless they get a proft, and we know of many nonprofts where the executives make very large salaries; but none of that matters. lawyer’s letter. 108 contacts them about an infringement they’ve committed, they may be run upon an accountant’s advice to show little or no

› › the copyright zone WE LOOKED BUT COULDN’T TRACE THE CREATOR [OF THE IMAGE], SO WE USED IT, HOPING WE’D BE CONTACTED. The philosophy seems to be that, since the term works well 8. We have a model release. Congratulations, but we rep- to get photographers to work pro bono, why not dress it up resent the photographer, who also has a copy of the model and run it out again for an infringement excuse? It’s the same release as well as something called a “copyright registration.” old see-what-sticks approach. The model—who has no copyright interest in an image 99% of the time—cannot convey a license on behalf of the photog- 4. If you sue, we’ll f le for bankruptcy protection. Fine; rapher. We’ve seen a lot of poorly written model releases that copyright infringement claims are not dischargeable in bank- give permission by the model to copyright the image. With very ruptcy. Such a claim would be transferred to a regular Federal Court rare exceptions, no permission is needed from a subject for the by the bankruptcy court, which lacks the power to adjudicate photographer to register his copyright. infringement claims. We welcome such f lings. We’ve called this bluff at least 100 times and not once has the infringer elected to f le 9. Is your client really going to sue over this? Short answer is, “Yes.” for protection under the bankruptcy law as a result of our claim alone. 10. We’ve taken it down and we trust this concludes the 5. The picture is all over the Internet; everybody’s using it. matter. Good try; but that’s similar to your plunging a knife into Can you hear your mother’s voice in the background saying, Our usual reply to this excuse goes something like this: “Yes we the photographer’s chest and then, once you pulled the knife know, and you’re one of the 23 infringers to whom we’ve writ- out, concluding that all is now good. The courts seem to take the ten and may have to sue.” If the image is all over the Net, it may same view as we do in such cases of physical and image assault, be because many have licensed for a fee, or many have stolen it. that the victim is still damaged after this correction. Usage The mere appearance on Google images doesn’t mean that the cessation may serve to reduce the amount of damages recov- picture is in the public domain or free to steal. erable, but rarely relieves the infringer of liability. “So if everyone jumped off a bridge, would you go, too?” The 11. Our intern was responsible and she was let go. Sure, excuse didn’t work on your mother and it doesn’t work in these blame the kid whom you hired and didn’t pay. Interns take cases either. the blame for thousands of mistakes daily. We can’t recall any intern receiving credit for anything. 6. Thank goodness you contacted us. (We both love this one: If the intern did in fact screw up, the employer is still respon- It’s slick, really slick.) “We had no idea who took the shot. We sible. If the intern wasn’t properly trained, supervised, or taught looked but couldn’t trace the creator, so we used it, hoping how to perform his or her duties by the employer, such failure(s) we’d be contacted. How much do we owe you?” may constitute negligence or gross negligence. In any event, the This one is used often, and usually with a straight face. Those nature and extent of the infringement is unaffected by the fact who make this claim are (dare we say it?) lying. This specious line that the alleged perpetrator is a dear-departed intern. crops up when the infringer runs the calculated risk of using an We generally express horror that such an important decision unlicensed image in the hopes that they’ll get away with it. regarding the use of intellectual property is left in the hands of an unpaid college student or unemployed volunteer. And we’d 7. Sorry, but we commissioned the shot years ago, and put this question to a well-paid executive or editor: “Well, if used it again. This is said in an attempt to minimize the dam- interns make decisions regarding licensing, what exactly do you ages. The logic they’re using is that, since the image was legally get paid for?” used way back when, an unauthorized reuse by the same client or for the same product should be viewed as a minor transgres- AN EFFECTIVE RESPONSE sion, requiring only a modest reuse fee. The least common reply, which would typically be the most This excuse doesn’t take into account if you’ve licensed the effective from the infringer’s point of view, goes like this: image to someone else or whether you would have granted an “It appears that there has been an infringement/unauthorized additional license to this former client even if they’d asked for one. use. Our client is willing to pay a reasonable fee to avoid all the It’s like stealing a car from Hertz at Thanksgiving. Not only attorneys’ fees, bad publicity, ill will, etc. So let’s talk about a › › www. photoshopuser .com is stealing a felony, it’s dumb to think that, just because you reasonable settlement number rather than spending money on once rented a car from Hertz in 1997, it’s okay if you pay after lawyers and experts, and wasting our mutual clients’ time.” stealing the car the amount that you’d normally pay for a rental reservation during a regular (nonholiday) time. And that approach generally works. ■ 109

reviews › › PRODUCT REVIEWS GOODSYNC Flexible Backup and Synchronization Software Review by Jay Nelson Being a responsible computer user, you have an automated backup system in place, right? But does your backup system use the same robust technology that Adobe uses for its File Sync features in the Creative Cloud? I think not. external hard drive, a networked hard drive, a mobile phone, or When Adobe needed backup technology, they turned to Siber Systems, the developer of GoodSync, a friendly, yet indus- trial-strength backup and synchronization utility. GoodSync works on Mac OS X, Windows, and Linux. You can use it to back up a folder, directory, or an entire hard drive to just about anything that can store f les: another computer, a f le server, an a USB storage device—either on your local network or across computer; every certain number of hours; or at a specif c time every day, week, month, or year. It can also launch whenever a the Internet. (GoodSync can sync to and from an FTP server, specif c folder appears on your system; for example, when you WebDAV server, Secure FTP [SSH] server, or Amazon S3 server.) connect to a f le server that contains that folder, or when you As with all good backup programs, GoodSync can be set plug in a storage device or mobile phone that has it. to copy only the changed f les, optionally keeping a backup of That’s right, you can back up f les to your mobile phone or the previous versions. And, when backing up large f les, it can tablet (iOS or Android). Just download and install the free app also copy just the changed bits, which dramatically reduces the for your device and connect the device to your computer run- amount of data being transferred. This is especially benef cial ning GoodSync. A portion of the mobile device’s storage then when backing up over the Internet. GoodSync can even limit behaves like a USB drive, storing the folder for backup or transfer the bandwidth used by a sync job by limiting its f le copy speed. but not having access to the f les. Its synchronization feature is also special. You can tell it to keep If you need to copy the same f les to many computers, or if two folders or volumes synchronized at all times, which means your organization doesn’t allow you to install applications on that when you change the content of one, the other is updated— its computers, get GoodSync’s GoodSync2Go ($39.95), which excellent for keeping a redundant copy of your photos or docu- installs and runs from a USB f ash or portable hard drive. It can ments, either locally or at a distant location. GoodSync also offers copy a folder from one computer and then synchronize that powerful f ltering, so you can exclude or include only certain kinds folder on another computer—also very handy if you’re work- › › photoshop user › november 2013 schedule, each backup task can be triggered by several condi- zation. Its ability to intelligently copy f les to and from almost ing on a project at home and at work. of f les. For example, you can tell it to copy only the image f les from everywhere on a drive onto another drive. GoodSync raises the bar for f exible backup and synchroni- If you prefer to synchronize or back up your data on a specif c every source, and its continuing expansion into new devices and tions, such as when GoodSync starts; when you log off your services as they become popular, justif es trusting its ability to keep up with your organization’s growth. ■ Price: $39.95 (Mac, Linux & 2Go); Company: Siber Systems, Inc. $29.95 (Win) Hot: Unbelievably f exible, yet simple to use Web: www.goodsync.com Rating: ◆◆◆◆ Not: Interface is a bit “un-Mac-like” 110

PHOTO MECHANIC 5 Professional Photo Browser with Auto Ingest Review by Erik Vlietinck ERIK VLIETINCK Photo Mechanic originally served to help photo editors quickly sift through the hundreds of photos they get on their desk each day. With Photo Mechanic 5, you can tag, color-code, and star-rate photographs, but its most powerful feature, Vari- Photo Mechanic 5 can simultaneously ingest photos—man- ables, allows you to automate metadata writing and routing ually or automatically from one or more watched folders—from of your photos to specif c locations. multiple memory cards to multiple locations. Even during inges- Photo Mechanic is a photo browser. To edit images you still tion, you can add predef ned metadata, allowing you to use need a true image editor, such as Adobe Lightroom. Photo Variables to send photos to different locations. Variables can also Mechanic 5 can be easily integrated, however, with anything create printable contact sheets, client-specif c Web galleries, or from Lightroom to a large-scale DAM using its dazzling num- XML f les for integration with Web content management systems. ber of Variables. Entering metadata can be automated using templates. Each Using Photo Mechanic, the workf ow starts by ingesting metadata f eld can be populated using text f les containing photos and reviewing or comparing images until you f nd the data options (e.g., keywords), or by saving from snapshots. ■ best one among a series. You can crop and rotate, but these edits exist only in Photo Mechanic, unless you explicitly apply Company: Camera Bits Inc. Price: $150 (Upgrade: $90) them. To tap into Photo Mechanic’s Variables, you’ll need to Web: www.camerabits.com Rating: ◆◆◆◆◆ rate photos and add metadata. The metadata entries can be Hot: Automation capabilities; metadata support combined to form powerful Variables that enable you to auto- matically route photos to online services, folders, etc. Not: EXTENSIS SUITCASE FUSION 5 Professional Font Management Review by David Creamer Extensis Suitcase has been around for what seems like forever, and it remains one of the f rst programs that graphic designers think of when deciding on a font manager. The latest version is Fusion 5, and if you’ve used Suitcase Fusion for a while, you won’t f nd any dramatic new features; but some useful ones, just the same. First is support for Adobe Creative Cloud (CC) applications and, like the Adobe CC subscription, Suitcase now allows activation on two systems—including cross-platform activation. Another new feature is QuickComp, which lets you use a basic layout with ful to be able to f nd older dupes by version number and also selected fonts that can come from an existing set, or you can remove all nonrequired OS fonts to a library. create a set from the layout after the fact. More layouts would be One thing I like about Suitcase is how Extensis keeps the Mac- nice or, even better, the ability to create custom layouts. intosh and Windows versions identical so that you can switch plat- Features still in Fusion 5 include f oating previews that you can forms—easier with the dual install—without missing features. place over existing layouts to visualize the font in position before Although there are other font managers available, you can’t go committing to it, and WebINK and Google Web Fonts. Sorely wrong with Suitcase Fusion 5. ■ missing is support for Adobe’s TypeKit. (Is this a technical or politi- › › www. photoshopuser .com cal issue?) Company: Extensis Price: $99.95 (Upgrade: $49.95) As before, Suitcase Fusion 5 includes the excellent Font Doc- Web: www.extensis.com Rating: ◆◆◆◆ tor ($50–70 if purchased separately). Tip: It’s generally best to run Hot: Adobe CC support; cross-platform equivalency; dual activation the fonts through Font Doctor before adding them to Suitcase. Not: No support for TypeKit; doesn’t remove unnecessary fonts In Suitcase, f nding duplicate fonts is easy, but it would be help- 111

reviews › › ROCKETSTOR 5212 Fast Thunderbolt Disk Docking Station Review by Erik Vlietinck The RocketStor 5212 is the f rst Thunderbolt disk-docking sta- tion on the market. It’s a dual-bay dock that can simultaneously handle 3.5\" and 2.5\" disks of up to 4 TB each. Made of white ABS plastic, the RocketStor 5212’s one Thunderbolt port dictates ERIK VLIETINCK that the unit sits at the end of the daisy chain. I ran various tests on the device, including its ability to maintain transfer speeds suitable for video editing. A West- hours you can duplicate almost 1 TB of data using only the ern Digital Blue 1-TB disk docked in the RocketStor 5212 gave RocketStor 5212. me a 140-MB/s write speed and a 135-MB/sec read speed. With a 4-TB upper limit per disk and unrestricted Thunderbolt Under ideal circumstances, this disk maxes out at a 179-MB/s performance that allows docked disks to work at their native burst rate. You can use the RocketStor 5212 for extended SATA speed, the RocketStor 5212 is a great image backup and periods of time, although this will heat up the disk considerably. archiving device, while it will also manage video-editing sessions During this test, I found the RocketStor 5212 shows S.M.A.R.T. for up to 1080/50p. ■ (self-monitoring, analysis, and reporting technology) data as if the inserted disk was an internal one—no f rmware gets in the way. Company: HighPoint Technologies, Inc. Price: $199 I copied a total of 48,000 f les, images, and video. The copying Web: www.hptmac.com Rating: ◆◆◆◆ test took one-and-a-half hours to complete. Hot: Speed; f exibility You can also use the RocketStor 5212 as a duplicator. An 87-GB folder took only 16 minutes to copy; in two-and-a-half Not: Design; only one Thunderbolt port OCTA 30 BEAUTY DISH #6015 Portable, Collapsible Light Modifier Review by Michael Corsentino If you like working with beauty dishes as much as I do, then you’ve probably wished they were easier to travel with—a lot easier! These modif ers, considered essential by many, are typi- cally large, metal bowls that produce natural-looking, round catch lights and a unique, snappy quality of light that users love. What we don’t love, and what has arguably kept many photographers from investing in a beauty dish, is their lack of portability and the challenge and expense they present when OctaPlus Speed Ring for your brand of studio strobe, as well as The Octa 30 Beauty Dish #6015 can be used with a standard › › photoshop user › november 2013 facturer of high-quality, durable, made-in-the-U.S.A. softboxes Speed Ring 2820. Price: $321.20 traveling. (They’re not exactly overhead compartment friendly; don’t even try it!) single- or double-shoe-mount f ash conf gurations, using the optional Versi Octa Speed Ring 2800OP and Dual Versi Octa Well, beauty dish lovers, there’s good news: Chimera, manu- since 1980, has introduced the Octa 30 Beauty Dish #6015, an Now, whether you’re shooting with strobes or external f ashes, you have the truly portable beauty dish you’ve always wanted, so innovative, f rst-of-its-kind, 30\" beauty dish that collapses like a traditional softbox. Support poles slide into pockets on the pack your bags. ■ outside of the modif er’s fabric, providing a completely smooth, uniform, white interior. Remove the fabric Bounce-Back Disc Company: Chimera suspended inside its center, snap the included diffusion panel to the front, and this beauty dish becomes a 30\" OctaPlus Hot: Unique light quality; round catch lights; lightweight; portable Lightbank, giving you twice as many options with just one piece Not: Price may be a barrier for some Web: www.chimeralighting.com Rating: ◆◆◆◆◆ 112 of equipment.