Photoshop User Magazine 2013-12

® T HE A DOBE PHO T O SHOP “ HOW - T0” M A G A ZI NE › › D E CEMBER 2 0 13 ® Combine landscape, portrait, CREATIVE New and hidden features CREATIVE and still-life photography to that will improve the way add depth and enrich images POINT OF VIEW you interact with fonts CLOUD E I G HTH AN N U AL SCOTT GONZO KELBY’S HOLIDAY GEAR GUIDE DISPLAY UNTIL JANUARY 14, 2014 THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM

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©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

ta bl e of c on t en t s › › DE CEMBER 2 0 13 FEATURE SCOTT KELBY’S 46 GONZO HOLIDAY GEAR GUIDE Scott Kelby is back with his “8th Annual Gonzo Holiday Gear Guide.” From stocking stuffers to great value gear to things that make you go “cha-ching,” you’ll find it all here. Scott only includes gear that he can’t live without, so you know it has to be good. Add one or two of these items to your gift list for the photographer or Photoshop user in your life, and he or she will have a wonderful holiday season. Scott Kelby DEPARTMENTS COLUMNS From the Editor 6 28 DESIGN MAKEOVER Laying Down the Law About Photoshop User Magazine 10 82 CREATIVE POINT OF VIEW Still-Life Portraits Contributing Writers 12 94 THE ADOBE CREATIVE CLOUD New and Hidden Font Features in Adobe Creative Cloud NAPP Member Community 16 100 THE SMALL BUSINESS AND FREELANCE COACH From the Help Desk 20 Question Everything 110 PHOTOSHOP TIPS NAPP Member Gallery 22 118 PHOTOSHOP Q&A HOW-TO DOWN & DIRTY TRICKS 34 62 CLASSIC EFFECTS Pitted, Rusty Type Effect Get Your Head in the Clouds Flip Fonts 38 66 FROM BERT’S STUDIO Drawing Dog Tags HDR Compositing 42 90 DIGITAL PHOTOGRAPHER’S NOTEBOOK The Power of Layer Comps BEGINNERS’ WORKSHOP 58 96 BEYOND PHOTOSHOP Safe Healing and Cloning Out of This World Animation, Part 1

› › www.photoshopuser.com LIGHTROOM REVIEWS LIGHTROOM FEATURE 70 102 Exposure 5 Understanding Presets Actual Multiple Monitors 103 UNDER THE HOOD 74 DxO ViewPoint 2 HDR and Panoramics Brianna Graham Actions 104 Florabella Collection UNDER THE LOUPE 78 Smooth Skins 2 Expanding Web Gallery Options 106 Photogenic Ion Topaz ReStyle LIGHTROOM TIPS & TRICKS 80 108 Photoshop Book Reviews DYNAMIC TWO FROM ONE RANGE 86 RICH LEMONIE DANNY PORTNOY Dave Cross shows us how to double process a single RAW exposure using Camera Raw and smart objects: once for high- lights and once for shadows. He then blends the smart objects together using stack modes to extend the dynamic range in the image. The beautiful thing about this technique is that it requires no masking. Dave Cross DANNY PORTNOY 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 GOING GONZO FOR THE HOLIDAYS It’s the end of the year and time for one of my two favorite annual issues: our “Annual Gonzo Holiday Gear Guide” (my other favorite is the “Photoshop 100 Hot Tips” issue—it’s hard to beat getting a year’s worth of tips in one issue). Once again, I’m sharing some inexpensive stocking stuffer ideas (I have a few in there for around six bucks), and a host of gifts that will put a huge smile on the face of someone special on your holiday gift list. Lots of cool stuff (all stuff I use myself in my own work), and I hope you fnd some real gems in there, because there’s nothing more fun than getting gear you didn’t have to buy yourself. It starts on page 46. Of course, we have lots of other cool stuff on tap, including your favorite columns, such as Lesa Snider’s “Beginners’ Workshop” on how to use the Healing Brush and Clone Stamp tools effectively and nondestructively (p. 58). Our own Pete Collins shows how to create a cloud brush to add happy little clouds to plain skies for a little added drama in our “Classic Effects” column (p. 62). Dave Cross shows how to double process a single RAW capture using smart objects, and then combine them using stack modes—no masking required (p. 86). In our “Adobe Creative Cloud” column, Jay Nelson takes a closer look at some of the font features that are available in the CC versions of Photoshop, InDesign, and Illustrator (p. 94), and Kevin Ames looks at how and why you’d use layer comps in the “Digital Photographer’s Notebook” (p. 90). In other year-end NAPP news, I hope you’ll join us this spring as we bring the Photoshop World Conference & Expo to Atlanta for the frst time ever. I think Atlanta is going to be a rockin’ location for Photoshop World because it has such a thriving design and photography community. There are so many great opportunities for us in that area, with great locales and lots of studios, plus Atlanta is a really fun town all the way around. We’re out at the beautiful Cobb Galleria Centre, and the location couldn’t be better (close to great shopping, dining, and fun), so I hope you’ll make plans to join us April 8–10. Get all the details (and save a bundle by signing up now) at www.photoshopworld.com (don’t forget, as a NAPP member, you save $100 off the nonmember price). We have some really big things coming at the beginning of 2014, and I wish I could share them now, but we’re still putting the fnishing touches on it all. I think it’s the most exciting thing that’s happened to NAPP in years, and I’m really glad you’re here to be a part of it. My humble thanks to all our members in more than 120 countries around the world for your sup- port this year, including your ideas, suggestions, enthusiasm, evangelism, and friendship. I can’t wait to share all the cool new stuff the new year has to offer. Here’s wishing you a safe, fun, happy, and healthy holiday season, and may 2014 be your best year yet! All my best, › › photoshop user › december 2013 Scott Kelby NAPP President & CEO Editor & Publisher, Photoshop User 006

AWARD OF EXCELLENCE

DECEMBER 2013• Volume 16 • Number 10 • 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 • Corey Barker • Peter Bauer • Larry Becker • Bruce Bicknell Pete Collins • “RC” Concepcion • Michael Corsentino • Dave Cross Seán Duggan • Daniel East • Katrin Eismann • Brian Matiash • Sean McCormack • Bert Monroy • Jay Nelson • Scott Onstott • Colin Smith Lesa Snider • Rob Sylvan • Erik Vlietinck • Jake Widman GRAPHICS: Felix Nelson, Creative Director Dave Damstra, Production Manager Tafy Cliford, Senior Associate Designer Dave Korman, Senior Premedia Specialist Marketing Team Krista Rosado, Marketing Director, NAPP 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 CC and Adobe InDesign CC. 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

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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, by members, and is not available to the public by subscription. As a NAPP member, you automatically receive Photoshop User 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. ABOUT NAPP THE NATIONAL ASSOCIATION OF MEMBER DISCOUNTS PHOTOSHOP PROFESSIONALS Save anywhere from 2–4 times your membership cost by using our many is a dynamic trade association and the world’s leading resource for industry-related discounts. ® ® Adobe Photoshop training, news, and education. Founded in 1998, NAPP has become the largest graphics and digital imaging association TECH SUPPORT in the world with more than 70,000 members worldwide. NAPP is open to Fast, friendly Photoshop, Lightroom, and photo gear help, equipment any individual using Photoshop in a casual or professional environment. advice, and more from certified experts. There’s 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 › december 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 The semiannual NAPP convention and the largest Photoshop and photog- TUTORIALS & EDUCATION raphy learning experience on the planet. It’s an amazing Photoshop event. 010 FIND NAPP MEMBERSHIP DETAILS AT www.photoshopuser.com or call 800-738-8513 Monday–Friday, 8:30 a.m. to 7:00 p.m. EST.

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.

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 photographer. He’s the editor of Lightroom Magazine, a best-selling author, STEVE BACZEWSKI 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. BRIAN MATIASH His company, Sore Tooth Productions, is based in Albany, California. is a published photographer, writer, and Googler. When not out photographing, he leverages his industry experience to help grow the Google+ Photos platform PETER BAUER and community. is an Adobe Certified Expert that does computer graphics consulting for a select group of corporate clients. His latest book is Photoshop CC for Dummies. BERT MONROY He was inducted into the Photoshop Hall of Fame in 2010. is considered one of the pioneers of digital art. His work has been seen in countless magazines and books. He has served on the faculty of many well-known institutions, BRUCE BICKNELL written dozens of books, and appeared on hundreds of TV shows around the world. is the founder of Digital Blue Productions. He has been an instructor on Adobe’s in-box training, and is an instructor at Sessions.edu. His clients include Time Inc., JAY NELSON NFSTC, DTCC, and magazines that include People and National Geographic. has been writing about graphic design topics since 1992. As former publisher of Design Tools Monthly, he knows a lot about digital publishing, fonts, and font PETE COLLINS management. Learn more at www.DesignToolsMonthly.com. is an education and curriculum developer and website overseer for NAPP. He is one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts SCOTT ONSTOTT background, Pete is well versed in photography, graphic design, and illustration. is the author of Photoshop CS6 Essentials, Enhancing Architectural Drawings and Models with Photoshop, and many other books and videos. You can see MICHAEL CORSENTINO what he’s up to at ScottOnstott.com. is an award-winning wedding and portrait photographer, Photoshop and Lightroom expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker COLIN SMITH and international workshop leader. Learn more at www.michaelcorsentino.com. is an award-winning digital artist, photographer, and lecturer who has authored 18 books and has created a series of training videos. Colin is also the founder SEÁN DUGGAN 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 Lightroom Help Desk Specialist for the NAPP, on staff at the Digital KATRIN EISMANN Photo Workshops, and the author of Lightroom 5: Streamlining Your Digital is the author of Photoshop Restoration & Retouching and co-author of Photoshop Photography Process. You can learn more at www.lightroomers.com. Masking & Compositing and The Creative Digital Darkroom. Katrin is Chair of › › photoshop user › december 2013 their book, Photographer’s Survival Manual, published by Lark Books. has been a freelance technology editor for more than 20 years. He has written ERIK VLIETINCK the MPS in Digital Photography department at the School of Visual Arts in NYC. founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik ED GREENBERG for Macworld, Computer Arts, Windows NT Magazine, and many others. & JACK REZNICKI have a blog at www.thecopyrightzone.com where you can read about JAKE WIDMAN is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for about 25 years now—since back when it was called “desktop publishing” and Photoshop was just a piece of scanning software.

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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 COREY LIVES IN A TIME WARP Ever since I saw his frst Photoshop tutorial, I knew Corey Barker saw things differently, and the results are really cool. He can realistically change a dry cityscape into a rainy street scene, complete with puddle reflec- tions and falling drops. Or he can use something like rendered fbers to make believable water pour from a faucet. It’s cool stuff! But sometimes Corey shows what goes into a big, complicated production, without neces- sarily making it into training video. He shows the pro- cess. Originally inspired by “speed painting” videos on YouTube, he has done a number of time-lapse videos of larger projects. Some have eventually become tutorials, but if you just want to be inspired by some great Photo- shop production, and you’re ready to be entertained (more so than trained), have a look at some of Corey’s time-lapse videos. Here are links to three of them: http://kel.by/1aDbgd2, http://kel.by/HF5b41, and http://kel.by/1bWgBsC. A HOLIDAY (GIFT) STORY: GIFTED NAPP MEMBERS AND THEIR FRIENDS NAPP has been around for almost 20 years and we have our faithful, long-time members to thank for spreading the word so that NAPP could continue to grow, becoming the largest image-related association in the world. For many years, NAPP members who loved their memberships and wanted to share it with friends wanted to buy gift memberships for fellow creatives. Unfortunately, it was hard to do. We didn’t really have a gift certifcate until we were old enough to drive (around our 16th birthday). We don’t really make a big deal out of it, but since we’ve had them for a few years now, I thought it would be worth reminding NAPP members that it’s pretty easy to give the gift of NAPP. All you have to do is call the toll-free number at 800-738-8513 and we’ll send you a 6x9\" NAPP Gift Certifcate and mailing envelope that you can personalize. Finally, giving the gift of NAPP is as easy as ever. › › photoshop user › december 2013 016

ACCLAIMED MICROSTOCK MORE COMMUNITY COMPANY FOTOLIA INTERACTION HAS SMARTPHONES IN MIND › › Here are more ways to interact with us and other NAPP members In response to the new trends in social media, mobile phone, and smartphone use, Fotolia launched a new app and collection, uniquely designed for smart- phone photos. Created for iPhone 4 and up (an Android version is coming MEMBERS ONLY NAPP members, show off your talent by uploading your soon), Fotolia Instant offers fresh, new, in-the-moment images taken using the artwork to the Portfolios section. You could be the next new app, which allows users to shoot and upload to Fotolia directly from their Editors’ Choice: Image of the Week winner. Visit http:// smartphones. Thanks to a new flter and easy exposure control, the new Fotolia members.photoshopuser.com/portfolio for inspiration. Instant app allows users to take better, more aesthetic shots without compro- We also have the best community around. Visit the mising image quality and resolution. Forums section and become part of the conversation. The Instant Collection offers users a new opportunity to enhance their visual Have a look at http://forum.photoshopuser.com. communications with spontaneous, high-quality photos. Photos being submit- ted to the Instant Collection must meet the same quality and aesthetic stan- SOCIALLY SPEAKING dards as other images for sale on Fotolia, as well as meet the legal requirements Friend us on Facebook, follow us on Twitter and related to image rights and intellectual property as specifed by Fotolia. The Google , and check out informative blogs by + Fotolia Instant app makes it easy for photographers to upload digital model industry leaders. releases to the site, directly from their smartphones, making the process sim- ple and effcient. Fotolia Instant is available for free in the App Store, and should be available for Android users by the time you receive this magazine. An iPad application NAPP will also be launched shortly that will allow users to browse Fotolia’s library, www.facebook.com/PhotoshopUser @NAPP_news and download images to their device or Dropbox account. For more informa- tion, visit http://us.fotolia.com/instant. Scott Kelby www.scottkelby.com @scottkelby www.facebook.com/SKelby kel.by/onGplus TAKING BETTER PICTURES WITH YOUR SMARTPHONE Matt Kloskowski Speaking of smartphone pictures, as many of you know, we’re pretty darn good www.lightroomkillertips.com friends with B&H. Several folks on staff here are the reviewers and onscreen @mattkloskowski www.facebook.com/ThePhotoshopGuy talent behind many B&H video reviews on their YouTube channel (http://kel kel.by/MattGplus .by/175zrKZ). The reason we mention this is because recently, Larry Becker Corey Barker recorded a quick, simple class all about taking better pictures with your smart- www.planetphotoshop.com phone. Stop by the B&H YouTube channel and look for Larry’s smartphone @planetphotoshop class. Who knows? You might just get rich with Fotolia stock photos. www.facebook.com/PlanetCorey kel.by/CoreyGplus Rafael “RC” Concepcion PETE COLLINS, @aboutrc COMPOSITING GURU www.facebook.com/webrc Recently, we told you about a regular event on the NAPP member site called kel.by/rcgplus the “Photoshop Fun Contest,” where Pete starts us off with an image and Pete Collins practically no guidance, and the best composite using the supplied image(s) @PeteCphoto www.facebook.com/PhotoshopPete wins. With this in mind, Pete undertook the challenge of putting together a comprehensive Photoshop training class all about compositing called Design Jessica Maldonado Series: Compositing Fundamentals, and it’s one of the latest full-length classes www.facebook.com/PhotoshopJessica posted on the NAPP members’ site. Just log onto the members-only site at The Grid Live http://members.photohsopuser.com and click the Online Classes link. There, kel.by/TVtheGRID @TheGridLive you’ll fnd around 50 full-length classes, listed in chronological order. Because it’s new, Pete’s compositing class will be near the top, right along side Trey Podcasts and More Ratcliff’s Landscape & Travel Photography Series class and Calvin Hollywood’s YouTube: YouTube.com/KelbyMediaGroup › › www. photoshopuser .com Photoshop User TV: Color Adjustments and Manipulations class. KelbyTV.com/photoshopusertv Kelby TV: KelbyTV.com Offcial NAPP Gear Store: kel.by/NAPPgear 017

SIGMA ANNOUNCES NIKON RELEASES NEW ART LENS TWO VERY DIFFERENT DSLRS Sigma Corporation of America In mid-October, Nikon Inc. announced a new addition to its DSLR lineup, announced a new lens at the Photo- the Nikon D5300. Though compact and lightweight, the Nikon D5300 has Plus Expo 2013, the 24–105mm f/4 an enhanced 24.2-megapixel DX-format CMOS sensor, EXPEED 4 image DG OS HSM Art lens. This new Art processing, and the convenience of built-in Wi-Fi that allows users to easily lens was developed as part of the capture and share amazing images and videos. Following the technology of company’s global vision and will be the well-received D7100, the 24.2-megapixel CMOS sensor boasts height- on shelves by the time you read this, ened clarity and detail due to the removal of the optical low-pass flter (OLPF). starting with Canon mounts, for the The Nikon D5300 covers a wide ISO range of 100–12,800, expandable street price of $899. to ISO 25,600. The new EXPEED 4 image processor maximizes performance The full-frame lens, which will also and energy effciency, while reducing image noise and delivering true-to-life work with APS-C sensor cameras colors. To further help users capture the intended image, the D5300 features with an effective increase in focal Nikon’s Scene Recognition System and 2,016-pixel RGB metering system to length, will be available in Nikon and analyze and recognize the scene. Using these systems results in adjustments Sigma mounts in December, and Sony to exposure, AF, and white balance to deliver the best photo possible. It also mounts will soon follow. All but the has a 39-point autofocus system, and it shoots at a respectable 5 frames Sony mounts will incorporate Sigma’s per second. The Nikon D5300 is available now for $799.95 (body only), or proprietary Optical Stabilizer (OS) $1,399.95 with the AF-S DX NIKKOR 18–140mm f/3.5–5.6G ED VR lens. technology to compensate for camera Right before going to press, Nikon announced the Nikon Dƒ, a powerful shake. This functionality is omitted DSLR that pays homage to the classic Nikon F-series flm cameras from the from Sony mounts to accommodate 1970s. The Nikon Dƒ (for digital fusion) is billed as a photographer’s camera. for that manufacturer’s in-camera A series of knobs and dials put commands that are ordinarily found buried in image-stabilization system. the menu at the photographer’s fngertips, such as white balance, ISO, and The 24–105mm f/4 DG OS HSM exposure compensation. has an internal focusing system that The Nikon Dƒ uses the same 16.2-megapixel FX-format CMOS sensor eliminates front lens rotation, enhancing found in the flagship Nikon D4. It also uses Nikon’s EXPEED 3 image process- the lens stability and allowing the use of ing engine; a 39-point AF system; 2,016-pixel 3D matrix metering; 3.2\" circular polarizing flters. It also offers the LCD screen with 921K-dot resolution; and an ISO range from 100–12,800, largest possible fxed aperture-to-zoom expandable to 204,800. ratio that will maintain optimal integrity Arguably, the most interesting aspects of this camera, apart from the for many kinds of photography, includ- design and features, are what it doesn’t include. There’s no built-in flash ing landscapes, architecture, portraiture, and no video. This camera was designed for photographers who yearn for a and still life. With a minimum focusing digital camera that feels like a flm camera. distance of 17.7\" and a maximum mag- The Nikon Dƒ is available now for $2,749.95 (body only), or $2,999.95 nifcation ratio of 1:4.6, this lens is also with the new 50mm f/1.8G Special Edition lens, which also pays homage to excellent for close-up photography. classic NIKKOR styling. For more information on both the D5300 and Dƒ, For more information, visit www visit www.nikonusa.com. .sigmaphoto.com. › › photoshop user › december 2013 01



FLEXIBILITY & SUPPORT FOR YOUR WEB HOSTING PROJECTS FROM THE HELP DESK PETER BAUER › › Answers to Photoshop, Lightroom, and gear-related questions What’s the real deal behind Adobe’s new Creative Cloud program? How come I can’t just purchase a boxed set as an upgrade to my current Creative Suite?—KENT To: Kent From: NAPP Help Desk ALL INCLUSIVE The Creative Cloud is a subscription ser- already using some of the additional Q Included Domains: vice to one or more products of what was programs as part of your regular workflow .com, .net, .org, .info, .biz formerly the Adobe Master Collection. and plan on continuing the full member- Q Linux or Windows operating system For a set monthly fee, you have access ship after the free one-year subscription, Q Unlimited Power: webspace, traffic, to all of Adobe’s creative programs. The there’s no need to also join the $9.99 deal. mail accounts, SQL databases annual fee for the entire Creative Cloud So, what do you get for your money? 1&1 APP CENTER set of programs is $49.99 per month, You have access to the programs of the billed monthly, with an annual subscrip- plan you selected, plus Behance and cloud Q Over 140 popular apps (WordPress, Joomla! , TYPO3 and many more...) tion. Upgrading from any Creative Suite 3 storage, of course. You also have regular ™ Q App Expert Support or later edition or individual product updates and new features available as knocks off $20 per month for the frst soon as they’re ready. No longer do you POWERFUL TOOLS year. (There’s also a more expensive sub- need to wait a year (or more) for new Q Premium software, including: scription plan that doesn’t have an annual features to be introduced—you get them ® Adobe Dreamweaver CS5.5 commitment, but at $74.99 per month as soon as they’re considered customer- ® ® and NetObjects Fusion 2013 ready. (Since its release in mid-June, Photo- Q 1&1 Mobile Website Builder it’s only for folks with a specifc product Q PHP 5.4, Perl, Python, Ruby cycle or project in mind.) shop CC has already added quite a few Adobe is also offering a limited time new features, with more right around the STATE-OF-THE-ART TECHNOLOGY Photoshop/Lightroom/Bridge package corner. And users didn’t have to wait a Q Maximum Availability (Georedundancy) for $9.99 per month. The package also full year for the next version.) Q 300 Gbit/s network connection includes access to the Behance site for Remember that all new Camera Raw Q 2GB RAM GUARANTEED sharing and displaying images, and 20 GB of features are for CC only. While Camera Q 1&1 CDN powered by CloudFlare cloud storage. To qualify for this offer, you Raw updates for Photoshop CS6 will MARKETING SUCCESS must have a valid Photoshop CS3 or later include support for new cameras and lens serial number. Adobe will keep the $9.99/ profles for some time, new capabilities— Q 1&1 Search Engine Optimization month price indefnitely, with an annual such as the interactive histogram, the Color Q Listing in business directories commitment (and monthly billing). If this Smoothness slider in the Detail panel, and ® Q Facebook credits Q 1&1 Newsletter Tool package suits your needs, act quickly—the improvements to the Spot Removal tool (B) offer expires on December 31, 2013. with the ability to Heal or Clone—are only Keep in mind that this offer is totally available when working with Camera Raw ® separate from the free, year-long full Cre- through the Creative Cloud versions of ative Cloud subscription that Photoshop Photoshop and Bridge. World attendees received in Las Vegas Keep in mind that should you at some this past September. If the only programs time decide to stop your subscription to the you’ll use regularly down the road are Creative Cloud, all CS6 and earlier versions Photoshop, Lightroom, and Bridge, you of your programs remain fully functional, should take advantage of the $9.99 but they won’t get any of the new features offer before it expires and think of the introduced in the future. 1and1.com free Photoshop World membership as an Additionally, providing software via added bonus that temporarily gives you download is more environmentally access to the 20 or so additional applica- friendly than shipping shrink-wrapped tions of the Creative Cloud. If you’re boxes around the globe. Q

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n a pp member g a l l er y › › WHERE MEMBERS NAPP EXHIBIT MEMBER THEIR WORK GALLERY RICH LEMONIE Rich Lemonie is a New Jersey-based graphic designer, photogra- pher, and newly added title iPhoneographer. iPhoneography has integrated itself into Rich’s daily life over the past two years. Rich uses his iPhone from start all the way to finish (snaps the photo and uses a few key apps to edit, post, and even print directly from his iPhone). www.richlemonie.com; [email protected] PAULO PACHECO Paulo Pacheco is a Brazilian photographer who graduated from Boston University and works in the area of commer- cial and editorial photography. He is the winner of several photography awards for various editorials and magazine covers. In 2012, he was invited to become the National Director of Photography of Miss Brazil USA, working with the most beautiful Brazilian models in his photo shoots for commercials. www.LexusStudios.com; [email protected] DANNY PORTNOY Danny Portnoy, born in 1943 in Finland, developed his first roll › › photoshop user › december 2013 digital-darkroom techniques, Danny introduces a special mood of film at age 7. Residing in Israel and Switzerland, Danny is an engineer and IT professional turned fine-art photographer who also likes street and travel photography. Using his creative into his images. www.dportnoy.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

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column › › DESIGNMAKEOVER JAKE WIDMAN CLIENT The Law Ofces of Marc L. TerBeek http://terbeeklaw.net laying down the law BEFORE Marc TerBeek is a practicing attorney in Oakland, California. He focuses most of his attention on “the little guy,” helping renters, workers, and others deal with people with more power who might be trying to rip them off. His practice is evolving, but his website hasn’t kept pace. “My real estate focus is broader than it was, and it’s not limited to the tenant side of the equation. And I don’t do foreclosure matters any more,” Marc says. “I’ve branched out into cannabis business law and consulting.” TerBeek recently spent time in the California state capital advising lawmakers on proposed changes in the state’s laws dealing with medical marijuana. He also has to reassure potential clients that they’ve come to the right place. His site is at terbeeklaw.net, but there’s still a site at terbeeklaw.com, his old URL. That address now leads to a Spanish- language website advertising a different variety of legal services. “I got scammed by a Yellow Pages rip-off a couple of years ago that stole the domain name terbeeklaw.com,” he recalls. Two years ago, a friend designed his current site, the one at ter- beeklaw.net. It’s an all-Flash site, with stirring orchestral music that starts playing right away. “I like the general look a little, and I like the theme music,” he says, “but I don’t like that there’s not much content to it.” Despite the fact that there’s not a lot of content, the “ HIS PRACTICE IS text is small and spindly; combined with being set in a light color EVOLVING, BUT HIS on a dark background, it’s not that easy to read. WEBSITE HASN’T In looking for a new site, Marc says, “The image I would want is KEPT PACE. ” of professionalism and dedication. It should suggest the unique prob- lem solving of seemingly intractable matters.” We asked three design- ers to step up to the bar and provide him proper representation. › › photoshop user › december 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].

› › de sign m a k e o v er SIGNER Dan Simon www.dansimondesign.com AFTER The client said that he was happy with the existing look and feel of his site, so I chose to keep a similar color scheme. I did, however, decide to give him a more stylized and up-to-date logo using the ever-popular and seemingly trendy Trajan Pro. (I’ve noticed a resur- gence of this font on everything from billboards to TV and movie titles.) For me, it incorporates a very modern feel with a touch of elegance and formality. The current Flash interface limits the page’s readability and results in ugly and unnecessary scroll bars, unintuitive content win- dows, and an overall UI stuck in the days of ActionScripting. Instead, I went with the standard 960 Grid System to give the content more of a presence. With bigger fonts plus better user elements like slid- ers, accordions, and videos, I created areas of interest with teaser copy and good calls to action. They entice the user to learn more about particular areas of the practice while ignoring areas that don’t help with information gathering, and ultimately start a conversion by calling the number in the header or filling out the form presented. Finally, SEO is a prime consideration for attorneys who want their phones to ring, and therefore it was a paramount consideration in my redesign. Given how much competition there is for a narrow term like “Real Estate Attorney, San Francisco Bay Area,” this site needed the H1 treatments I used (multiple practice areas), footer geographic search terms, a Google+ link, a map, and relevant navigation in the footer. The full build would incorporate perfect usability by way of custom sidebar navigation, siloed flyouts in the top navigation, close attention to detail in the meta information on a page level and, of course, the ever-evolving consideration of device-responsive grids. ABOUT THE DESIGNER DAN SIMON In 2003, after nearly acquiring two other Associate’s degrees in Illustration and Sequential Art, Dan Simon completed an Associate’s degree in Graphic Design from Lansing Community College in Lansing, Michigan. As part of the requirements for said degree, he did an internship › › www. photoshopuser .com at Marvel Comics in New York City. Upon leaving the comics world in 2007, he began to focus on a more lucrative career in Web design, working for many freelance clients, e-Commerce brands, and marketing agencies. Focusing on design, HTML and CSS (where he is self-taught), typography, and UI/UX, the transplant from Michigan is the senior designer and art director for a small startup in Princeton, New Jersey. Coincidentally, his firm’s main clientele are doctors and lawyers looking to get top placement in Google and Bing, provide strong usability for their users, and above all, increase the number of cases they’re receiving. APPLICATION USED: Adobe Photoshop CS5 029

de sign m a k e o v er › › DESIGNER Griswold www.hellogriswold.com AFTER We approached the redesign of the TerBeek Law website with two goals in mind: To strengthen their message (“Fighting for Main Street, not for Wall Street”) and to create a responsive website so that it’s viewable and easy to use on multiple platforms (phone, tablet, and desktop). The use of dark and bold color tones makes the page feel more inviting and also emphasizes the content. We used large, full-bleed background images to alleviate the visitor’s need to scan through multiple, distracting, and unnecessary graphics. We placed the con- tent on a single long page so that prospective clients would have the chance to view all the content easily. We decided to use a sans-serif font—Mark Simonson’s Proxima Nova—and settled on a fxed size and leading to make it easier to read. Proxima Nova, a modern sans serif, ties into the new design of the site, which is more modern and minimalistic. When it came to the practice areas, we decided that instead of listing all the practices, it would be best to let users scroll through the different areas of expertise of the frm, so that they’re only presented with information they’re interested in. We also added photos of the members of the law frm because images evoke a quick and powerful emotional response in a way that written words can’t. We added a Google map that visitors can click on to get to a page for directions to the frm. The redesign makes everything more cohesive, simple, and useable. It brings the site to a more modern user base, while still letting it communicate its original goal and message of providing information about the frm and the different ways it can help. › › photoshop user › december 2013 ABOUT THE DESIGNER GRISWOLD Griswold is an interactive design studio based in New York and Los Angeles. Formed in 2011 by founder and creative director Johnnie Hamn, Griswold’s focus is to design and develop engaging experiences for interactive, mobile, and social applications. They work with clients ranging from large powerful brands to agile young startups and everything in between. Some of their clients include Rockstar Games, Adult Swim, Nordstrom, Voltron, Disney, and Whole Foods Market. Before forming Griswold, Hamn worked for various interactive agencies in Austin, Texas, and New York City as an art director and designer. Griswold’s design team includes lead art director Matt Bordey and interactive designer Dominic Saraum. Matt has more than 12 years of interactive experience and has won various awards for his design work. Dominic is a talented multidisciplinary designer with fve years of interactive design experience on both Web and mobile. “We believe in creating great work, and we’re passionate about doing things better,” says Hamn. APPLICATION USED: Adobe Photoshop CC 030

› › de sign m a k e o v er SIGNER Charles D’Aprix www.facebook.com/daprixcreative AFTER For this project, I wanted to take away the intimidating and disorga- nized look and feel of the existing website and make it much more inviting. I also wanted to eliminate the Flash gimmicks and dramatic music that make the current site look dated and feel unprofessional. I decided that the best way to convey the message would be to use strong dynamic photography with clean, organized type. The client wanted his website to embody professionalism, dedication, and unique problem solving. To achieve this, I kept the brown color to ground the layout, and added texture for a more sophisticated, organic look. Complementary touches of blue help transform the website into a more inviting space. I chose a dynamic detail image of a gavel to represent profession- alism and dedication, accompanied by the client’s tagline “Integrity, Experience, & Knowledge: Fighting for Main Street, not Wall Street.” I believe this image and copy convey a strong message of dedication for the client with high-impact visual elements. I felt the type on the client’s original website was muddled and too small—and because of the color palettes that were chosen, too hard to read. Within my design, I chose to stick with white for the majority of the copy, and blue for the deck. To get more content on the land- ing page—a desire of Mr. TerBeek’s—I reduced the space devoted to images. Just having a banner freed me up to organize four columns of intro text describing the four practices that Mr. TerBeek represents, along with an intro paragraph that introduces his law frm. I used two font families to accomplish the layout: Univers and Memphis. I believe these two fonts convey a clean, clear message while retaining a professionally organized, modern feel. ABOUT THE DESIGNER CHARLES D’APRIX Charles owns and operates DaPrixCreative, a small creative studio in Dallas, Texas, that focuses on advertising, print and Web design, publication design, and commercial photography. Charles prides himself on beautiful, clean layout and typography, and attention to detail. With nearly fve years’ experience in print, Web, and publication design, he has been able to grow a diverse list of clients and work in many different media within the creative profession. He continues to learn, grow, and explore as a creative to stay innovative and dynamic. › › www. photoshopuser .com Charles is forever grateful for all the support he receives from his wife and kids. They are the inspiration that drives his passion. When he’s not working, he enjoys spending time with his family and friends, playing pool, and watching movies. He also has an unhealthy addiction to hand lettering and typography. He can be reached at [email protected]. Q APPLICATION USED: Adobe Photoshop CS6 031





ho w -t o › › DOWN & DIRTY TRICKS FELIX NELSON Pitted, Rusty Type Efect I wanted to create a type efect to go along with the pirate theme for Photoshop World 2014. While finding a swashbuckler-looking font was pretty easy, I also wanted the type to have a very textured, rusty appearance, as if it were a piece of iron or steel that had been exposed to the elements of the high seas for an extended period of time. STEP ONE: Create a new 17x12.75\", 300-ppi document. Click on the Foreground color swatch near the bottom of the Toolbox to open the Color Picker, choose gray as the color (R:52, G:57, B:65), and click OK. Press Option-Delete (PC: Alt- Backspace) to fll the entire Background with gray. Press D then X to set the Foreground color to white. Choose the Type tool (T) from the Toolbox, click on the center of the document, and enter your text (we used the font Pieces of Eight at 305 pt but you can use any font you like). STEP TWO: Open an image of a rusty or worn piece of metal. Using the Move tool (V), click-and-drag the image into your original document (this will create a new layer, Layer 1), and reposition it over the P and H. RUSTY TEXTURE: ISTOCK, WRAGG, IMAGE #7286875 Press Enter to place the texture. [NAPP members may download the texture used in this tutorial at http://members.photoshopuser.com/ magazine/issue/december-2013. All fles are for personal use only.] STEP THREE: Command-click (PC: Ctrl-click) on the Layer 1 thumbnail in the Layers panel to make it a selection. Press Command-Option-T (PC: Ctrl-Alt-T) to duplicate the selection and bring up the Free Transform bounding box. Right-click in the bounding box and choose Flip Horizontal. Now, move the bounding box toward the right until the edges of the original › › photoshop user › december 2013 STEP FOUR: With Layer 1 active, Command-click (PC: Ctrl- texture and the copied texture align (see example). Press Enter to apply the transformation. Repeat until the entire word is covered by the texture. click) on the type layer thumbnail to make the type a selection. Click on the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. Click on the Eye icon next to the type layer to hide it from view. Click on the layer thumbnail for Layer 1 so the mask isn't active, and then press D to reset 034 the Foreground color to black.

› › DOWN & DIRTY TRICKS STEP FIVE: Click on the Add a Layer Style icon (ƒx) at the bottom of the Layers panel and choose Inner Glow. Select Mul- tiply for the Blend Mode, and lower the Opacity to 50%. Click on the yellow color swatch, choose black, and click OK to close the Color Picker. Enter 5 px for Size. Choose Gradient Overlay from the Styles list on the left side of the Layer Style dialog. Choose Multiply as the Blend Mode, and lower the Opacity to 75%. Click on the Gradient thumbnail, and choose the Fore- ground to Transparent preset in the Gradient Editor. Click-and- drag the right opacity stop above the gradient ramp toward the center (see example), and click OK to close the Gradient Editor. Enter –90º for Angle. Don’t click OK yet. STEP SIX: Choose Outer Glow from the Styles list. Choose Mul- tiply for the Blend Mode, and enter 25% for Opacity. Click on the yellow color swatch, choose black for the color, and click OK to close the Color Picker. Enter 10 px for Size and click OK to apply the layer styles. STEP SEVEN: Duplicate Layer 1 (Layer 1 copy) by dragging it into the Create a New Layer icon at the bottom of the Layers panel. Click directly on the layer mask thumb- nail next to Layer 1 copy to make it active. Now, Command-click (PC: Ctrl-click) on the layer mask thumb- nail to load it as a selection. Go to Select>Modify>Contract. Enter 20 pixels and click OK. Press Command-Shift-I (PC: Ctrl-Shift-I) to inverse the selection. Finally, press Command-Delete (PC: Ctrl- Backspace) to fll the selection with black. Deselect. STEP EIGHT: Double-click on the words “Inner Glow” under Layer 1 copy to open the Layer Style dialog. Enter 75% for Opacity, click on the black color swatch, choose a light-brown color (R:147, G:139, B:118), and click OK to close the Color Picker. Enter 15 px for Size. Choose Color Overlay from the Styles list. Choose Overlay for the Blend Mode, click on the red › › www. photoshopuser .com color swatch, choose a bluish-gray color (R:114, G:141, B:148), and click OK to close the Color Picker. Now, choose Outer Glow from the Styles list. Choose Multiply for the Blend Mode, and set the Opacity to 75%. Click on the color swatch, choose the same light-brown color used for the Inner Glow, and click OK to close the Color Picker. Enter 25 px for Size and click OK. 035

DOWN & DIRTY TRICKS › › STEP NINE: Click on Layer 1 to make it the active layer. Duplicate Layer 1 again (Layer 1 copy 2) and move it below Layer 1 in the layers list. Click-and-drag the word “Effects” under Layer 1 copy 2 into the Trash icon at the bottom of the Layers panel to remove the layer style. Click directly on the layer mask thumbnail next to Layer 1 copy 2. Now, Command-click (PC: Ctrl-click) on the layer mask thumbnail to load it as a selec- tion. Go to Select>Modify>Expand. Enter 20 pixels and click OK. Press Option-Delete (PC: Alt-Backspace) to fll with white, revealing more of the rusty texture around the edges of the text. STEP TEN: Add a new layer (Layer 2). Press Option-Delete (PC: Alt-Backspace) to fll the layer with black. Change the layer blend mode to Overlay near the top left of the Layers panel, and lower the Fill opacity to 0%. Click on the Add a Layer Style icon and choose Bevel & Emboss. Enter 1000% for Depth, 10 px for Size, uncheck the Use Global Light box, and enter –24° for Angle and 37° for Altitude. Click on the down-facing arrow next to the Gloss Contour thumbnail and choose Ring – Double. Lower the Highlight Mode Opacity to 35% and the Shadow Mode Opacity to 45%. Click OK. STEP ELEVEN: Add another new layer (Layer 3) and move it to the top of the layers stack. Change the layer blend mode to Overlay. Click on the Foreground color swatch near the bot- tom of the Toolbox. Choose a blue-gray color (R:106, G:117, B:118), and click OK. Press Option-Delete (PC: Alt-Backspace) to fll the selection. › › photoshop user › december 2013 STEP TWELVE: Add another new layer (Layer 4). Change the Foreground color to a light blue (R:149, G:182, B:182). Choose the Brush tool (B) from the Toolbox. Using a large, soft-edged brush, start painting in some rusty areas (see example). The blue color won’t look much like rust, but it will add some discolored areas to the texture that will help enhance the worn, rusty look. Showing the painted areas on Layer 4 only 036

› › DOWN & DIRTY TRICKS STEP THIRTEEN: Change the Foreground color to an olive green (R:148, G:128, B:78). Paint in more discolored areas (see example). STEP FOURTEEN: Change the Foreground color to a burnt-orange color (R:184, G:127, B:78). Now, paint in your rust areas (see example). Once you’re fnished, change the layer blend mode to Overlay to complete the effect. We used the same technique on the word “World.” Here’s how the textured type ft into the rest of the logo. ■ › › www. photoshopuser .com 037

ho w -t o › › DOWN & DIRTY TRICKS FELIX NELSON Flip Fonts I saw this technique used as a headline type treatment for an advertisement in a recent issue of SkyMall magazine. What’s nice about this technique is its simplicity and fexibility. You can have as many or as few tiles as needed, and you can change the font color or messaging very easily. It’s one of those simple but effective techniques that works perfectly as an additional design element. STEP ONE: Press D then X to make the Background color black, then choose File>New to create a new 6x4\", 212-ppi document with the Background Contents set to Background Color. Click on the Foreground color swatch at the bottom of the Toolbox, choose gray as the color (R:100, G:100, B:100), and click OK. Click on the Create a New Layer icon at the bottom of the Layers panel to add a new layer (Layer 1). Choose the Rectangular Marquee tool (M) from the Toolbox. Make a rectangular selection in the upper-left portion of the document. STEP TWO: Choose the Gradient tool (G) from the Toolbox. Click on the Gradient thumbnail in the Options Bar to open the Gradient Editor, choose Foreground to Background, and click OK. Hold the Shift key and click-and-drag a linear gradi- ent from the bottom toward the top of the selection. Press Command-D (PC: Ctrl-D) to deselect. STEP THREE: Click the Add a Layer Style icon (ƒx) at the bottom of the Layers panel, and choose Stroke. Enter 1 px for Size, choose Inside for Position, and lower the Opacity to 75%. Choose Gradient as the Fill Type, enter 90º for Angle, and 100% for Scale. Now, choose Inner Shadow › › photoshop user › december 2013 STEP FOUR: Create a new layer (Layer 2) and move it from the Styles list on the left side of the Layer Style dialog. Uncheck Use Global Light, enter –90º for Angle, 0 px for Dis- tance, and 20 px for Size. Click OK to apply the layer styles. below Layer 1 in the Layers panel. Click on Layer 1 to make it Down (it will merge with Layer 2). 038 the active layer, then press Command-E (PC: Ctrl-E) to Merge

› › DOWN & DIRTY TRICKS STEP FIVE: Command-click (PC: Ctrl-click) on the Layer 2 thumbnail to load it as a selection. Press Command-Option-T (PC: Ctrl-Alt-T) to duplicate the square in Layer 2 and bring up the Free Transform bounding box. Now, Right-click in the center of the bounding box and choose Flip Vertical. Using the Down Arrow key, move the duplicated square below the original square. Press Enter to apply the transformation. STEP SIX: Create another new layer (Layer 3). Choose the Rounded Rectangle tool (nested under the Rectangle tool [U]). In the Options Bar, set the drop-down menu on the left to Path, and enter 10 px for Radius. Create a small, vertical, rounded rectangle on the left side of the two squares (see example). Go to the Paths panel (Window>Paths) and Command-click (PC: Ctrl-click) on the Work Path thumbnail you just created to load it as a selection. STEP SEVEN: Choose the Gradi- ent tool, click the Gradient thumbnail in the Options Bar, choose Copper as the gradient (it’s one of the default gradients), and click OK. Click-and- drag a gradient from the top toward the bottom of the selection. Press Com mand-Shift-U (PC: Ctrl-Shift-U) to desaturate the color. Now, while holding down the Command-Option-Shift (PC: Ctrl-Alt-Shift) keys, click-and-drag a duplicate shape to the right side of the squares (see example). › › www. photoshopuser .com STEP EIGHT: Command-click (PC: Ctrl-click) on Layer 3 to load it as a se- lection. Go to Select>Modify>Expand. Enter 3 pixels and click OK. Click on Layer 2, press Delete (PC: Backspace). Click back on Layer 3 and press Command-E (PC: Ctrl-E) to Merge Down. 039

DOWN & DIRTY TRICKS › › STEP NINE: Now that all the elements are on one layer, Command-click (PC: Ctrl-click) the Layer 2 thumbnail to load it as a selection. Choose the Move tool, press-and-hold Com- mand-Option-Shift (PC: Ctrl-Alt-Shift), and click-and-drag to duplicate it (on the same layer) as many times as needed, depending on the number of characters you’ll need for your messaging. Our example calls for three rows with seven char- acters in each row. STEP TEN: Choose the Type tool (T) from the Toolbox, and set the Foreground color to a lighter gray. Choose your typeface (we’re using Helvetica Bold Condensed) and enter your frst line of text (each line of type will have to be created independently on separate layers). Make your text the appro- priate size, and then position the frst letter over the frst set of squares. Place the cursor between the frst two letters, hold the Option (PC: Alt) key, and press the Right Arrow key on your keyboard to kern the second letter until it’s centered over the second set of squares. You’ll have to kern each character indi- vidually so they line up over the center of each set of squares. STEP ELEVEN: Click on the Add a Layer Style icon at the bottom of the Layers panel and choose Gradient Overlay. Choose Overlay as the Blend Mode and click OK. Command- click (PC: Ctrl-click) on the Layer 2 thumbnail to load it as a selection. Click on the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. STEP TWELVE: Repeat Steps Ten and Eleven for any ad- ditional lines of type to complete the effect. ■ › › photoshop user › december 2013 040

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ho w -t o › › DOWN & DIRTY TRICKS COREY BARKER HDR Compositing Since HDR is such a big thing these days, I thought I’d show you how I use it. A lot of people use third- party applications to process HDR images, but when compositing images, I fnd that using only Photo- shop works just fne. And with the HDR Toning feature, you can incorporate regular images into your HDR images. STEP ONE: The frst thing we need to do for this example is to process the HDR backdrop. I have fve exposures of a brick wall I shot while at a workshop in California. To start, we need to go to the File menu and select Automate>Merge to HDR Pro. [NAPP members may download the f les used in this tuto- rial at http://members.photoshopuser.com/magazine/issue/ december-2013. All fles are for personal use only.] STEP TWO: When the Merge to HDR Pro dialog appears, click on the Use drop-down menu and choose Files. Click the Step Two Browse button to the right, locate and select your fles, and click Open. When the flenames show up in the Merge to HDR Pro dialog, make sure the Attempt to Automatically Align Source Images option is checked on, and then click OK. STEP THREE: Depending on the speed of your system, this part may take a moment to process. Once it’s done, you’ll see the full Merge to HDR Pro dialog appear with a large preview of the image, along with the individual exposures along the bot- tom. On the right side are the settings. (Note: If you don’t see any settings, you’re probably in 32-bit mode. Click the Mode drop-down menu and choose 16 Bit.) I usually start by pushing up the Detail quite a bit in the Tone and Detail section. This will give the image a grungy effect. Step Three STEP FOUR: Adjusting the Detail will often make the image brighter, so you may need to drop the Exposure a bit. I bumped › › photoshop user › DECEMBER 2013 exactly how it will look in the main preview. up the Gamma, as well. All these settings are based on how this particular image looks. The effects are live, so I can see STEP FIVE: Move up to the Edge Glow section and check on Edge Smoothness. Now it’s just a matter of adjusting the Radius and Strength sliders until the image looks the way you like. I’ve discovered that it’s best to keep the Radius set higher than the Strength. Go ahead and move the sliders around and watch what happens so you know exactly what they’re doing to the image. When done, click OK. Step Five COREY BARKER 042

› › DOWN & DIRTY TRICKS STEP SIX: The fully processed HDR backdrop looks pretty good but it could use a little extra punch. Make a duplicate of the Background layer by pressing Command-J (PC: Ctrl-J). Then, change the layer blend mode near the top left of the Layers panel to Soft Light. This will enhance the color and contrast. STEP SEVEN: Next, throw on a quick Filter>Sharpen> Unsharp Mask to help bring out the detail a little bit more. Click OK. STEP EIGHT: Here we have a subject to add to the scene; however, we only have a single exposure of this image. We Step Six Step Seven want to place him in the HDR backdrop but we also want him to look like HDR, as well. HDR Toning to the rescue! STEP NINE: First, make sure your document is flat be- cause HDR Toning won’t work on a layered fle. Then, go to Image>Adjustments>HDR Toning. You’ll pretty much see the same settings you saw earlier in the Merge to HDR Pro panel. STEP TEN: As before, start in the Tone and Detail section and bump up the Detail quite a bit. This change already has a cool effect. Remember to drop the Exposure to compensate for the Detail increase. I left the Gamma alone this time. Up in the Edge Glow section, check on Smooth Edges and then adjust the Radius and Strength sliders. Remember to keep the Strength setting pretty low and set the Radius just a little higher. Once the subject looks similar to the background, click OK. FOTOLIA, GINO SANTA MARIA, IMAGE #45433163 STEP ELEVEN: We need to extract the subject from the background in order to place him on the HDR backdrop. Since the background is a solid white, grab the Magic Wand tool (nested under the Quick Selection tool [W] in the Toolbox) and Step Eight click on the background. Be sure to include any areas that were missed, like between his arm and leg, by holding down the Shift key and clicking in those areas. Then, go to Select>Inverse. This flips the selection around from the background to the subject. STEP TWELVE: Click on the Refne Edge button in the Options Bar. While I’m sure I have clean selection, it’s not a bad idea to check with Refne Edge. Change the View to a background where it’s easy to see any mistakes. Even though this looks fne, I’m going to nudge the Edge Detection Radius slider just a bit to take care of any tiny imperfections I may not see. Will anyone else see them? No, but I know they’re there! Set the Output To drop-down menu to New Layer with Layer › › www. photoshopuser .com Mask, and click OK. STEP THIRTEEN: Using the Move tool (V), drag this extracted layer into the HDR backdrop fle and position the subject in the middle of the composition. Select the subject by Step Ten Step Twelve 043

DOWN & DIRTY TRICKS › › holding down the Command (PC: Ctrl) key and clicking on the layer mask thumbnail in the Layers panel. It will load the shape of the mask as an active selection. If more of the image is selected, simply switch to the Lasso tool (L), hold the Option Step Fifteen (PC: Alt) key down, and drag around the unwanted areas to remove them from the selection. STEP FOURTEEN: With the selection active, click the Create a New Layer icon at the bottom of the Layers panel, press D to set the Foreground color to black, and press Option-Delete (PC: Alt-Backspace) to fll the selection with black, creating a silhou- ette of the subject. Press Command-D (PC: Ctrl-D) to deselect. STEP FIFTEEN: Press Command-T (PC: Ctrl-T) to activate Free Transform. Move the object down to the sidewalk, grab the top-middle control handle, and then drag it down to squash the shadow as you see here. Drop the Opacity in the Layers panel to 40%. You can also run a very subtle Filter>Blur>Gaussian Blur to soften the shadow. Step Sixteen STEP SIXTEEN: Finally, as a fnishing touch, I added a glow Elements section, increase the Size to 250 px, and click OK. to the subject for added pizzazz! Not necessary, but still pretty Against this particular backdrop, the glow works really well but cool. Click on the main subject layer to make it active, click on that won’t be the case with every image. the Add a Layer Style icon (ƒx) at the bottom of the Layers panel, and choose Outer Glow. Click on the color swatch, change the In the end, we have a rather nice blend of regular HDR color to white, and click OK to close the Color Picker. Set the and fake HDR with a few added layer tricks all right here Blend Mode to Overlay and the Opacity to around 80%. In the in Photoshop. ■ › › photoshop user › DECEMBER 2013 044

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th Scott Kelby’s 8 Annual G nzo Holiday Gar Guide elcome to my “8th Annual Gonzo Holiday Gear 1: Stocking Stuffers (You can WGuide.” If you’ve been a faithful reader of this Gear also use these as actual Guide for the past seven years, this year’s name probably holiday gifts if you’re not sounds familiar, and that’s because it is. It’s the original name for this Gear Guide, and I’m bringing it back with a that crazy about the person.) vengeance (I’m not really sure how to make a Gear Guide vengeful but I’m working on it), with all of its original “Gon- 2: Great Value Gear (Stuff that’s zoness” (yes, that’s a word, I’m pretty sure). This is replacing a really good deal for not a lot last year’s “Awesome Gear Guide” name (awesome is way of money, but he or she will overused—mostly by me), and now here you are, reading totally dig it.) it right now. How “in the moment” is that, right? Okay, this year, I’m breaking things into three distinct categories (see 3: Ch a-ching! (Stuff you buy for › › photoshop user › december 2013 that we don’t need, but we really, really, really want because is the stuff that makes them box to the right). the doctor/lawyer/rap mogul Anyway, the “Awesome” is out, the “Gonzo” is back, and this year’s Gear Guide is packed with some really cool stuf on your holiday gift list. This getting (ahem—I mean giving) is what it’s really all about. At burst into spontaneous tears least, that’s what I read in a Christmas card once. of joy. Well, at least I would.) 046 Illustrations: iStock Layout Design: Taffy Clifford

THE RULES: These are my self-imposed guidelines for which products make it into the guide. It’s just two rules, actually. To be listed here the products have to be ones that I use myself, that I absolutely love, and now can’t live without (well, I could live without them, but I just wouldn’t want to). And if a product makes the guide, it has to be one I would recommend to a close friend without hesita- tion, especially if my friend were a rich doctor (kidding). Also, to make things easy, we put up a webpage (www.scott- kelby.com/13gearguide) with direct links to all the products I picked so you don’t have to wonder if you’re getting the exact right one. Okay, folks, hang on to your Fruchtsaftgetränke, here we go! Stocking Stuffers 20x24\" Rosco CTO Gel Sheet If the photographer on your gift list has a fash, this is a perfect gift because it’s something he needs but probably doesn’t have, and it’s cheap as anything. Get him a big sheet of thin orange gel. He tapes it over his fash head and it warms up the color of the fash, creating a more fattering color for portraits. Get the Rosco CTO (Color Temperature Orange) 1/4 sheets for just $6.49 a sheet at B&H. Do you want to really splurge on him? Throw in the 1/2-cut and full-cut sheets, as well. If he doesn’t like cutting, get the Rosco precut Strobist pack for just $7.95 with gels in all sorts of colors. A fantastic deal. www.rosco.com Price: Starting at $6.49 Roll of Gaffer’s Tape If he already has some gels, get him a roll over Gaff er’s tape. This is the handiest stuff on earth for photographers (I even give away a few rolls at my seminar—I’m not making this up). It looks like black duct tape, but it › › www. photoshopuser .com comes off clean with no residue or pulling off any paint. It rocks. $6.50 a roll. Buy two (and keep one for yourself). www.bhphotovideo.com Price: Starting around $6.50/roll 047

30\" Westcott 5-in-1 Collapsible Ref ector/Diffuser He probably already has a reflector, but that’s okay— what you want is the diffuser inside the reflector (you zip it open and there it is). You use this outdoors to turn harsh, direct sun into beautiful, soft, flattering light (just put it between the sun and your subject). Around $30. Plus, you could keep the reflectors and just give him the diffuser. I’m just sayin’. http://fwestcott.com Price: $35.90 Lightroom Magazine Does the photographer on your gift list use Lightr Of course she does! So get her a few issues of Magazine. (I love this magazine because—because, w the publisher, but it’s an awesome, awesome magazine is a case where using the term awesome, and using it t is perfectly acceptable.) You can fnd it on the App St iTunes for $4.99 an issue. Cheap. If you really want to go all › › photoshop user › december 2013 out, go ahead and buy her all the back issues. https://itunes.apple.com Price: $4.99 per issue 048

Some Cool Books Your photographer will love Zack Arias’s Photography Q&A book (only $21.66 on Amazon). Or how about the recent refresh of The Digital Photography Book, Part 2 by Scott Kelby (I love everything he writes) for $18.23 on Amazon (weird price; cool book)? If he’s into sports, get Peter Read Miller on Sports Photography ($31.86 on Amazon), or if you want to splurge a little, get Frank Doorhof’s Mastering the Model Shoot for around $28.45 (I worked on this book with Frank—he totally rocked it!). Note: Prices on Amazon.com change frequently. Pricing is correct as of this printing. www.amazon.com Price: Starting at $18.23 Great Value Gear DxO FilmPack 4 This is probably the best plug-in for Photoshop or Lightroom out there for faithfully reproducing classic flm effects, and it totally nails these effects. It has a great interface with a smart design, and you can’t argue with the realistic looks it effortlessly creates, but you can still tweak each look big time. Plus, it does everything from contrast effects to borders and custom frames. I don’t use a whole bunch of plug-ins, but when I want a realistic flm look, this is the only plug-in I reach for (and by reach, I mean I just go under a menu). www.dxo.com Price: $79 for the Essential Edition; $129 for the Expert Edition › › www. photoshopuser .com 049

Vanguard Quovio 49T Rolling Bag If you want a rolling camera bag with Think Tank Photo quality, but can’t quite swing it, then check out the Vanguard Quovio 49T. It holds a lot of gear (and your laptop), and it holds it all well. I’ve taken it on a few trips now and I really like how it’s made and its usability. Lots of clever little features and great overall design. www.vanguardworld.com Price: $249.99 Imagenomic’s Portraiture Skin Retouching Plug-in The incredible Frank Doorhof turned me on to this plug-in when I asked him how he was retouching skin in his portraits, because his stuf was really looking good. I had to pry it out of him a bit (LOL!), but as soon as he told me, I went straight to Imagenomic’s site and picked up a copy. Pretty darn amazing; pretty darn fast. It’s $199.95, which ain’t cheap, but the wedding or portrait photographer on your list will hug you and not let go for a good long while. http://imagenomic.com Price: $199.95 Westcott’s Rapid Box 20\" Octa Mini › › photoshop user › december 2013 Plus, it pops up and you’re ready to go, so it fits with the whole run-and- and Defector Plate This is, hands-down, the best beauty dish for hot-shoe flash I’ve ever seen. gun portability behind hot-shoe flashes. Very well made and thought out. I use the 20\" Octa Mini ($169.90), but you’ll need the Rapid Box Deflector Plate for another $19.90 (that’s what gives you the beauty dish look). She will be super-diggin’ this. Price: $169.90 for the 20\" Octa Mini; http://fwestcott.com 050 $19.90 for the Deflector Plate