Photoshop User Magazine 2013-09

® THE ADOBE PHOTOSHOP “HOW-T0” MAGAZINE › › SEPTEMBER 2013 ® Learn how Photoshop GET IN Turn a daytime scene DYNAMIC is used for mobile into a nighttime image gaming development THE GAME of medieval proportions RANGE ®® IN-DEPTH STEP-BY-STEP TUTORIALS SPORTS PHOTOGRAPHY BY DESIGN CAPTURE THE PERFECT MOMENT AND DESIGN PRODUCTS THAT ADD TO YOUR BOTTOM LINE DISPLAY UNTIL OCTOBER 8, 2013 THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM

the power you need The Intel Core i7 is my processor Your most demanding tasks have met their match — the of choice. It gives me a faster, 3rd Generation Intel® Core™ i7 processor — the perfect engine smoother and richer experience for power users. optimize your workfl ow and while helping me bring my PCs based on the 3rd generation Intel® Core™ i7 processor help creative vision to life. The amazing maximize your productivity performance lets me capture, during editing, importing and exporting of photos. post-process and share my work Unparalleled performance will unleash your digital creativity for faster than ever. I can absolutely a richer and smoother experience. breeze through archiving loads of The only thing more amazing than Intel® technology is what high-res images and multilayered you will do with it. PSDs, and best of all, my work has never looked sharper! Scott Kelby Photographer, Designer and Award Winning Author [ for hardcore creatives ]

©2012 Intel Corporation. All rights reserved. Intel, the Intel logo, Intel Core, Intel Inside, Intel Insider, are trademarks of Intel Corporation in the U.S. and/or other countries. Photopraghy courtesy of iStockphoto, and Scott Kelby

table of contents › › SEPTEMBER 2013 FEATURE SPORTS BY 46 DESIGN Photographing youth sports can be a lot of fun, but designing photographic products to sell to moms and dads can be even more fun. Plus, it can help pay the bills. Our very own NAPP UK evangelist, Dave Clayton, shows us step by step how to create magazine covers and trading cards that will make up-and- coming sports stars look like pros. mike olivella Dave Clayton DEPARTMENTS COLUMNS From the Editor 6 28 DEsiGn MAkEoVEr Home Run About Photoshop User Magazine 10 68 PHotoGrAPHy sEcrEts How to Shoot Great Sports Images Contributing Writers 12 84 crEAtiVE Point oF ViEw Past Prime 102 tHE ADoBE crEAtiVE cLoUD NAPP Member Community 16 Behance and the Adobe Creative Cloud 104 tHE coPyriGHt ZonE From the Help Desk 20 Confronting Bullies and Paper Tigers 114 PHotosHoP tiPs NAPP Member Gallery 22 122 PHotosHoP Q&A HOW -TO Down & Dirty tricks 34 66 The Lone Ranger Movie Logo FroM BErt’s stUDio Putting Things into Perspective Dramatic Lighting Effects with Layer Styles 38 92 DiGitAL PHotoGrAPHEr’s Graphic Poster Effects 42 notEBook Composition Refining with Vignettes BEGinnErs’ worksHoP 60 96 BEyonD PHotosHoP Creating Rounded Photo Corners Creating Subtle Motion within a Photo, Part 1 cLAssic EFFEcts 62 98 ADoBE PHotosHoP cc Rusty Text Adobe Camera Raw 8

› › www.photoshopuser.com LIGHTROOM ReVIews LIGHTROOM FEATURE 74 106 The Radial Filter Wacom Cintiq 22HD Touch and 13HD 107 GoPro Hero3 Black Edition UndER THE HOOd 78 108 Canon PIXMA PRO-10 Smart Previews Manfrotto 500 110 MotionComposer 1.6 UndER THE LOUPE 80 Finestra Art Papers Using Photoshop CS6 with Lightroom 5 111 PSKiss BlackMagic Rotation 180° Professional LIGHTROOM TIPs & TRIcks 83 112 Photoshop Book Reviews 56 On THe sMaLL scReen revo SolutionS gameS Have you ever wondered how much developers use Photo- shop to create and market games for mobile devices? Corey Barker asks Revo Solutions Games that very question. Corey Barker 88 bORdeRLands Seán Duggan shows us how to take a daytime desert image and turn it into a nighttime image that will transport the viewer to a very different time and place. Seán Duggan Seán Duggan buT waIT— THeRe’s MORe kEy cOncEPTs dOWnLOAdABLE cOnTEnT These icons at the beginning of columns indicate there’s a short video on a tool Whenever you see this symbol at the end of an article, it or function used in that tutorial at the Key Concepts NAPP member webpage at means there are either downloadable practice files or additional www.photoshopuser.com/keyconcepts. content for NAPP members at http://members.photoshopuser .com/magazine. Dodge & Burn tools Lasso tool Layer masks Pen tool Smart objects Quick Selection tool

a few words from › › scott kelby FROM THE EDITOR ADOBE MAKES PHOTOSHOP WORLD AN EVEN GREATER VALUE Adobe just did something amazing for NAPP members who are going to our annual convention (the Photoshop World Conference & Expo) next month in Vegas. If you register for a full conference pass, Adobe will give you a 12-month Adobe Creative Cloud membership, including the latest full versions of Photoshop, Lightroom, InDesign, Illustrator, Premiere Pro, After Effects, Acrobat Pro, Dreamweaver, Adobe Muse, and more. That’s amazing! Adobe is basically handing each of our paid conference attendees $600 (for a conference that only cost $499 if you registered early, and is still only $599 if you register today). In fact, if you’re thinking about signing up for the full Creative Cloud, you’ll be better off going to Photoshop World than just buying the Creative Cloud by itself. Insane, right? I think it’s incredible, and I’m so grateful to Adobe for this incredibly generous show of support to our NAPP members and for their support of our conference as a whole. It really means a lot to us, and to our attendees. I’m already getting emails from members thanking us for this opportunity, but honestly the credit fully goes to Adobe, who is basically handing our members the keys to the most advanced creative toolbox ever. If you’re thinking of joining us in Vegas, we’re constantly updating the conference experience with new classes, new instructors, and new content. We now have seven full training tracks that run all three days of the conference. For example, we have specific tracks just for graphic designers and people who want to learn the Creative Cloud programs, such as InDesign, Illustrator, and Photoshop for designers. We have our “Lightroom Conference at Photoshop World” with a full slate of kick-butt Lightroom training classes that run each day, taught by a who’s who of Lightroom training instructors. In fact, there are so many Lightroom classes that you can come to Photoshop World and take nothing but Lightroom classes the entire time. Imagine how quickly you could master Lightroom in three intense days, plus we have an in-depth Lightroom crash course the day before the conference even kicks off. We have full tracks for photography, general Photoshop techniques, and lighting, taught by people like Joe McNally, Frank Doorhof, Tamara Lackey, and Joel Grimes, among others. Basically, we’ve refor- matted the show to ensure that whatever you’re into, we have you covered. There’s still time to come join us September 4–6 in Las Vegas. All the details are at PhotoshopWorld.com. In other news, our full-length online training classes, exclusively for NAPP members, have been a big hit. We’re adding new classes based on your ideas and suggestions, and there are a ton of classes up there now. If you haven’t been to the member website in a while, you’ll be amazed at the number of new classes and the new content that appears on the homepage daily. Here in the mag, our cover story is called “Sports by Design” by NAPP UK evangelist, Dave Clayton. Dave talks about designing products that photographers who shoot youth sports leagues can sell to moms and dads to add to their bottom line. He has two tutorials: one for creating a magazine cover, and one for creating a trading card. Kevin Ames has a really helpful article on the new features in Cam- era Raw 8, and in our Lightroom section, Nicole S. Young takes us on an in-depth journey through the new Radial Filter in Lightroom 5 and shows us some ways to use it that we might not have thought › › photoshop user › september 2013 See you there! of before. We have a lot going on right now, and that’s a great thing! I look forward to meeting you in person in Las Vegas in September, and I hope you get to take advantage of the amazing offer from Adobe. All my best, Scott Kelby NAPP President & CEO Editor & Publisher, Photoshop User 006



SEPTEMBER 2013 • Volume 16 • Number 7 • Printed in USA The ofcial publication of the National association of Photoshop Professionals Editorial: Scott Kelby, Editor-in-Chief Chris Main, Managing Editor Mike Mackenzie, Senior Editor Contributing Writers Kevin ames • Steve Baczewski • Corey Barker • Peter Bauer • larry Becker • dave Clayton • Pete Collins • “rC” Concepcion • Michael Corsentino • Seán duggan • daniel East • Katrin Eismann • Ed Greenberg • Matt Kloskowski • Bert Monroy • leslie Montenegro Jay Nelson • Mike olivella • Scott onstott • Jack reznicki • Colin Smith • lesa Snider • rob Sylvan • Erik Vlietinck • Jake Widman Nicole S. Young GraPHiCS: Felix Nelson, Creative Director dave damstra, Production Manager tafy Cliford, Senior Associate Designer dave Korman, Senior Premedia Specialist Marketing Team Eduardo lowe • leslie Montenegro • Margie rosenstein Web Team Karey Johnson, Director of Web Development Melissa Cozart • Christopher reed • aaron Westgate PuBliSHiNG: Scott Kelby, Publisher david Moser, Executive Publisher Kalebra Kelby, Executive V.P. Jean a. Kendra, Business Manager larry Becker, Executive Director of the NAPP adVErtiSiNG: Kevin agren, V.P., Sales 813-433-2370 Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 215 Veronica (Ronni) o’Neil, Director of Circulation/Distribution 800-738-8513 ext. 235 HoW to CoNtaCt tHE NaPP: u.S. Mail: 333 Douglas Road East • Oldsmar, FL 34677-2922 Voice: 813-433-5005 • Fax: 813-433-5015 Customer Service: [email protected] letters to the Editor: [email protected] letters to the lightroom Editor: [email protected] Membership info: [email protected] Membership Suggestions: [email protected] World Wide Web including the Photoshop Help desk, Photo Gear desk, and advice desk: http://members.photoshopuser.com ColoPHoN: Photoshop User was produced using Adobe Photoshop CS6 and Adobe InDesign CS5.5 and CS6. Blair ITC was used for headlines, Adobe Myriad Pro for subheads, and Frutiger LT Std for text. This seal indicates that all content provided herein is produced by Kelby Media, Inc. and follows the most stringent standards for educational resources. Kelby Media is the premier source for instructional books, DVDs, online classes, and live seminars for creative professionals. All contents ©COPYRIGHT 2013 National Association of Photoshop Professionals. All rights reserved. Any use of the contents of this publication without the written permis- sion of the publisher is strictly prohibited. Photoshop User is an independent journal, not affiliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned belong to their respective owners. Some of the views expressed by contributors may not be the representative views of the publisher. ISSN 1535-4687

Fixed with Lightroom ® Finished with Perfect Photo Suite 7 Perfect Photo Suite 7 is the perfect companion to Adobe® Lightroom®. With expertly crafted photo ef ects and powerful editing tools, Perfect Photo Suite lets you do things you can’t do with Lightroom alone and lets you create amazing images you’ll love. Learn how to make Lightroom better with Perfect Photo Suite 7 www.onOneSoftware.com/Lr ©2013 onOne Software, Inc. All rights reserved. onOne Software and the onOne Software logo are registered trademarks, and Perfect Photo and Photo Effects for Everyone are trademarks of onOne Software, Inc. Adobe® and Lightroom® are registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. Image © Matt Kloskowski.

about photoshop user › › ABOUT PHOTOSHOP USER MAGAZINE Photoshop User magazine is the official publication of the National Association of Photoshop Professionals (NAPP). It is for members, IMAGE COURTESY MIKE OLIVELLA As a NAPP member, you automatically receive Photoshop User by members, and is not available to the public by subscription. delivered right to your door (or digitally) ten times a year. Each issue features in-depth Photoshop tutorials written by the most talented designers, photographers, and leading authors in the industry. is a dynamic trade association and the worldÕs leading resource for ABOUT NAPP THE NATIONAL ASSOCIATION OF MEMBER DISCOUNTS PHOTOSHOP PROFESSIONALS Save anywhere from 2Ð4 times your membership cost by using our many ¨ ¨ Adobe Photoshop training, news, and education. Founded in 1998, industry-related discounts. NAPP has become the largest graphics and digital imaging association in the world with more than 70,000 members worldwide. NAPP is open to TECH SUPPORT any individual using Photoshop in a casual or professional environment. Fast, friendly Photoshop, Lightroom, and photo gear help, equipment advice, and more from certified experts. ThereÕs no faster, easier, and more affordable way to get really good at Photoshop. $ $ You can join for only 99 U.S., 129 Canada, and 99 International (digital delivery). $ MEMBER COMMUNITY NAPP also offers special educational memberships. NAPP members range from beginners to pros and love to lend each other a Go to www.photoshopuser.com to get more info. hand. Together, we have built the friendliest, most knowledgeable Photoshop and photography forum on the Web. NEWS & REVIEWS MEMBER Unbiased coverage on the latest equipment, plug-ins, and programs BENEFITS in the marketplace. MONTHLY E-NEWSLETTER › › photoshop user › september 2013 Thousands of Photoshop tutorials, bonus classes, and quick tip videos. REGISTRATION DISCOUNT Produced exclusively for members to keep you informed of everything new PHOTOSHOP USER MAGAZINE in the industry and at NAPP headquarters. Ten issues of the best Photoshop tutorial-based magazine in the industry. MEMBERS-ONLY WEBSITE Our extensive website features time- and money-saving content. TO PHOTOSHOP WORLD CONFERENCE & EXPO TUTORIALS & EDUCATION The semiannual NAPP convention and the largest Photoshop and photog- raphy learning experience on the planet. ItÕs an amazing Photoshop event. 010 FIND NAPP MEMBERSHIP DETAILS AT www.photoshopuser.com or call 800-738-8513 MondayÐFriday, 8:30 a.m. to 7:00 p.m. EST.

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photoshop’s most wanted › › contributing writers KEVIN AMES creates evocative photographs for clients such as Westin Hotels, AT&T, and Coca-Cola. His fourth book, published by Peach pit Press, is The Dig ital Photog- MATT KLOSKOWSKI rapher’s Notebook: A Pro’s Guide to Photo shop CS3, Light room and Bridge. is a full-time education director for Kelby Media Group and a Tampa-based STEVE BACZEWSKI photographer. He’s the editor of Lightroom Magazine, a best-selling author, and teaches Photoshop and Lightroom seminars around the world. is a freelance writer, professional photographer, graphic designer, and consul- tant. He also teaches classes in traditional and digital fine arts photography. BERT MONROY His company, Sore Tooth Productions, is based in Albany, California. is considered one of the pioneers of digital art. His work has been seen in countless PETER BAUER magazines and books. He has served on the faculty of many well-known institutions, written dozens of books, and appeared on hundreds of TV shows around the world. is an Adobe Certified Expert that does computer graphics consulting for a select group of corporate clients. His latest book is Photoshop CS6 for Dummies. JAY NELSON He was inducted into the Photoshop Hall of Fame in 2010. is the editor of Design Tools Monthly, covering graphic design topics since 1992. BRUCE BICKNELL He knows a lot about digital publishing, fonts, and font management. Learn more is the founder of Digital Blue Productions. He has been an instructor on Adobe’s at www.DesignToolsMonthly.com. in-box training, and is an instructor at Sessions.edu. His clients include Time Inc., SCOTT ONSTOTT NFSTC, DTCC, and magazines that include People and National Geographic. is the author of Photoshop CS6 Essentials, Enhancing Architectural Drawings and Models with Photoshop, and many other books and videos. You can see PETE COLLINS is an education and curriculum developer and website overseer for NAPP. He is what he’s up to at ScottOnstott.com. one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts COLIN SMITH background, Pete is well versed in photography, graphic design, and illustration. is an award-winning digital artist, photographer, and lecturer who has authored SEÁN DUGGAN 18 books and has created a series of training videos. Colin is also the founder of the online resource PhotoshopCAFE.com and president of Software-Cinema.com. is the co-author of Photoshop Masking & Compositing, Real World Digital Photography, and The Creative Digital Darkroom. He leads workshops on LESA SNIDER digital photography, Photoshop, and Lightroom (SeanDuggan.com). is the author of Photoshop CC: The Missing Manual and several training videos (lesa DANIEL EAST .in/clvideos), and co-author of iPhoto ’11: The Missing Manual. She’s on the Photo- shop World Dream Team, a columnist for Macworld, and founder of PhotoLesa.com. is an author, free lance writer, presenter/trainer, and consultant with more than 20 years’ experience in photography, pro-audio, and marketing. Daniel is also ROB SYLVAN founder and president of The Apple Groups Team support network for user groups. is the author of Taking Stock and Photoshop Lightroom 2 for Dummies, a KATRIN EISMANN Help Desk Specialist for the NAPP, and an instructor for the Perfect Picture is the author of Photoshop Restoration & Retouching and co-author of Photoshop School of Photography. Masking & Compositing and The Creative Digital Darkroom. Katrin is Chair of the MPS in Digital Photography department at the School of Visual Arts in NYC. ERIK VLIETINCK founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik ED GREENBERG has been a freelance technology editor for more than 20 years. He has written & JACK REZNICKI for Macworld, Computer Arts, Windows NT Magazine, and many others. › › photoshop user › september 2013 of computers and graphic design for about 25 years now—since back when it was have a blog at www.thecopyrightzone.com where you can read about JAKE WIDMAN their book, Photographer’s Survival Manual, published by Lark Books. is a writer and editor who lives in San Francisco. He’s been covering the intersection called “desktop publishing” and Photoshop was just a piece of scanning software. 012

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INDUSTRY NAPP NEWS TRAINING MEMBER AND INFORMATION COMMUNITY › › BY LARRY BECKER Where you’ll find notable achievements, musings, and inspirational work from fellow members THE BEST PHOTOSHOP WORLD OFFER EVER! Photoshop World is right around the corner (September 4–6, with preconference sessions on the 3rd), and we’ve arranged something phenomenal for this show. When you register for Photoshop World Las Vegas, Kelby Media Group and NAPP are happy to announce that Adobe will provide you with a free 12-month Creative Cloud membership! Not only do you get Photoshop CC and all of its features, but you also get access to all the other Creative Cloud applications. That’s more than a $600 value. We not only provide you with best Photoshop and creative training in the world, but the best tools to take your creative vision to the next level. Attendees of Photoshop World who are already members of Creative Cloud may use their access codes to extend their current membership one year. All attendees who already registered for a full conference pass will also receive the one-year Creative Cloud membership. So if you planned to subscribe to the Adobe Creative Cloud for $49.99 a month, just come get the best Photoshop, Light- room, and photography training you’ve ever seen, packed into one event—Photoshop World, the off cial NAPP convention— and take advantage of this special offer. Photoshop World is always amazing. Photoshop and Lightroom users always come by the thousands for the best learning and networking experience in the industry. But now, with a year of the Creative Cloud included, it’s just too crazy to miss it. See you there! NAPP MEMBER GARY NICHOLLS’ DR. WILLIAM PERCIVAL STOCKDALE PHOTOGRAPH Ever since NAPP membership started includ- ing a free portfolio 10 years ago, we’ve always reviewed the images our members upload, and we’ve had a weekly feature honoring a handful of images (photos, illustrations, composites, etc.) that we feel are impressive enough to inspire the rest of our members. It’s the NAPP Image of the › › photoshop user › september 2013 some recent NAPP Images of the Week). GARY NICHOLLS Week and these days there’s one winner plus four Editors’ Picks (see page 24 for Several weeks ago, an image by NAPP member Gary Nicholls called Dr. William Percival Stockdale was honored as an Editors’ Pick, and it received a lot of great member feedback. It was selected specif cally because of the creative lighting that made it look like it was straight from the Media digital magazine Light It because of some gear he used. It’s great to see such wonderful, creative, inspiring work in the NAPP portfolios and it’s even more special for us staffers when we hear that some of our training played a small role, too. Thanks, Gary. Beautiful work! 016 1800s. In a follow-up comment under the image, Gary Nicholls mentioned how he lit the scene, and tipped his hat to the Kelby

AND DISPLAYS NEW HP WORKSTATION MORE COMMUNITY INTERACTION › › Here are more ways to interact with Here at NAPP, we know that many of our members are gear nerds and pixel us and other NAPP members peepers, like us. We love a good display, so we were excited to read this news from HP. They recently introduced the HP Z22i, Z23i, and Z24i IPS Displays, MEMBERS ONLY which are part of their new Z Display family. According to HP, these new displays NAPP members, show off your talent by uploading your offer outstanding image accuracy and reliability, and they’re optimized for use artwork to the Portfolios section. You could be the next with HP Z Workstations. HP Z Displays are ideal for engineers, architects, designers, Editors’ Choice: Image of the Week winner (see page 24 and photographers who require image accuracy at an affordable price. for recent Image of the Week winners). Visit http://mem- HP also announced the new HP Z230 Workstation, an addition to their bers.photoshopuser.com/portfolio for inspiration. award-winning Z series of workstations. The HP Z230 is available in either a We also have the best community around. Visit the tower or small form factor, and is built for demanding application workloads. Forums section and become part of the conversation. Have a look at http://forum.photoshopuser.com. The HP Z230 is a great choice for creative designers who require rock-solid reliability at an affordable price. Designers using applications such Autodesk AutoCAD and photographers using Adobe Photoshop will benef t from the SOCIALLY SPEAKING new functionality of the HP Z230. Friend us on Facebook, follow us on Twitter and + The HP Z22i, Z23i, and Z24i Displays are available now for starting prices of Google , and check out informative blogs by $239, $259 and $399, respectively. The HP Z230 Workstations start at $999 for industry leaders. quad-core conf gurations, and are expected to be available worldwide in August. For more information visit, www.hp.com. @scottkelby NAPP www.facebook.com/PhotoshopUser @NAPP_news Scott Kelby www.scottkelby.com www.facebook.com/SKelby kel.by/onGplus Matt Kloskowski www.lightroomkillertips.com PHOTOSHOP WORLD @mattkloskowski GURU WINNERS HIGHLIGHTED www.facebook.com/ThePhotoshopGuy kel.by/MattGplus If you haven’t been on the NAPP members’ site lately, you’ve missed a regular column where we talk to past Photoshop World Guru Award winners about their Corey Barker winning pieces and some of their other accomplishments. It’s always great to get www.planetphotoshop.com @planetphotoshop a behind-the-scenes peek at the career of these NAPP members and the creativ- www.facebook.com/PlanetCorey ity that went into their award-winning images. It often helps to hear what others kel.by/CoreyGplus did to achieve their accomplishments, and that’s what these articles are all about. Rafael “RC” Concepcion Inspiration often comes from understanding, so we’re sharing the stories of our @aboutrc Guru winners to inspire all our members to greatness. www.facebook.com/webrc kel.by/rcgplus Pete Collins @PeteCphoto www.facebook.com/PeteCPhoto Guru winner Karin Dailey and kel.by/PeteGplus her award-winning The Grid Live entry were recently featured on the kel.by/TVtheGRID NAPP member site. @TheGridLive Podcasts and More › › www. photoshopuser .com YouTube: YouTube.com/KelbyMediaGroup Photoshop User TV: KelbyTV.com/photoshopusertv Kelby TV: KelbyTV.com Off cial NAPP Gear Store: kel.by/NAPPgear 017

PETE’S PHOTOSHOP TETHER TOOLS BRINGS US PORTABLE FUN CONTEST PHOTO BOOTHS Famed Photoshop Guy, photographer, and illustrator, Pete Collins, has started a regular WITH VU BOOTH feature on the NAPP members’ site called “Photoshop Fun,” where he provides a A photo booth is a known, cultural thing, series of starter images that NAPP members can use as the basis for a composite and we think of them as being at malls, of their own creation. It’s really amazing to see the variety of things people think of theme parks, or county fairs. But what if when presented with several images and little additional direction. But what’s even you shoot weddings or other events and cooler is that Pete takes the collection of submitted images and goes through them all you want a simple, portable, high-quality, to provide feedback and suggestions. It’s almost like a real-world design class where a and affordable photo booth setup that uses teacher critiques student submissions to help them analyze their own work to improve your DSLR? Well, Tether Tools has just that their own images and make them better. If you’re interested in composites, check out with the introduction of the Vu Booth. the previous contests on the member site and keep an eye out for upcoming contests. The Vu Booth has a modular setup that leverages one of their Vu Monitor Mounts— the Studio Vu, Local Vu, or Go Vu Mount— and includes a Camera Platform, Articulating Arm, and Rock Solid ProClamp. Once you connect any VESA-compliant monitor to the Vu Monitor Mount of choice, the monitor can easily rotate from landscape to portrait position. Then connect the ProClamp and Articulating Arm to any tripod leg or studio stand column (not included). The Camera Platform mounts any camera, which can be positioned on top, below, or to the side of the monitor. “Photo Booths can be large, cumbersome, and expensive,” according to Josh Simons, president of Tether Tools. “Tether Tools VU Booth introduces a solution that allows pho- tographers to integrate gear they already have MARC WARD on hand to create a portable and streamlined photo booth for their clients. With the Vu Booth, photographers can select photo booth software of choice and users can see their images immediately, generating instant gratif - WESTCOTT SKYLUX cation and encouraging more event attendees LED CONSTANT LIGHTS to participate.” For more information, visit For years now, we’ve used studio constant lights made by Westcott called Spiderlites. In www.tethertools.com. the old days, constant lights were dangerously hot (temperature) and warm (an orange- tinted color), but people liked them because you could set up shots with the exact light you’d have in your f nal shot. Things got better when the Spiderlites were introduced because Westcott used large, daylight-balanced, curly f uorescent bulbs. These were the correct, consistent color, and they were cool to the touch. Still, there were some challenges that kept some folks from adopting them. Now Westcott has introduced the Skylux LED that makes things even better. The entire light head is the size and shape of a typical studio monobloc. The SkyLux is well made and all metal; the tilting bracket is built in; they’re dimmable down to 30%; they have an industry-standard Bowens S-Type mount for compatibility with lots of softboxes; there’s an umbrella mount; and the best part is that the daylight-balanced LEDs are rated to last 50,000 hours. Constant lights won’t ever fully replace strobes, but they can sure do a lot. If you were thinking about Spiderlites, have a look at Skylux LEDs. At the time of this writ- ing, the lights weren’t shipping yet, but we’ve had hands-on experience with them here at NAPP HQ and they’re impressive! For more information, visit http://fjwestcott .com/product/skylux-led



NAPP commuNiTy › › From THe HelP Desk PETER BauER › › Answers to Photoshop, Lightroom, and gear-related questions I’m intrigued by Adobe’s new Creative Cloud subscription program, in particular, not having to wait for new features until an upgrade is released every 12 to 18 months. The frst new CC feature that’s caught my eye is the capability to use Camera Raw as a flter. How does that work?—Tammy To: Tammy or when working with Camera Raw Filter), there’s a defned From: NAPP Help Desk black point and a defned white point. The image can be To clarify your frst point, indeed new features will be made adjusted between those parameters, but not beyond. RAW available to subscribers as soon as they’re considered to be fully image data doesn’t have a defned black or white point until capable and stable by Adobe’s engineering and quality assur- the image is opened from Camera Raw into Photoshop. ance folks. Under the old system, new features had to wait for So what’s the big deal about Camera Raw Filter? It gives you an upgrade. Consider, for example, some major feature that was access to virtually all of Camera Raw’s powerful image manipula- of the Filter menu. It can be used with any layer or layer mask in tion features right in Photoshop. You may fnd that you don’t almost-but-not-quite stable enough to be released in Photoshop need to use Curves, Reduce Noise, Hue/Saturation, or Smart CS5. Under the old model it may have had to wait for the release Sharpen—you may just use Camera Raw Filter for all of those of Photoshop CS6, a full year later. With the subscription model, tasks. Keep in mind that there are some things that you can’t new features can be made available as soon as they’re ready. do with Camera Raw Filter (or, for that matter in Camera Raw In Photoshop CC, you’ll fnd Camera Raw Filter near the top Filter, and the new Radial Filter in Camera Raw 8 that can all apply RGB and grayscale images, in 8-bit, 16-bit, and even 32-bit itself). While you have the Adjustment Brush, the Graduated (HDR) images. Keep in mind that applying Camera Raw Filter –100 Sharpening and –100 Clarity, you don’t have a general blur doesn’t convert the target layer (or mask) to RAW data. Rather, feature in Camera Raw—nothing comparable to Gaussian Blur or it’s comparable to using Adobe Camera Raw with JPEG or TIFF Smart Blur flters in Photoshop. Camera Raw Filter does lack some fles. RAW fles captured by a digital camera contain unpro- of the tools and features found in Camera Raw itself. You won’t cessed image data that can be manipulated as if the camera fnd the Crop or Straighten tools, the Rotate buttons, nor will you settings had been changed prior to capturing the image. JPEG be able to save snapshots or use the automated Lens Corrections and TIFF fles opened into Adobe Camera Raw, and layers and feature. Each of those features is found elsewhere in Photoshop masks to which Camera Raw Filter are applied, contain image and can be used in conjunction with Camera Raw Filter. information that has already been processed. Keep in mind, too, that you can create smart objects from one For example, when working with RAW fles, Adobe Camera or more layers in Photoshop and apply Camera Raw Filter as a Raw’s Exposure slider manipulates the image data as if the reeditable smart flter. But for the greatest fexibility and most camera’s settings had been different. When working with powerful image manipulation capabilities, shoot RAW and use processed image data (JPEGs and TIFFs in Adobe Camera Raw Camera Raw rather than Camera Raw Filter. › › photoshop user › SEPTEMBER 2013 THe NAPP memBer HELP DESKS Are you taking advantage of the Help Desks at the NAPP member website? This is the place where you can get all of your Photoshop and Lightroom questions answered either by other NAPP members or by our Help Desk experts. Not only that, you can get photo and computer gear help and advice, as well. What are you waiting for? Visit the Help section on the NAPP member site today! ■ 020

Small flash. Big results. “Lastolite accessories are essential for my shoots. The Ezybox is my go to speedlight softbox, it produces fantastic soft light for portraits, and packs up tight for easy transport. Trigrips are always in my pack. Having a grip handle makes these reflectors very easy to use.” Image on left taken with Ezybox Hotshoe shown above, designed to work with most flash guns. Tom and Lastolite Professional Don’t let your flashgun control your photography. Our comprehensive range of speedlight accessories let you control the light so you can explore the full potential of your small flash. Whether you want to bounce, diffuse, reshape the light or you simply want to be more creative, Lastolite has the solution. For more information: [email protected] www.lastolite.us.

napp member gallery › › WHERE NAPP MEMBERS EXHIBIT MEMBER THEIR WORK GALLERY MAC CARRAWAY Mac Carraway is a fine art photographer living in Bradenton, Florida. He has been taking film and digital photographs for more than 30 years. He specializes in Florida botanical subjects, photographed close up in natural settings and natural light. Other main bodies of work include infrared landscapes; birds; and farm, ranch, rural, and coastal scenes. www.maccarrawayphotography.com; [email protected] JESUS CONCEPCION Jesus Concepcion is an amateur photographer from New York who has been shooting photographs since the age of 25. With the Kelby seminars he has attended, Jesus has been inspired by the many photography techniques and Photoshop processes he has learned, which has taken his passion for photography to the next level. [email protected] CARLOS CONTRERAS › › photoshop user › september 2013 art from traditional. His creative passion continues in his everyday Carlos Contreras is a self-taught illustrator, as well as a photogra- pher. He was introduced to Adobe Photoshop while completing his degree in computer animation, where he quickly switched to digital life, whether working on freelance projects for gaming studios or taking a walk outside during the fall with his camera. http://theartofcarloscontreras.blogspot.com; [email protected] If you’d like to have your work considered for publication in the “NAPP Member Gallery,” submit samples of your artwork to [email protected]. 022

M AC C A R R A WAY JE SUS CONCEP CI ON

IMAGES OF THE WEEK › › C A R LO S CON T RER AS 04 . 08 . 13 › › T Im R . ST RuCK PHOTO: MICHELE GARNER 04.29.13 › › DA N REDRuP M AC C A R R A WAY C A R LO S CON T RER AS › › photoshop user › september 2013 05.06.13 › › ShERRIE STA mb A ugh 024 05 .13 .13 › › J A RON J. ShuPE JE SUS CONCEP CI ON

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column › › DESIGNMAKEOVER JAKE WIDMAN CLIENT Home Plate Restaurant www.facebook.com/HomePlateOnTheTrail home run BEFORE Cindy Phillips bought the Home Plate restaurant in Dunedin, Florida, in January 2013 and spent a month and a half cleaning it up. By the time it opened for business in February, it featured décor that’s “a little on the modern side,” she says: light-green walls, off-white wainscoting, and lighting from IKEA. The estab- lishment now serves “home cooking with a f air”—everything from conch fritters to build-your-own salads to Buffalo chicken sandwiches—to an eclectic clientele. The neighborhood where the Home Plate is located is home to a “menagerie” of people with different tastes and income. “It’s a very liberal area—all sorts of people eat here and work here,” says Phillips. The restaurant is also right across the street from the ball f eld where the Toronto Blue Jays have their spring training (and where the Dune- din Blue Jays minor league team plays in the summer). The ballpark gave the restaurant its name; the “On the Trail” tagline comes from the fact that out back of the restaurant is the Pinellas Trail, an old rail- road track the city has converted into a pathway. The phrase is there in large part as a cue to locals so they know how to f nd the place. Phillips hasn’t done a lot of promotion so far—just talking to neighbors, notice in the local Patch.com outlet, the Chamber of Commerce, a Facebook page, and customer word of mouth. She’d also like their menu to do a better job of representing the restaurant, though. She likes the pun in the current logo, in which the baseball “home plate” is f anked by eating utensils, but she’d like it to have “more punch.” She wants a menu that’s “friendly, clean, and fresh,” like the food she serves. We asked three design- “ [PHILLIPS] WANTS A ers to give the Home Plate a menu with f air. MENU THAT’S ‘FRIENDLY, CLEAN, AND FRESH,’ LIKE ” THE FOOD SHE SERVES. › › photoshop user › september 2013 MAKEOVER SUBMISSIONS WE’RE LOOKING FOR PRODUCT PACKAGING OR LABELS, PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MAR- KETPLACE FOR FUTURE “DESIGN MAKEOVERS.” SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOU’D LIKE US TO CONSIDER MAKING OVER, OR (NOTE: THIS IS PURELY A DESIGN EXERCISE AND THE DESIGNERS DO NOT WORK DIRECTLY WITH THE CLIENT, CREATE FUNCTIONING WEBSITES, ETC.) 028 IF YOU’RE A DESIGNER AND YOU’D LIKE TO BE CONSIDERED FOR A FUTURE “DESIGN MAKEOVER,” SEND US AN EMAIL AT [email protected].

› › design makeover DESIGNER Dale Wilcox www.facebook.com/DigitalDesignsbyDaleWilcox AFTER In keeping with the sports theme of the restaurant’s name, I used the Toronto Blue Jays logo and colors to help design the menu and logo. I started by drawing a home plate shape in Illustrator and then added the baseball diamond and crisscross green f eld inside it to give it more action and intensity. Not wanting it to appear f at and boring, I cropped off the back half of the image and pasted the remainder into Photoshop. There, I converted it to 3D and angled it to give it more depth and action, as though the reader were right behind home plate. The “HOME PLATE” lettering also started out in Illustrator. I set it in Lance Hidy’s Penumbra Flare and added a white stripe running through each of the letters to recall the Blue Jays’ logo. I then copied-and-pasted the words into Photoshop and turned them into a 3D image, too. I added the shadows to the front to add more energy and excitement and to also make the lettering seem larger than it is. It still looked f at and lifeless, so I converted it into a smart object and used Warp to make it more like the bleach- ers in the outf eld of an actual ballpark. For the rest of the menu and logo, I used ITC Symbol, the closest font I could f nd to Penumbra Flare that also incorporated lowercase “ USING A DARK BLUE FOR letters. Using a dark blue for the cover background gives the menu THE COVER BACKGROUND a cool feel for customers who may be out in the hot sun and looking GIVES THE MENU A COOL FEEL for some shade and a good place to eat. Inside, I used a light brown to FOR CUSTOMERS WHO MAY mimic the beach or the dirt in the baseball f eld. I also added a grainy pattern to emphasize this and give the menu a nice, fun texture. BE OUT IN THE HOT SUN AND LOOKING FOR SOME SHADE AND A GOOD PLACE TO EAT. ” ABOUT THE DESIGNER DALE WILCOX Dale Wilcox still considers himself a newcomer to the graphic design world, having been pursuing it for only a few years. Before that, he spent more than 12 years in the Marines. After getting out, he took a job with a decorating company that specialized in setting up trade › › www. photoshopuser .com shows. He worked for that company for almost two years before the layoffs hit. But once laid off, he decided to go back to college and get a degree. Now Dale’s a full-time student at Laguna College of Art + Design, a private college in Laguna Beach, California, where he’s pursuing a bachelor’s degree. He’s been married to his wife for more than 14 years, and she’s attending college and working on her f ne arts degree, as well. Dale and his wife have two children who, he says, “are also showing promise in the art world.” APPLICATIONS USED: Adobe Photoshop CS6, Adobe Illustrator CS6, and Adobe InDesign CS6 029

design makeover › › DESIGNER Crystal Fleming www.cryskelly.net AFTER The current menu for Home Plate seemed very standard and didn’t represent the signif cance of its location. Now that the restaurant has a more modern atmosphere, I wanted to create a menu to match. Like the owner, I thought the double-entendre was a clever idea and decided to keep the home plate shape as part of the logo design. I also kept some of the utensils in the logo, but placed them behind the “plate.” Since the walls of the restaurant are a light green, I implemented that color on the main logo. A custom accent design was used to f ll in the white space around the “Home Plate” text. I used a soft blue that would complement the light green. I included the railroad tracks to add some depth and to help tie in the “On the Trail” tagline. I muted the railroad image so that it wouldn’t overpower the main logo. I applied a perspective effect to the image since the tracks are behind the restaurant. At the bottom of the menu, I used a swirl design to add some f air and modern elements. I chose yellow to add a pop of color that wouldn’t distract too much from the overall color scheme. I placed the “Home Cooking With a Flair” line toward the bottom, away from the “On the Trail” tagline, and included the restaurant’s address, phone number, and hours of operation in between those two lines to add further separation. I used beveling and drop shadows on some of the text and images “ I ALSO KEPT SOME OF to add some depth to the elements themselves. I chose the fonts THE UTENSILS IN THE Microsoft’s Colonna MT and Bruce Rogers’ Centaur since they have LOGO, BUT PLACED THEM clean lines. I settled on this particular color scheme because it’s calm, ” BEHIND THE ‘PLATE.’ modern, and inviting. › › photoshop user › september 2013 ABOUT THE DESIGNER CRYSTAL FLEMING Crystal Fleming has been fascinated by design ever since she discovered Lisa Frank back in the 1980s. Her interest increased even more while working on the yearbook staff in high school. She went on to study graphic design at American InterContinental University; she also has a BS in computer information systems. Crystal currently works in the information technology f eld while freelancing as a graphic designer and looking for full-time work in a more creative position. Crystal has designed f yers, brochures, business cards, logos, DVD covers, and business and organization websites, as well as page layouts for local magazines. Her other interests include literature, music, pop culture, and interior design. In her spare time, Crystal enjoys attending concerts, cooking, reading, and working on arts and crafts projects. Her designs have been featured on T-shirts, tote bags, greeting cards, and posters. APPLICATION USED: Adobe Photoshop CS3 030

› › design makeover DESIGNER Aaron Drucker www.penandpaperdigital.com AFTER After spending several days considering various ideas, I was out to lunch with my son, discussing the f ner points of organizing chopsticks into letters, when I unfolded my napkin and saw a most unexpected thing: a baseball diamond. It turned out that the notched corners of the napkin, when folded into roughly the shape of a home plate, created a diamond with bases. I took a picture of that and brought it back to my desk- top, where I abstracted a version of it in Illustrator. To keep with the theme of the restaurant and the client’s stated investment in the pun, I added the knife and fork, but left them inside the home plate graphic, so it could function as a separator. After playing with a few different typefaces, I settled on Adobe’s Trajan 3 Pro, as it held my eye and was very simple and clean. I popped the logo between Home and Plate and spaced out the rest of the name underneath. The body text is in Minion Pro, which is easy to read and revise when the menu changes, as those of smaller restaurants often do. I kept going back to the idea that the restaurant was across the street from the Blue Jays’ training f eld, so I picked up the blue from the team’s logo and used it as the primary color—I kept the palette to a single color to make it easy to reproduce cheaply (photocopy) as needed. Keeping it simple also allowed for easy integration with “ I ADDED THE KNIFE the relatively modern design of the restaurant. AND FORK, BUT LEFT THEM I did add the “sliding into home” graphic for the menu page. INSIDE THE HOME PLATE If I were doing the entire menu, I’d pick up a similar theme for each GRAPHIC, SO IT COULD page. The copywriter in me would like to see a bit more baseball FUNCTION AS A SEPARATOR. ” inf uence in the language and branding of the menu items, as well. ABOUT THE DESIGNER AARON DRUCKER Aaron Drucker is the owner and manager of Pen & Paper Digital, a next-generation design and publishing company. Focused on designing elegant and beautiful books, both print and digital, Pen & Paper Digital is committed to the tradition of books as an art in their own right. Trained in the Madison Avenue trenches, Aaron moved to California to complete his degree and began applying his production skills to art catalogs and books soon after he arrived. › › www. photoshopuser .com For the past decade, Aaron’s been working with writers and artists to help them design and produce books with a unique, carefully crafted structural and narrative flow, something he often feels is lacking in the melee world of mass publishing. For the past several years, he’s been developing interactive eBooks, both adapting print books and creating entirely original pieces to please client and audience alike. He lives in Los Angeles with his wife and son. ■ APPLICATIONS USED: Adobe Photoshop CC, Adobe Illustrator CC, and Adobe InDesign CC 031





h o w -t o › › DOWN & DIRTY TRICKS FELIX NELSON The Lone Ranger Movie Logo Creating a glossy, metallic ef ect is quite a bit easier than trying to achieve a worn, dull, pitted one. And the logo for The Lone Ranger movie does a great job of replicating that aged, weathered, metallic look. While most of the ef ects I re-create in this column rely heavily on layer styles, it’s interesting to see how many times I used the Overlay blend mode (in both the layer styles and individual layers) in this tutorial. Go ahead, count ‘em. Its a freakin’ Overlay overload. Who knew it would work so well? STEP ONE: Open the OneRanger.psd. Create a new layer (Layer 1) by clicking the Create a New Layer icon at the bottom of the Layers panel. Click on the Foreground color swatch at the bottom of the Toolbox, choose a dark-brown color (R:67, G:50, B:45), and click OK. Now, click on the Background color swatch, choose a light-brown color (R:161, G:129, B:105), and click OK. Go to Filter>Render>Clouds. Create another layer (Layer 2), change the Foreground color to blue (R:58, G:71, B:85) and the Background color to a light blue (R:120, G:129, B:144). Press Command-F (PC: Ctrl-F) to apply the Clouds f lter again. [NAPP members may download the f les used in this tutorial at http://members.photoshopuser.com/magazine/issue/ september-2013. All f les are for personal use only.] STEP TWO: Click the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. Press D to set the Foreground and Background colors to white and black, respectively. Choose the Gradient tool (G) from the Toolbox, click the Gradient Editor thumbnail in the Options Bar, select Foreground to Background, and click OK. Now click-and-drag a gradient from the lower right toward the upper left of the document. STEP THREE: Press Command-E (PC: Ctrl-E) to Merge Down (combine Layers 1 and 2). Duplicate this layer (Layer 1) by dragging it onto the Create a New Layer icon at the bottom of the Layers panel (Layer 1 copy). Duplicate Layer 1 once again (Layer 1 copy 2). Hide both of the duplicated layers by clicking on the Eye icon to the left of each layer in the Layers panel. › › photoshop user › september 2013 Toolbox, and click on Path 1 in the Paths panel (Window> Click on Layer 1 to make it the active Layer. STEP FOUR: Choose the Path Selection tool (A) from the Paths). Click on the outer ring portion of the path (not the star), and click on the Load Path As a Selection icon (dotted circle) at the bottom of the Paths panel. Now, click on the Add Layer Mask icon in the Layers panel. 034 BACKGROUND: ISTOCKPHOTO

› › DOWN & DIRTY TRICKS STEP FIVE: Click on the Add a Layer Style icon (ƒx) at the bottom of the Layers panel and choose Stroke. Choose Inside for Position, and set the Size to 1 px. Now, choose Inner Shadow from the Styles list on the left side of the Layer Style dialog. Change the Blend Mode to Overlay, enter 100% for Opacity, uncheck Use Global Light, enter 153º for Angle, 4 px for Distance, and 1 px for Size. Choose Pattern Overlay from the Styles list. Change the Blend Mode to Overlay, enter 81% for Opacity, and 200% for Scale. Click the down-facing arrow next to the Pattern thumbnail, then click the gear icon at the top right and choose Texture Fill to load the new patterns. Click OK when the warning dialog appears, then choose Clouds as the Pattern. Don’t click OK yet. STEP SIX: Choose Outer Glow from the Styles list. Choose Multiply as the Blend Mode, click the yellow color swatch, choose black as the color, and click OK. Enter 16% for Spread, and 122 px for Size. Choose Drop Shad- ow from the Styles list. Un- check Use Global Light, enter 90º for Angle, 53 px for Dis- tance, 54% for Size, and click OK to apply the layer styles. STEP SEVEN: Click the Eye icon next to Layer 1 copy 2 to make it visible, and click on that layer to select it. Click on Path 1 in the Paths panel, select the star portion of the path, and load it as a selection. Click the Add a Layer Mask icon at the bottom of the Layers panel. Now, click the Add a Layer Style icon and choose Stroke. Choose Inside for Position, and set the Size to 1 px. Don’t click OK yet. STEP EIGHT: Choose Inner Glow from the Styles list. Enter 65% for Opacity and 8 px for Size. Click on the color swatch, choose white as the color, and click OK. Choose Gradient Overlay from the Styles list. Choose Color for the Blend Mode, set the Angle to 131º, and click on the Gradient thumbnail to open the Gradient Editor. Click on the black color stop on the left side under the Gradient ramp, click the Color swatch, choose blue (R:42, G:106, B:154) in the Color Picker, and click OK. Click on the white color stop on the right side, click the Color swatch, choose a tan color (R:222, G:164, B:117), and › › www. photoshopuser .com click OK. Click OK to close the Gradient Editor. Choose Pattern Overlay from the Styles list. Choose Overlay as the Blend Mode and enter 65% for Opacity. Click on the down-facing arrow next to the Pattern thumbnail, choose Clouds as the Pattern, and click OK. 035

DOWN & DIRTY TRICKS › › STEP NINE: Add a new Layer (Layer 2). Change the bend mode to Overlay, and lower the Opacity to 50%. Press D to set the Foreground and Background colors to black and white, respectively. Command-click (PC: Ctrl-click) on the Path 1 thumbnail in the Paths panel to load it as a selec- tion. Go to Filter>Render>Clouds. Click the Add a Layer Style icon, and choose Pattern Overlay. Choose Multiply as the Blend Mode, lower the Opacity to 75% and the Scale to 50%, and click OK to apply the style. STEP TEN: Add another new layer (Layer 3), and change the blend mode to Overlay. Press X to set the Foreground color to white. Choose the Gradient tool, click the Radial Gradient icon in the Options Bar (the second one from the left), and click-and- drag a gradient from the upper left down past the lower right of the selection (see example). to deselect. Now, click the square where the Eye icon was next STEP ELEVEN: Add a new layer (Layer 4) and change the blend mode to Overlay. Choose the Brush tool (B) from the Toolbox. Using a large, soft-edged brush, paint in a highlight over the top left of the selection. Press Command-D (PC: Ctrl-D) to Layer 1 copy to make it visible, drag it to the top of the layer stack, and make it the active layer. Command-click (PC: Ctrl- click) on the Path 2 thumbnail in the Paths panel to load it as a selection. Click on the Add Layer Mask icon in the Layers panel. STEP TWELVE: Click on the Add a Layer Style icon and choose Bevel & Emboss. Choose Chisel Hard for Tech- nique, enter 200% for Depth, and 1 px for Size. Uncheck Use Global Light, enter 114º for Angle, and 26º for Alti- tude. Click on the down- facing arrow next to the › › photoshop user › september 2013 Pattern Overlay from the Styles Gloss Contour thumbnail and choose Ring – Double. Check the Anti-aliased box. Choose list. Choose Overlay as the Blend Mode, enter 80% for Opacity, click the down-facing arrow next to the Pattern thumbnail, and choose Clouds as the Pattern. Now, choose Outer Glow from the Styles list. Choose Multiply as the Blend Mode, click on the yellow color swatch, choose for size. Choose Drop shadow from the Styles list. Uncheck Use Global Light, enter 90º for Angle, 15 px for Distance, 10 px for Size, and click OK. 036 black as the color, and click OK. Enter 10% for Spread and 15 px

› › DOWN & DIRTY TRICKS STEP THIRTEEN: Open the image of textured metal from the download f les. With the Move tool (V), drag it into the OneRanger.psd (Layer 5). Press Command-T (PC: Ctrl-T) to enter Free Transform, make it the same size as the working f le, and ISTOCKPHOTO, POMACHKA, press Enter to commit the transformation. Press Command- IMAGE #16610087 Shift-U (PC: Ctrl-Shift-U) to desaturate the image. Now, press Command-L (PC: Ctrl-L) to bring up the Levels dialog. Click on the black Input Levels slider and drag it toward the right to darken the image. Click OK. Change the blend mode to Overlay. STEP FOURTEEN: Command-Click (PC: Ctrl-click) directly on Layer 1’s layer mask thumbnail (the outer ring) to load it as a selection. Now, Shift-Command-click (PC: Shift-Ctrl-click) directly on Layer 1 copy 2’s layer mask thumbnail (the star) to add it to the selection. Finally, Shift-Command-click (PC: Shift- Ctrl-click) directly on Layer 1 copy’s layer mask thumbnail (the text) to add it to the selection. With Layer 5 as the active layer, click on the Add Layer Mask icon. using a small, soft-edged brush, lighten the very edges of the STEP FIFTEEN: Click on Layer 1 to make it the active layer. Choose the Burn tool (nested under the Dodge tool [O]) from the Toolbox. Using a hard-edged brush, darken a circular area on the top-right edge of the outer ring, where there’s a slight indentation in the path. Next, choose the Dodge tool and indentation (see example). STEP SIXTEEN: Create a new layer (Layer 6) and drag it below Layer 1 in the Layers panel. Press D to set the Fore- ground color to black. Choose the Brush tool, and with a hard-edged brush, paint in some bullet holes (see examples). Click the Add a Layer Style icon and choose Bevel & Emboss. Choose Outer Bevel for Style, and enter 100% for Depth and 1 px for Size. Uncheck Use Global Light, and enter 111º for Angle and 42º for Altitude. Click on the down-facing arrow next to the Gloss Contour thumbnail, and choose Ring. Check the Anti-aliased box. Enter 24% for the Highlight Mode Opac- ity. Choose Outer Glow from the Styles list. Choose Multiply for the Blend Mode, and lower the Opac ity to 35%. Click on the yellow color swatch, choose a gray color (R:75, G:75, B:75), and click OK. Choose Precise for Tech- nique, enter 5 px for Size, and click OK to apply the layer style. Add some ad- ditional text and a lens f are to complete the effect. ■

h o w -t o › › DOWN & DIRTY TRICKS COREY BARKER Dramatic Lighting Ef ects with Layer Styles This was a popular trick I did a while back where I nondestructively added dramatic lighting ef ects to create a mood and a sense of space. Using simple textures and a studio model shot, you’ll see how you can alter the mood of an image with just a few layer styles. STEP ONE: Start with a texture that will be the backdrop of the scene for the subject who we’ll add later. This texture is certainly f ne on its own but I want to enhance it a little more by adding a second texture. [NAPP members may download the f les used in this tutorial at http://members.photoshopuser.com/magazine/issue/september- 2013. All f les are for personal use only.] FOTOLIA, SEBASTIAN KAULITZKI, IMAGE #5628797 Move tool (V), hold the Shift key and drag-and-drop this texture Step One STEP TWO: This texture is a bit different from the f rst one and has a darker vignette effect already added to it. Using the into the document containing the previous texture. The Shift key will center the texture in the document. WWW.PHOTOARTTEXTURES.COM Step Two STEP THREE: Now let’s blend the textures using a blend mode. Go to the Layers panel and change the layer blend mode drop-down menu near the top left of the panel to Multiply. This will blend only the darker areas of the top texture with the tex- ture below and make the overall texture a bit darker. It’s a little › › photoshop user › september 2013 Step Three too dark, so drop the Opacity of the top layer to 75%. 038

› › DOWN & DIRTY TRICKS STEP FOUR: Now open the f le of your subject. Here, our subject is shot against a wall but we need to extract here from this background and place her on the new textured background. Select the Quick Selection tool (W) in the Toolbox and click-and- drag around the subject to select the background. Remember, if any areas of the subject become selected, hold down the Option (PC: Alt) key and drag over the undesired areas to remove them from the selection. Once you have the selection complete, go to the Select menu and choose Inverse. Shooting a subject against a solid or mostly solid background makes it easier to select the background and then invert the selection. COREY BARKER STEP FIVE: To fine-tune the selection further, click on the Re- f ne Edge button in the Options Step Four Bar. Set the View mode to On Layers (L) to see the subject on a transparent background. Normally, I would use the Refine Radius tool f rst to clean up the edges, but in this case, it already looks good. Instead, I just nudged the Edge Detection Radius slider over just a bit to 1.0. This will ref ne any small imperfections in the se- lection. When that’s done, go to the Output section, set the Output To drop-down menu to New Layer, and click OK. Step Six STEP SIX: Once the subject is extracted from the back- ground, drag-and-drop her onto the textured background we created earlier. Press Command-T (PC: Ctrl-T) to put her in Free Transform, and then scale and position her on the background. Hold the Shift key to maintain proportions. Press Enter to com- mit the transformation. STEP SEVEN: There may be a little anti-alias fringe around the edge of the extracted subject. If so, just make sure the layer is selected and go to Layer>Matting>Defringe. Set the width to 1 or 2 pixels and click OK. This will remove that slight halo around the edges. STEP EIGHT: Now let’s add some layer style lighting start- ing with the background. Click on the layer containing the top texture (Layer 1) to make it active, click on the Add a Layer Style icon (ƒx) at the bottom of the Layers panel, and choose Gradi- Step Eight ent Overlay. Use the default black-to-white gradient but change › › www. photoshopuser .com the blend mode to Overlay and the Style to Ref ected. Check on Reverse and change the Angle to around 117°. If you move the Layer Style dialog out of the way, you can click on the image directly and move the gradient to where you want it. This is like controlling the background light. Click OK. 039

DOWN & DIRTY TRICKS › › STEP NINE: Next, STEP ELEVEN: Make a click on the subject layer, duplicate of the subject layer click the Add a Layer by pressing Command-J (PC: Style icon, and choose Ctrl-J). Then, remove the color Gradient Over lay once from this duplicate layer by again. This time, set the pressing Shift-Command-U blend mode to Multiply (PC: Shift-Ctrl-U), and change and the Style to Radial. the layer blend mode to Over- Also, check on Reverse and increase the Scale all the way to lay. This will boost contrast 150%. Then, as before, click-and-drag on the image to position and help the subject blend the lighter area of the gradient over the head and chest area of into the scene a bit more, but the subject. This helps light the subject and makes her look more there’s also an added bonus. like she’s in the scene. Don’t click OK yet. STEP TWELVE: Since STEP TEN: Click on the background suggests Drop Shadow in the list a second light source, we can use this duplicate layer to add a of Styles on the left side second shadow. Because we already have a shadow applied, of the Layer Style dialog. just double-click the words “Drop Shadow” below the dupli- Drop the Opacity down cate layer in the Layers panel to open the Layer Style dialog. to round 60% and set Uncheck the Gradient Overlay, as we don’t need it on this the Size to around 9 px. layer. Then, go to the Drop Shadow section, drop the Opacity down another 10–15%, and then drag the shadow down Uncheck the Use Global Light box. Then, like the and a little ways to the left of the subject. This gives the illusion Gradient Overlay, click of two shadows generated from two different light sources. on the image and drag Combine that with the Gradient Overlay layer styles added to the shadow down and to the right of the subject. This will rep- the subject and background, and we’ve created a lit scene in resent the shadow cast by the subject from the light. Click OK which we can play with the direction of lights and shadows at to close the Layer Style dialog. any time. ■ › › photoshop user › september 2013 040 Step Twelve

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h o w -t o › › DOWN & DIRTY TRICKS COREY BARKER Graphic Poster Ef ects This was an ef ect I saw in a poster for the movie The Heat starring Sandra Bullock and Melissa McCarthy. It’s a two-tone ef ect where the skin is blown out and the rest of the subjects blend into the background color. This can easily be achieved with a few simple layer tricks. STEP ONE: Begin by opening the model shot provided, or feel free to use one of your own. We have a model on a white backdrop, which will make it easier to extract the subject. [NAPP members may download the f le used in this tutorial from http://members.photoshopuser.com/magazine/issue/ September-2013. All f les are for personal use only.] STEP TWO: Choose the Quick Selection tool (W) from the Option (PC: Alt) key and click the area to be removed. When the Toolbox. When the background is solid or mostly solid, I’ve found it’s easier to select the background f rst and then invert the selec- tion. Click-and-drag along the background area and the selection will snap to the edge of the subject and the document boundar- ies. To remove something from the selection, press-and-hold the background is selected, choose Select>Inverse. Now the subject herself is selected. COREY BARKER STEP THREE: Now go to the Options Bar and click on the Ref ne Edge button. Choose the Ref ne Radius tool (E) on the left. Use the Left ([) and Right (]) Bracket keys to adjust the Size Step One of the brush, and paint around the edge of her hair to add some of the loose hair to the selection. Do this to any other areas that need to be smoother. At the bottom of the Ref ne Edge dialog is the Output section. Set the Output To menu to New Layer and click OK. › › photoshop user › september 2013 STEP FOUR: With the subject extracted from the back- Press Command-N (PC: Ctrl-N) and create an 8x12\" document at 125 ppi. Click OK. Now press Command-I (PC: Ctrl-I) to make the Background layer black. 042 ground, let’s create a new document to build the design in. Step Two

› › DOWN & DIRTY TRICKS STEP FIVE: Select the Move tool (V), and drag-and-drop the extracted subject into this new document. Press Command-T (PC: Ctrl-T) to enter Free Transform, and scale the cutout to f t in the composition. Press the Shift key and drag from a corner handle to constrain the proportions. We scaled it down, leaving some space in the top area of the image to allow for the text that we’ll add later. Press Enter to commit the transformation, and then press Shift-Command-U (PC: Shift-Ctrl-U) to remove the color from the subject. STEP SIX: Go to the Channels panel (Window>Channels), click the Blue channel, and drag it onto the Create New Channel icon at the bottom of the panel. Choose Image>Adjustments>Levels, or press Command-L (PC: Ctrl-L). Click the Step Five but the skin is forced to black, click Black Point eyedropper in the Levels dialog, then click on a lighter area in the hair of the subject to force the areas to black (see example). We want to black out everything but the skin on the subject. When everything the White Point eyedropper tool, and click on the light-gray area of the subject’s arm. This will greatly lighten the gray skin areas. Click OK when done. › › www. photoshopuser .com STEP SEVEN: Select the Brush tool (B) from the Toolbox; choose a soft, round-edged brush; and press D then X to set the Foreground color to black. Paint away any areas in the hair or anywhere else that might still contain areas of gray or white and that are not skin. When done, the only areas that should be visible are the skin and highlights on the glasses. 043 Step Seven

DOWN & DIRTY TRICKS › › STEP EIGHT: In the Layers panel, click the black Background layer, and press Shift-Delete (PC: Shift-Backspace) to open the Fill dialog. Click on the Use menu and select Color. In the Color Picker that appears, choose a red color (R:214, G:13, B:47), click OK to close the Color Picker, and click OK again to close the Fill dialog. STEP NINE: Select the layer with the subject and set the blend mode to Multiply. This will eliminate all lighter areas of the layer, especially any subtle areas around the hair. We’ll bring back the lighter areas in the next couple of steps. STEP TEN: Click the Create a New Layer icon at the bottom Step Nine of the Layers panel to create a new blank layer. Choose Select> Load Selection. In the Load Selection dialog, set the Channel drop-down menu to Blue copy, and click OK. STEP ELEVEN: Press Shift- Delete (PC: Shift-Backspace) to open the Fill dialog, choose White › › photoshop user › september 2013 of the image, press Command-J from the Use menu, and click OK. To enhance the white area (PC: Ctrl-J) to duplicate the layer. Depending on your image, this may not be necessary but it’s something you can try if the ef- fect isn’t intense enough. some text at the top for the title to complete the poster look. ■ 044 STEP TWELVE: Finally, add Final

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shoot your kids playing sports or photogra- Creating Photographic Products for Youth Sports By Dave Clayton For those of you who are either parents and phers who practice sports photography at local events, you’ve probably used the easy access at school and youth league levels to hone your skills and develop a good eye for the best kind of action shots. If you’ve ever watched Scott Kelby’s class on KelbyTraining .com, “Beginner Sports Photography,” you’ll have learned how to capture those great shots from those key moments in a game. If not, go sign up and watch now! And in this very same issue, Mike Olivella has a great ar- ticle on shooting sports starting on page 68. A lot of these images will probably go straight into your portfolio, but think about some of those great shots that only ever end › › photoshop user › september 2013 a magazine and other sports memorabilia, so MELISSA REYES-ABBEY up online. These are the types of photos that would look great adorning the front cover of why not use your Photoshop skills to create something simple but effective for your kids. Or even better, if you’re a working photogra- pher, you can create these kinds of products to add to your sales portfolio. > > KEY CONCEPTS: T T T T T Smart Objects Type tool T 046 Layout Design: Taf y Clif ord

We’re going to show you how to lay out and build a quick sports magazine cover template that can be used for multiple sports and images. We’ll then use those same images and template to cre- ate trading cards. Let’s start with the cover. Step One STEP ONE: First, you need to create a new fi le in Photoshop, so go to File>New. We’re using Photoshop CC here but this will work in older versions, as well. Keeping in mind that this will be output to an online print service, we’ll use the specifi cations required by that service for this particular tutorial. So create a fi le that’s 8x10\" (203.2x254mm) at 200 ppi. STEP TWO: Press Command-R (PC: Ctrl-R) to turn on the Rul- ers. Turn on View>Snap so you can drag guides from the Rulers box, select Millimeters in the drop-down menu next to the Width to the top, bottom, and sides of the document. This is because we need to add a bleed for printing, but unlike Illustrator and InDesign, Photoshop doesn’t include a bleed setting option. STEP THREE: Go to Image>Canvas Size. We want to add a 3-mm bleed for both the Width and Height, so click the Relative Step Three fi eld, and type the number 6 in each fi eld to add 3 mm to each side of the document. Ensure that the Canvas Extension Color drop-down menu is set to white, and click OK. You’ll now see the canvas extends beyond the guides that you set in Step Two. This is your bleed area. Ensure that any- thing that you want printed is not in this area, including text or any important parts of your images. Our canvas is now ready to begin adding layers. STEP FOUR: This project will show you how to create three different magazine covers in one easy fi le. You can later tailor Step Four this to suit your own needs depending on what you want to create for your client or yourself. The fi rst images we’ll place into the fi le are the themed background images; in this case, stock photography images of a football fi eld, a dirt track, and a base- ball image. Choose File>Place, navigate to one of your images, and click the Place button to place the fi rst image. STEP FIVE: A placed image will already be in Free Transform so you can resize it to fi t the page however you prefer. Always hold down the Shift key to resize proportionally. In this case, we want some of the yard numbers on the football fi eld to show on › › www. photoshopuser .com PHOTODUNE.NET, ANTPKR the right edge of the fi nal design. Keep the bleed area in mind when resizing and positioning; anything outside of the guides will be cut off. Press Enter to commit the placement. Step Five

STEP SIX: Then, we’ll place the other two images and resize and position them to suit the canvas for the best effect. Each background image will appear on its own layer in the Layers panel. We also re ordered the layers by clicking-and-dragging Step One PHOTODUNE.NET, SCUKROV PHOTODUNE.NET, BONNINSTUDIO them in the Layers panel. STEP SEVEN: We’re going to work on the football image fi rst, so click the Eye icons next to the other two image layers so their visibility Step Six is turned off. Then, click the top layer and Shift-click the bottom image layer to select all three layers in the Layers panel. Right-click any of the selected layers and select Convert to Smart Object. Double-click the name of this smart object layer and rename it “sport-theme-layer.” This will allow us to later go back into the smart object and turn the layers on and off as we need them. STEP EIGHT: Now we’ll place our fi rst main player photo. As mentioned above, we’ll be using three different types of images—football, baseball, and motocross—just to show how this layout can work with any sport and how the above backgrounds will complement these images. We’ll also be using smart objects to easily swap out these main images, as with the backgrounds. Step Seven So go to File>Place and place your fi rst edited image into the canvas. Again, use the Free Transform handles to resize and position the image so that the background image still shows behind. Keep in mind we have to add a title and some fun text to the cover, as well. Repeat with the other two images, and once again, stack them in the same order, per the background image layer order. STEP NINE: Hide the visibility of the baseball and motocross layers for now. As before, select these three layers and convert them into a smart object. So now we have our three background images loaded and converted to smart objects, as well as three player images loaded and converted into smart objects. This gives us a total of three layers, but we can actually delete the › › photoshop user › september 2013 (PC: Backspace). All we need is the background theme and the Step Nine original Background layer, as we don’t need it anymore. Just click on it to make it active in the Layers panel, and press Delete player layers. STEP TEN: Next, we need a font suitable for a magazine-style template. For this fun project, we can look at places such as used commercially, especially for those people looking to sell this kind of project as part of a service to customers; for fun, you’ll be okay. 048 www.dafont.com. Remember that not all of those fonts can be

I recommend www.fontsquirrel.com, as they have a great selection of commercial usage fonts. When designing something like this, we need to have an idea of a suitable kind of font. Look online for magazine covers and posters. Google will provide a lot of information. In this case, we obviously need a sports font. For football, we can use a traditional college football-style font but this will restrict us to just football when creating a template. Research some fonts for other sports and keep them noted somewhere. A good idea is to create a Photoshop fi le called “Sports Fonts” and type the names of fonts using that font style Step Ten for future reference. For this fi rst project, we’re going to use just two fonts but there’s nothing stopping you from using different fonts for each cover title. By typing “sport” into the search fi eld on FontSquirrel .com, I came across the font Sportrop, which is a nice, modern font with a retro multiline kind of feel. In the results, you’ll also see two college football-style fonts. We can use these later on for the additional text on the cover. And remember, for those on the Creative Cloud, you’ll have access to Typekit and there will be an abundance of fonts on there that can be used commercially. For now, we’ll continue as selected in the Options Bar, we’ll type the word “SHOOTSPORTS.” though we don’t have Typekit. STEP ELEVEN: Press D then X to set your Foreground color to white. Now, with the Type tool (T) active and the Sportrop font Unless you specifi cally set a font size, you’ll have to resize your font to fi t. You can do this a couple of ways. Either double-click the text with the Type tool to select all the letters, and then hover the cursor over the TT icon next to the font size fi eld in the Options Bar and scrub left or right to resize, or just hold the Step Eleven Command (PC: Ctrl) key and Shift-drag the bottom corner of the type onscreen to resize proportionally until the title fi ts. STEP TWELVE: Next we’ll add a stroke to the type to make it stand out. Click on the Add a Layer Style icon (ƒx) at the bot- tom of the Layers panel and choose Stroke. We’ll select a color from the player image to keep the style the same. For this, we’ll click on the Color swatch, go to the Options Bar and set Sample Size to 5 by 5 Average, and Sample to All Layers, and click a blue color on the shirt. Click OK to close the Color Picker. Make the stroke Size about 18 px to beef the font up a bit. Click OK. Step Twelve STEP THIRTEEN: Let’s add another stroke. To do this, convert the type layer to a smart object, click back on the Add a Layer Style icon, and apply another stroke of approximately 3 pixels in white, and click OK. Because it’s a smart object, we can change Step Thirteen the title or font and the layer style will still apply. To change the › › www. photoshopuser .com text, double-click the smart object thumbnail for the text, make your changes in the fi le that opens, and then save and close that fi le. Some fonts may need the layer styles readjusted, as the stroke may be too bold or too thin for them. 049

STEP FOURTEEN: We’ll also add a stroke to the player image layer of about 30 px in white to make the image pop from the background. Because this is a smart object it will apply to all three images in the smart object when we swap them out. Make sure you set the Position drop-down menu to Inside to give a nice, square, sharp corner on the image. Click OK. Press Command-T (PC: Ctrl-T) for Free Transform. Click the cursor just outside of the bounding box and drag to apply a small rotation to the image, just enough to still fi t within the print area. Press enter to commit the transformation. STEP FIFTEEN: Now we’ll add some “furniture” text to the cover. You can make this very specifi c to the person in the image, but for this example, we’ll make it generic to show the layout and use of spacing around the player image. As we’re going to make this into a trading card, as well, keep that design Step Fourteen style in mind. Select the Rectangle tool (U), and make sure the Foreground color is set to white. In the Options Bar, select Shape in the drop- down menu on the left, and drag a rectangle across the bottom third of the image, as shown here. in the Gradient Picker. With the layer mask active in the Layers STEP SIXTEEN: Click the Add Layer Mask icon (circle in a Step Fifteen square) at the bottom of the Layers panel, switch to the Gradi- ent tool (G), and click on the Linear Gradient icon in the Options Bar. Right-click in the image and select the Black, White gradient panel, hold the Shift key and click-and-drag your cursor in the rectangle about a third of the way from the left to about a third of the way from the right. When you release the mouse button, you’ll see that a gradient mask is applied, fading out the white rectangle on the left. Now that we have the text set, let’s make the white rectangle shape match a color from the shirt; the light gold is a good choice. Double-click the rectangle shape layer thumbnail in the Layers panel to open the Color Picker, and then click on different areas in the photo with the Eyedropper until you fi nd a tone that suits the layout. Click OK. STEP SEVENTEEN: Now we’ll type some fun text. Using the Step Sixteen same dark blue from the stroke on the header title and select- ing the Sports World college football font that we downloaded from FontSquirrel.com, we’ll add the following two lines of › › photoshop user › september 2013 make it more personalized. copy: #1 JUNIOR CHAMP 2013, and EXCLUSIVE INTERVIEW. Again, here you can add the player’s name and team details to Select both text layers in the Layers panel, Right-click on one of them and select Convert to Smart Object, and apply a 3-pixel white Stroke layer style to the smart object layer. Also, click on Drop Shadow in the list of Styles on the left side of the Layer Style dialog to apply a 10-px drop shadow to the layer using the settings shown here. This means that if we were to change the text in the smart object, the layer style will apply to the new text. Click OK to close the Layer Style dialog. Step Seventeen 050