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Contents
June 2007
www.photoshopuser.com
Features
Columns
18
39
Photoshop Mastery
Capturing beautiful, sweeping lights at night can prove
to be a challenge. Ben shows us a way to continue
shooting after the sun goes down.Ben Willmore
44
48
50
32
52
54
41
For the first time since its inception, the Photoshop World
Conference & Expo was sold out! If you missed the fun,
read Bruce Bicknells report from the event, followed by
two pages of works by the Guru Award winners.
56
But WaitTheres More: Wherever you see the
symbol at the end of an article, it means theres additional
material for NAPP members at www.photoshopuser.com.
Deke Space
Beginners Workshop
Still not shooting in RAW format? Well, now you have
access to the power of Adobe Camera Raw 4 even if you
shoot in JPEG or TIFF.Dave Cross
Columns
60
62
64
Production Clinic
Taz tackles Photoshop CS3s new version of the Curves
dialog. Get up to speed with highlights, shadow points,
and tonal-range adjustments.Taz Tally
66
Departments
12
Contributing Writers
14
Photoshop News
15
74
82
84
Photoshop Q&A
68
70
88
76
Ozone 2.5
78
78
EZ Mask
79
Filter Forge
80
80
81
110
Reviews
Cover photo
David Cuerdon
www.Cuerdon.com
Make-up
Lisa Gumz
www.LisaMakeup.com
Model
Veronica Hugo
Ford Models
www.FordModels.com
about
p h ot o s h o p u s e r
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 general public
by subscription.
As a NAPP member, you automatically receive Photoshop User
delivered right to your door eight times a year. Each issue features
in-depth Photoshop tutorials written by the most talented
designers, photographers, and leading authors in the industry.
n at i o n a l a s s o c i at i o n o f
p h ot o s h o p p r o f e s s i o n a l s
The National Association of Photoshop Professionals (NAPP) is a dynamic trade
association and the worlds leading resource for Adobe Photoshop training, news,
and education. Founded in 1998, NAPP has become the largest graphics and digital
imaging association in the world with more than 50,000 members worldwide.
NAPP is open to any individual using Photoshop in a casual or professional environment.
Theres no faster, easier, and more affordable way to get really good at Photoshop.
Join today for only $99 U.S., $129 Canada, and $149 International. NAPP also offers
special educational memberships. Go to www.photoshopuser.com to get more info.
p h ot o s h o p u s e r j u n e 2 0 07
006
p h ot o s h o p u s e r j u n e 2 0 07
This is a very
cool time to be
pushing pixels
for a living.
008
re things really moving that fast? Yuptheyre movin that fast. Look at whats happened in our
industry since just before the beginning of the year. First, Adobe releases a downloadable Public
Beta version of Photoshop CS3. I can tell yaI didnt see that one comin, but it sure made things
exciting around here. Then, the following month, Adobe ships Lightroom version 1 and makes a free
30-day trial version available for downloading.
In early March, Adobe announces that for the first time ever there will be two different editions of
Photoshop CS3 (standard and Extended), and shortly thereafter they give the first in-depth look at the
new Extended features during the opening keynote at our first ever sold-out East Coast Photoshop
World Conference & Expo.
In early April, NAPP publishes the premiere issue of Darkroom: The How-To Magazine for Adobe Photoshop Lightroom and delivers it to NAPP members along with their regular issue of Photoshop User.
By mid-April, Adobe ships not only Photoshop CS3, but also the entire Creative Suite, along with a
slew of other new or updated applications. Then, right on the heels of Adobe shipping CS3, we publish
a special Photoshop User CS3 Bonus Issue that covers nothing but how to use the new features of Photoshop CS3 and Bridge CS3 (and if youre a NAPP member, that special issue is included with the issue
youre holding now). Also, for NAPP members, this special issue takes the place of Darkroom this time
around, but never fear, Darkroom will be back again next issue.
By the end of April, NAPP is approaching 65,000 members worldwide and were producing more training, including live seminars and conferences, online and DVD training, and more articles in Photoshop
User, Darkroom, and on the NAPP member website than we ever have in the history of our company.
Things are really moving that fast but I have to tell youI love it. Look at the access we now have to
Adobe technology, thanks to such things as the Adobe Labs website (http://labs.adobe.com), where
we get to download and explore unreleased and experimental technology. Plus, look at the access
we have to the inner thoughts and workings of Adobe, courtesy of the public blogs by everyone from
Photoshop Product Managers and Engineers to Senior Adobe Executives. Additionally, Adobes Beta
programs gave us all our first real opportunity to help shape the tools well all be using next. This is a
very cool time to be pushing pixels for a living.
If you havent kept up with all the CS3 excitement, open the bonus issue and turn to Matt Kloskowskis
feature on the most important new features and how CS3 is going to streamline your workflow from this
day forward.
In that same bonus issue, youll find articles and step-by-step tutorials on everything from the new
Extended 3D features to the amazing new Photoshop video technology written by a whos who of the
Photoshop community, including Deke McClelland, Dave Cross, and Terry White. And I even tossed in a special
Q&A section addressing some of the most-asked questions sent my way on the new Photoshop CS3.
Here in the regular issue of Photoshop User, our cover story, Metamorphosis, comes from wellknown Photoshop author and contributing writer, Sen Duggan (it starts on page 32).
So, if all this cool stuff happened in just the first half of the year, I wonder what the next six months
will hold? Let me put it this way: Whatever it is, well be covering it.
Hope you enjoy the Photoshop User CS3 Bonus Issue and well see you online, or on the road, or on
Adobe Photoshop TV, or....
All my best,
Scott Kelby
Editor and Publisher
Photoshop
user
JUNE 2007
Volume 10 Number 4 Printed in USA
Contributing Writers
Kevin Ames Steve Baczewski Peter Bauer Bruce Bicknell
John Paul Caponigro Dave Cross Linnea Dayton
Jim DiVitale Sen Duggan Daniel East Katrin Eismann
Cristen Gillespie Rod Harlan Jan Kabili Matt Kloskowski
Sherry London Deke McClelland David Singer Colin Smith
Glen Stephens Taz Tally Ben Willmore
Web Team
Jim Gilbert Fred Maya Tommy Maloney
Justin Finley 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
Paul Parry, Controller
ADVERTISING:
Melinda Gotelli, Advertising Director
email: mgotelli@photoshopuser.com
916-929-8200
Jeanne Jilleba, Advertising Coordinator
email: jeannej@photoshopuser.com
800-738-8513 ext. 115
Margie Rosenstein Nicole Wolfe, Advertising Designers
Veronica (Ronni) ONeil, Director of Circulation/Distribution
800-738-8513 ext. 135
COLOPHON:
Photoshop User was produced using Adobe Photoshop CS2,
Adobe InDesign CS2, and Adobe Illustrator CS2. Adobe Myriad Pro
was used for headlines and text.
This seal indicates the content provided is created, and produced solely by the
National Association of Photoshop Professionals (NAPP). Additionally, it ensures
the content maintains the stringent standards set by NAPP, the worlds leading
resource for Adobe Photoshop training, education and news.
Contributing Writers
Photoshops most wanted
p h ot o s h o p u s e r j u n e 2 0 07
Deke McClelland
012
is author of the Adobe Photoshop CS2 One-on-One hands-on book (Deke Press/OReilly
Media) and hes host of the online video series, Total Photoshop CS2 Channels & Masks and Photoshop CS3 Beta
One-on-One (www.lynda.com).
Steve Baczewski
and writer, has authored or co-authored 12 books on Photoshop and has created a series of Photoshop training videos
available from PhotoshopCD.com. Colin is also the founder
of the online resource PhotoshopCAFE.com.
Peter Bauer
is author of Adobe Photoshop Master Class and an internationally renowned fine artist
and authority on fine digital printing. He was recently inducted
into the Photoshop Hall of Fame. Visit www.johnpaulcaponigro
.com and receive a free subscription to his enews Insights.
David Singer
is an award-winning photographer,
videographer, and freelance writer based in Massachusetts.
His creative services boutique serves clients throughout New
England, and hes been teaching traditional and digital photography and video workshops for the past 17 years.
Taz Tally,
Jack Davis,
Linnea Dayton
Photoshop News
By Daniel M. East
p h ot o s h o p u s e r j u n e 2 0 07
Corel releases
Painter X
014
By Bryce Smith
Fay Sirkis, a friend of NAPP, a regular instructor at Photoshop World, and an internationally recognized portrait artist, is now star of
her own instructional DVD. She teamed up
with NAPP to release a new DVD, A Celebration of Art: Paint Like a Master, that reveals
the secret techniques she uses to make
her unique photo paintings using Adobe
Photoshop and Corel Painter X. The new DVD
shows how to turn your images into watercolor and oil masterpieces that mimic the
styles of such masters as Norman Rockwell,
Rembrandt, Monet, and many others.
From retouching your image in Photoshop to applying your paints and blending them in
Painter and the final printing process, Fay teaches how to transform your photos into beautiful
works of art. Also included on the DVD are custom brush categories for Corel Painter from
Fays Master Workspace that will help you achieve the amazing results shes known for. The
new brush categories include The Impressionists, Norman Rockwell, Rembrandt, Degas,
Sargent, Cassatt, and Portrait Hair. Available now at the NAPP bookstore for only $119.99.
w w w. p h ot o s h o p u s e r . c o m
015
Upcoming Seminars
The following conferences and seminars are sponsored or produced by the National Association of
Photoshop Professionals and provide special discounts to NAPP members. The Adobe Photoshop
Seminar Tour is accredited by ACCET to offer 0.8 CEUs to seminar attendees (unless otherwise noted).
Photoshop CS2
for Photographers
featuring Ben Willmore
Author/trainer Ben Willmore reveals
the power of digital image editing and
the smartest Photoshop tips that will
let you perfect any image in record
time. Youll learn his favorite photo-editing
techniques for retouching, restoration,
and color correction so you can produce
incredible photographic results.
Upcoming Dates:
Registration Info:
COLUMBUS, OH
MILWAUKEE, WI
May 30, 2007
Midwest Airlines Center
p h ot o s h o p u s e r j u n e 2 0 07
016
Registration Info:
Upcoming Dates:
ATLANTA, GA
June 1, 2007
Cobb Galleria Conv. Center
NEW YORK, NY
June 7, 2007
Jacob K. Javits Conv. Center
Registration Info:
Regular admission is $99.
NAPP members pay $79.
Call 800-201-7323, or register online
at www.photoshopseminars.com.
Photoshop World
Conference & Expo
LAS VEGAS, NV
Registration Info:
Advance Registration
Before August 3, 2007
Advance admission is $499.
NAPP members pay $399.
General Registration
After August 3, 2007
General admission is $599.
NAPP members pay $499.
Students (with ID) pay $149.
Call 800-738-8513, or register online
at www.photoshopworld.com. N
Outlined Objects
Heres a technique that has been popularized in many video or motion graphics, but we thought it would
translate well to print. The idea is to put as many of the components (that make up the image) into several
layers, with hard-edged outlines and shadows, which gives your image a very textured, dimensional look.
p h ot o s h o p u s e r j u n e 2 0 07
STEP TWO: Click on the Add a Layer Style icon at the bottom
of the Layers palette and choose Drop Shadow. Uncheck
the Use Global Light checkbox, enter 7 for Angle, and 8 for
Distance (dont click OK yet).
018
Note: These settings work well for our image but may not
work for yours. The idea is to make the shadow overlap
another element (the guy on the left in our example).
ISTOCKPHOTO/SEAN LOCKE
STEP THREE: Now choose Stroke from the Styles list on the
left side of the Layer Style dialog. Enter 4 for Size, and Outside
for Position. Click on the red color swatch, choose white as
the color, and click OK. Click OK again to apply the layer style.
w w w. p h ot o s h o p u s e r . c o m
019
p h ot o s h o p u s e r j u n e 2 0 07
020
p h ot o s h o p u s e r j u n e 2 0 07
022
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023
STEP SEVEN: Choose Outer Glow from the Styles list. Change
the Blend Mode to Multiply, and the Opacity to 100%. Click on
the color swatch, choose black, and click OK. Enter 35 for Size
and click OK to apply the layer style.
p h ot o s h o p u s e r j u n e 2 0 07
024
p h ot o s h o p u s e r j u n e 2 0 07
026
ISTOCKPHOTO/KUZMA
Once again, we were able to convince (we actually begged, and cried a little) one of our resident gurus
and Photoshop Guy, Matt Kloskowski, to show us how to re-create a style thats extremely popular
these days. It takes a simple photo and gives it a really dramatic look. It also combines both an ultra-sharpening technique as well as a slightly desaturated bronze effect. Give it a shot.
w w w. p h ot o s h o p u s e r . c o m
027
p h ot o s h o p u s e r j u n e 2 0 07
028
continued on p. 30
p h ot o s h o p u s e r j u n e 2 0 07
STEP NINE: Add a layer mask by clicking on the Add Layer Mask
icon at the bottom of the Layers palette. With the Foreground
color set to black and the Brush tool selected, you can paint back
in any highlights or bright areas you want (in our example,
around the eyes, nose, cheeks, and some of the hair) to complete
the effect. N
030
Nfubnpsqiptjt
In search of the transformed image
METAMORPHOSIS. THE VERY WORD ITSELF IS MAGICAL AND MYSTERIOUS. AND THE PROCESS THAT IT
REFERS TO IS EQUALLY MYSTIFYING AND ENCHANTING: A PROFOUND TRANSFORMATION OF FORM BY
NATURAL OR MAGICAL PROCESSESAN ALTERATION IN CONDITION, LOOKS, OR SPIRIT.
ONE OF THE MOST COMMON EXAMPLES OF METAMORPHOSIS IS ALSO ONE OF THE MOST SPECTACULAR:
THE TRANSFORMATIONAL CHANGE OF A CATERPILLAR INTO A BUTTERFLY. OTHER INSTANCES OF METAMORPHOSIS ABOUND IN THE NATURAL WORLD BUT THE CONCEPT OF TRANSFORMATIONAL CHANGE IS ALSO
INTEGRAL TO THE CREATIVE JOURNEY. AT A BASIC LEVEL, THE PHOTOGRAPHIC PROCESS IS ALL ABOUT TRANSFORMATIONAL CHANGE
FROM ONE STATE INTO ANOTHER. WHEN WE SEE A SCENE IN THE REAL WORLD, WE THEN USE OUR CAMERAS AND LIGHT-SENSITIVE CHEMICAL EMULSIONS (FILM) OR LIGHT-SENSITIVE DIGITAL SENSORS TO TRANSFORM THAT SCENE INTO AN IMAGE THAT WE CAN TAKE BACK
INTO OUR DARKROOMS AND STUDIOS. ONCE THE IMAGE HAS BEEN CAPTURED, WE USE EITHER CHEMICAL OR DIGITAL MEANS TO EFFECT
FURTHER TRANSFORMATIONS WITH THE GOAL OF CREATING A FINISHED IMAGE THAT FULFILLS OUR CREATIVE VISION.
In my own work, the concept of metamorphosis is a key part of
my creative philosophy, both in terms of the work I do with
my cameras and the transformational alchemy thats applied
in the digital darkroom. The transformations I apply to most
photos are not extreme makeovers that turn an image into
something totally different (although there can be times when
a particular project requires such a drastic change), but adjustments to the basic components that make up a photographic
image. Before we get into the particulars of some of these techniques, lets take a look at these essential components to better
understand the most effective ways to transform an image.
Before
Once you've determined what the image needs, then you can
think about which tools and techniques in the digital darkroom
might help you achieve those ends.
After
Scene at a small carnival in Eastern Europe transformed
into a tableau from a contemporary fairytale.
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Mjtufo!up!uif!jnbhf!
033
Nfubnpsqiptjt
M
! jhiu!qbjoujoh!311!gffu!cfmpx!tfb!mfwfm
IMAGE TRANSFORMATIONS DONT HAVE TO BE DRAMATIC, AND SOMETIMES A FEW SUBTLE ADJUSTMENTS CAN ADD UP TO A
SIGNIFICANT CHANGE THAT CAN TRANSFORM A PHOTOGRAPH FROM SO-SO TO STUNNING. LETS TAKE A LOOK AT ONE SUCH
EXAMPLE: A PHOTOGRAPH TAKEN JUST AS THE SUN WAS DISAPPEARING BEHIND THE HORIZON IN DEATH VALLEY.
TUFQ!POF; The image, which began life as a RAW file, was flat, a
bit dark, and lacking in any real focus. To begin the transformation
I concentrated first on the main subject, the Below Sea Level sign.
I used the Pen tool to make a path of the sign, loaded this as a selection (Command-Return [PC: Ctrl-Enter]), and then added a Curves
adjustment layer (Layer>New Adjustment Layer>Curves) to significantly increase the contrast.
TUFQ!UXP;!After the sign looked good, I started to think about
the actual light circumstances at the time the photo was taken and of
ways to work with that and change the tonal character of the image.
Because the sun had just slipped behind the far mountains, I decided
to increase the bright glow that the setting sun leaves in its wake.
Using the Elliptical Marquee tool (M), I made an elliptical selection that covered a portion of the sky and the mountains on the
right side of the image. With the Magic Wand tool (W), I Optionclicked (PC: Alt-clicked) on the mountains to subtract them from the
original elliptical selection. Then I added another Curves adjustment layer and dramatically brightened that area. While still in the
Curves dialog, I also made the adjustment much warmer by raising
the Red Channel curve (Command-1 [PC: Ctrl-1]) and lowering the
Blue Channel curve (Command-3 [PC: Ctrl-3]). I applied a strong
Gaussian Blur (Filter>Blur>Gaussian Blur) of 70 pixels to the layer
mask to soften the edges and create a more convincing sunset glow.
p h ot o s h o p u s e r j u n e 2 0 07
034
Nfubnpsqiptjt
Usbotgpsnbujpot!uispvhi!cmfoe!npef!upojoh
BACK WHEN I USED TO MAKE MY FINE ART PRINTS IN A TRADITIONAL BLACK-AND-WHITE DARKROOM, I LOVED TO EXPLORE THE
POSSIBILITIES OFFERED BY WARM-TONED PAPERS, SEPIA TONING, SPLIT TONING, AND SELECTIVE TONING. THOUGH MY WORK
TODAY IS ALL DONE IN A DIGITAL DARKROOM WITH PHOTOSHOP, I STILL FIND THAT A GENEROUS APPLICATION OF WARM TONING, COMBINED WITH THE TRANSFORMATIVE POWER OF THE BLEND MODES, WORKS QUITE WELL FOR TAKING AN IMAGE TO A
PLACE THATS JUST BEYOND THE LITERAL AND MORE INTO THE REALM OF MEMORY AND EMOTION. FOR IMAGES WHERE I WANT
TO COMBINE A MUTED PALETTE OF THE ORIGINAL COLORS WITH A STRONG SEPIA COLORING, I USE A PROCESS THAT I CALL
SEPIAESQUE. THIS TECHNIQUE COMBINES A HUE/SATURATION TONING LAYER AND A BLURRED DIFFUSION LAYER WITH BLEND
MODES. KEEP IN MIND THAT THIS ISNT A ONE-SIZE-FITS-ALL TECHNIQUE AND IT MAY REQUIRE SOME MODIFICATION USING
LAYER MASKS OR DIFFERENT LAYER OPACITIES. IT ALSO MAY CREATE TOO MUCH CONTRAST ON IMAGES THAT ALREADY FALL
INTO THE HIGH-CONTRAST CATEGORY.
HERE ARE THE BASIC STEPS FOR MY SEPIAESQUE TECHNIQUE:
w w w. p h ot o s h o p u s e r . c o m
TUFQ!POF;!Add
a Hue/Saturation
layer to the main
image (Layer>
New Adjustment
Layer>Hue/Saturation). The Colorize
box is checked and
the Hue and Saturation values are set to 38 and 20, respectively.
Experiment with these values to see what works for you. After
clicking OK to close the dialog and apply the toning, go to the
top-left corner of the Layers palette and change the blend
mode of the layer to Overlay.
If youre starting with an image that already has a lot of contrast, the Overlay blend mode may take this too far. If this is the
case, try the Soft Light blend mode for a gentler effect. If shadow
areas with important detail seem to be getting too dark, you
might consider lightening them using a Curves adjustment layer
with a layer mask before applying the diffusion effect outlined in
the next step.
035
Nfubnpsqiptjt
TUFQ!UISFF;!In the image shown (taken in Dresden,
Germany), the dark areas of the covered passage between
the buildings were lightened using a Curves layer set to Screen
with a layer mask that targeted only those regions. To suggest
the hint of a story with light, a Curves layer was added that
illuminated the windows in the passage.
p h ot o s h o p u s e r j u n e 2 0 07
036
Before
After
Nfubnpsqiptjt
Uif!cfbvuz!pg!uif!cmvs
IN ADDITION TO GUIDING THE VIEWERS EYE AND SHAPING THE IMAGE WITH LIGHT AND SHADOW, THE USE OF SELECTIVE FOCUS
IS ALSO AN IMPORTANT TOOL IN THE TRANSFORMATION PROCESS. IN PHOTOGRAPHS THAT PORTRAY THE WORLD THROUGH THE
SELECTIVE FILTER OF PERSONAL EXPERIENCE, SHARPNESS IS OFTEN THE LEAST IMPORTANT ASPECT OF THE IMAGE AND CREATIVE
BLURRING IS MUCH BETTER SUITED TO EXPRESS THE INTANGIBLE FEELINGS THAT WE MAY HAVE ABOUT A PERSON OR PLACE.
THE LENS BLUR IS THE MOST USEFUL FILTER FOR APPLYING A BLUR THAT MIMICS THE EFFECT OF OPTICAL BLURRING CREATED
BY LENSES AND WIDER APERTURES. THOUGH THIS FILTER DOES AN IMPRESSIVE JOB OF BLURRING DETAILS AND CREATING APERTURE-SHAPED HIGHLIGHT POINTS, ITS REALLY MORE ABOUT MASKING THAN IT IS ABOUT BLURRING. TO GET THE MOST OUT OF
THIS FILTER, USE IT IN CONJUNCTION WITH AN ALPHA CHANNEL THAT CAN BE LOADED AS A DEPTH MAP TO CONTROL HOW THE
BLUR IS APPLIED THROUGHOUT THE IMAGE.
Vtjoh!b!hsbejfou!nbtl!gps!b!efqui!nbq
IF YOURE TRYING TO ADD A SIMPLE BLUR THAT RE-CREATES THE FALLOFF OF FOCUS FROM FOREGROUND AREAS TO THE
BACKGROUND, ONE WAY TO DO THIS IS BY CREATING A GRADIENT MASK TO USE AS A DEPTH MAP.
TUFQ!POF;!Make a new
Alpha channel by selecting the Channels palette
and clicking on the Create
New Channel icon at the
bottom of the palette.
Then, click the Eye icon
for the RGB composite
channel. The new Alpha
channel will be black and
will show up as transparent red over the image.
w w w. p h ot o s h o p u s e r . c o m
037
Nfubnpsqiptjt
TUFQ!UISFF; With the
Alpha channel active, drag out
a gradient to define a gradual
falloff in focus. Shorter gradients will create a more abrupt
transition and longer gradients
will result in a more gradual
transition. Repeat as needed
until you get the gradient
mask just right. Once you get
it where you want it, name the
Alpha channel Lens Blur Mask.
TUFQ!GPVS;!Click on the RGB channel to make it active and
then click the Eye icon for the Lens Blur Mask channel to turn it
off. Make a copy layer of your image (use the Merge Visible layers
trick shown earlier to create a new layer from the cumulative
effects of several different layers) and choose Filter>Blur>Lens Blur.
p h ot o s h o p u s e r j u n e 2 0 07
TUFQ!GJWF;!In the Lens Blur dialog, select your Lens Blur Mask
as the Depth Map Source. Adjust the Radius control to dial in
the desired amount of blur. If the area that you want in focus is
blurred, simply click on that area in the preview and the blurred
areas will change.
In the example image of the open windows, the blurring of
the background helps to focus the attention on the billowing
curtain in the foreground. We can still see another curtain in
the background but sharpness in that area isnt crucial for this
type of photograph. Indeed, its often easier for the mind to
find the traces of a story when there are some details left to
the imagination.
038
Before
After
Mfu!uif!kpvsofz!cfhjo
IN THE WORLD OF IMAGE METAMORPHOSIS, A GOOD PHOTOGRAPH IS THE POINT OF DEPARTURETHE PLACE WHERE THE
JOURNEY BEGINS. SOMETIMES THE DESTINATION IS KNOWN, SOMETIMES THE RESULT CAN ONLY BE SENSED OR GUESSED,
AND OTHER TIMES ITS A TOTAL SURPRISE. EVERYTHING THATS NEEDED FOR THE TRANSFORMATION IS ALREADY IN THE
IMAGE. YOU JUST HAVE TO FIND THE KEY TO UNLOCK IT AND START THE CREATIVE WHEELS TURNING. BY LISTENING TO THE
IMAGE AND SEEING HOW THE LIGHT FALLS AND WHERE THE SHADOWS LIE, YOU CAN FIND THE PATH THAT WILL LEAD YOU TO
THE TRANSFORMED IMAGE. Q
ALL PHOTOS BY SEN DUGGAN
Photoshop Mastery
Taking Photoshop to the next level
N BY BE N W ILLMORE
Shooting
techniques
To capture the
best raw material to compose
in Photoshop,
its essential to
use a tripod and
cable release.
Start by framing
the photo in
Base exposure
the viewfinder
(it helps to do this right after sunset while
you still have enough light to see your
surroundings) and then take a shot of the
whole scene, preferably without any cars
passing by. This will serve as the base
to which well later add streaks. In this
example, we lit the trees by painting
light onto them using a powerful flashlight during a 30-second exposure.
The next step is to capture individual
cars passing through the scene, one car
per exposure. Set the camera on manual
mode with the shutter speed set to bulb
so the length of time you hold down the
cable release will determine the length
of exposure.
The aperture setting will determine
how bright the car streaks will appear,
so experiment until you figure out the
setting needed to produce good-looking
results. This will vary depending on how
fast cars are passing through the scene
and if youre capturing a headlight
or taillight streak. I often end up with
Streak exposures
for semi truck (top);
headlights
(middle);
and taillights
(bottom.)
Final result
Ben Willmore is the best-selling author of Adobe Photoshop CS2 Studio Techniques and Up to Speed: Photoshop CS2, as well as co-author
of How to Wow: Photoshop for Photographers. Ben spends many of his days as a digital nomad in his 40' motorcoach. Learn about his latest
adventures at www.whereisben.com.
ALL IMAGES BY BEN WILLMORE
w w w. p h ot o s h o p u s e r . c o m
his technique may not be appropriate for every situation, but its
what I consider the ideal way to
create car streak photos.
039
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#4GRQTVHTQO$TWEG$KEMPGNN
Opening ceremonies
Wednesday was the official start of Photoshop World and it was
standing room only for the excited crowd waiting for the Opening
Keynote. Once the lights dimmed, the tone was set with a hilarious
performance by Katrin Eismann and Terry White as award presenters
for The Photoshop Music Awards. This was followed by a video introducing the history of the Photown musical group, Scott Kelby and
the Histograms, featuring Felix Nelson, Dave Cross, Matt (Jazz Hands)
Kloskowski, and Corey Barker. After the video, the group appeared
live on stage, singing a medley of their hits and proceeding to bring
the house down with a well-choreographed performance.
Scotts opening remarks were followed by an exhilarating
keynote speech by Adobe Systems Inc. Senior VP of Creative
Solutions, John Loiacono, who with Senior Product Manager for
Adobe Photoshop, John Nack, proceeded to amaze the
attendees with the new Photoshop CS3 and Photoshop CS3 Extended. The ability of Photoshop CS3
Extended to manipulate 3D objects is just one
of many cool new features in the new release.
At the end of the Adobe presentation, Scott
presented John with a Scott Kelby and the
Histograms gold recorda perfect ending
to a great opening keynote speech!
Next up, the announcement of the Photoshop
Hall of Fame nominees and presentation of the
Dean Collins Scholarship. Then, Executive Director of
the NAPP, Larry Becker, finished up the opening ceremonies by presenting the Photoshop Guru Awards
(see pages 4243).
9JCVVJG#VVGPFGGU5CKF
The Portfolio Review was worth the price of admission. Before I went to this
I wasnt sure if I was on the right path, but now I do! Anne Ferguson
Compared with other conferences, Photoshop World is hands-down the best
conferenceit gives me more information, more options for sessions, the
classes are more involved, and the instructors are also approachable and
cordial. Will definitely be back and Ill bring my employees as well.
Jeff from Boston
Great tracks for digital photographers! The Epson print guys
helped my color output dramatically. Ed from NY C Q
"
p h ot o s h o p u s e r j u n e 2 0 07
ISTOCKPHOTO/SOUBRETTE
STEP TWO: Now click the Create New Action icon at the
bottom of the palette to begin creating a new action. The
New Action dialog will appear. Heres where you can enter a
descriptive name for your action. For this example, call this
action Skin Softening. Choose which set youd like to add this
action to from the Set pop-up menu. This set should default
to the folder that you just created in Step One, but if it doesnt
then go ahead and choose it here.
044
continued on p. 46
p h ot o s h o p u s e r j u n e 2 0 07
046
Before
After
If you have an idea for an action that youd like to see in the
Speed Clinic, please send it to letters@photoshopuser.com.
Resolution
A decade ago, inkjet prints had large visible dots. Today its difficult to see the dots of high-end
inkjet prints with the naked eye. Smaller is betterwhether its grain in film and analog paper
or noise in digital capture and dot structure in inkjet printsfor most applications.
p h ot o s h o p u s e r j u n e 2 0 07
048
coarse. Compare that to a print made with all of the ink colors:
the image becomes smooth. To achieve the finest detail and
smoothest transitions, you need to use most or all of the inks.
Shape: While most dots are ellipses, some are triangular,
square, or star shaped.
Placement: Larger well-placed dots can outperform poorly
placed small dots. Screening frequencies determine dot
placement. Offset presses typically use halftone frequencies,
where the dots are placed in a regular pattern while their size
varies (smaller dots for lighter values, larger dots for darker). To
avoid moir patterns, halftone frequencies are limited to four
inks because the pattern of each inks dots is offset at different
angles and there arent enough angles to accommodate more
than four inks. When more than four inks are required, stochastic screening frequencies are useddots are randomly placed
while their size remains the same (fewer dots clustered for
lighter values, more dots clustered for darker). The latest inkjet
printer screening frequencies are a hybrid of both, using precise
random placement and variable droplet size.
Ink-delivery systems also vary: Epson printers use piezoelectric technology while both Canon and HP use heat-based
technology. Currently, piezoelectric systems are more precise,
rendering crisper detail and smoother gradation; but will
future advances in heat-based technology and increasingly
small dot structures deliver similar results without such a high
degree of precision?
File resolution for Epson printers
For Epson printers, fine line detail is best rendered when
printing at a file resolution of 360 ppi. Image quality doesnt
deteriorate significantly until file resolution drops to less than
180 ppi and quality is slightly compromised when printing at
resolutions above 720 ppi. File resolutions that are even multiples of the printers resolution deliver incrementally higher
quality than uneven multiples.
[NAPP members may download a PDF detailing file and print
sizes at www. photoshopuser.com/members/magcenter/2007.php.]
File resolution
and print set
too low: print
looks soft
Practical matters
When it comes to resolution, you can end up splitting hairs
unnecessarily. The differences between prints made with varying file resolutions within an acceptable range are quite subtle.
The rules to follow are: Set file resolution as close to optimum as
practical; resample as little as possible; and sharpen precisely.
The resolution of detail can have a profound impact on
image quality and its not just a technical concern; the level
and type of detail in images is also an aesthetic consideration.
Decide to use more or less detail in your images and to
resolve it more or less precisely, based on the kind of visual
statement you wish to make. It can have a profound impact
on image quality. Q
John Paul Caponigro, an inductee to the Photoshop Hall of Fame and author of Adobe Photoshop Master Class, is an internationally
renowned fine artist and authority on fine digital printing. Check out his workshops and get free PDFs with a free subscription to his
enews Insights at www.johnpaulcaponigro.com.
ALL IMAGES BY JOHN PAUL CAPONIGRO
w w w. p h ot o s h o p u s e r . c o m
049
Photography 24/7
Many a photographer has set the alarm to be out at dawn or skipped dinner to shoot in dusks
golden hour, but what about between dawn and dusk? With High Dynamic Range (HDR) photography, you can shoot at the brightest hours of the day or darkest midnight hours.
050
Seeing in HDR
Humans see in HDR, while most cameras dont. Imagine that
youre taking a stroll on a bright, sunny day and you decide
to step inside a church. After your eyes have adjusted for
the lighting change, you can see both the stained-glass
windows and the interior of the church. If you tried to take
a single picture of the interior, you could either expose for
the stained-glass window and the interior would be very
underexposed, or you could expose for the interior areas
and the stained-glass window would be overexposed or, as
some photographers say, blown-out.
With HDR images, you make an exposure for each tonal
range and combine them in Photoshop CS2 or CS3 to create
images that better mimic how we see. At first glance the shot of
the living room (seen below) seems rather innocuous; but notice
how bright it is outsideno single exposure could capture the
bright, sunny day and maintain the detail in the living room as an
HDR image does. This isnt simply a snapshot of a living room; its
a photograph of how Stanley actually sees the living space.
STANLEY FLOMIN
BRIAN NIELSON
p h ot o s h o p u s e r j u n e 2 0 07
KATRIN EISMANN
racticing the craft of photography includes understanding and applying essential fundamentals, such as
how focal length, shutter speed, and aperture choices
influence image composition. Then there are the rules of
photography that I often question as to how useful they really
are. Some of these rules include: You should avoid shooting in the middle of a bright, sunny day, as the light will be
too harsh; or The subjects of HDR photography should be
perfectly still or else the images wont register correctly.
At the School of Visual Arts in New York City, my students
and I gleefully ignore both of these rules to create exciting
images by taking advantage of the extended dynamic range
KATRIN EISMANN
KEVIN GIRONDA
Photographing and
processing HDR images
To photograph the source
images for HDRs, its recommended that you use a
camera with manual exposure and focus capability and a tripod. Set the lens aperture
to create the desired depth of field and meter for an average
exposure. If the scene contains extreme bright and dark
areas, use the shutter speed control to set the shutter speed
down four full f-stops (for example, 1/60 to 1/30 to 1/15 to
1/8 to 1/4 of a second). Now take one image at each shutter
speed, starting at the slowest speed and shooting up to normal exposure and four stops faster than normal (1/125, 1/250,
1/500, and 1/1000) for a total of nine images (as shown). The
slower shots will be overexposed and capture detail in the
shadows while the faster exposures will be underexposed,
which captures highlight information.
Follow along with these steps to process your images using
the Photoshop HDR feature:
Katrin Eismann is the author of Photoshop Restoration & Retouching and Photoshop Masking & Compositing. In 2005, she was
inducted into the Photoshop Hall of Fame and in 2006, she was named Chair of the MPS in Digital Photography department at the
School of Visual Arts in NYC (www.sva.edu/digitalphoto).
w w w. p h ot o s h o p u s e r . c o m
051
Deke Space
Photoshop la Deke
QBY DEKE M cCLELLAND
p h ot o s h o p u s e r j u n e 2 0 07
052
Workspaces
If you search around a bit, you may find yourself wondering
what in the world happened to that handy Filmstrip view,
oull start by noticing that the new Bridge has a different color and interface. More importantly, everything
is now divided into panels (formerly palettes) that are
docked together, similar to the docked palettes in the new
Photoshop CS3 interface.
The top-left panel area contains
the familiar Favorites and Folders
panels, which allow you to navigate
inside Bridge and around your hard
drive and other media. Below is the
Filter panel, which lists attributes
associated with images in the
current folder. This allows you to
control which files you see in the Content panel; for example,
here I have 1 Camera RAW image, 15 JPEGs, 2 PSDs, and 1 TIFF.
If you want to see PSDs by themselves, click to the left of
Photoshop Document in the Filter panel. A check mark will
appear and the Content panel will show only PSDs (along with
any subfolders that live inside this folder). To add other types
of files, click next to their file type entries. If you want to return
to seeing only one category, press-and-hold the Option (PC:
Alt) key and double-click next to that entry. To see everything
again, turn off all the check marks.
You can use this same technique for any of the other
attributes, such as Date Created, Orientation, or Aspect Ratio.
Note that Copyright Notice lives here too, which is handy for
designers, art directors, and people like me who are trying to
keep one copyright holder separate from another in a large
stable of artists and photographers.
On the right side of the interface (by default) are the
Preview, Metadata, and Keywords panels. The Preview panel
shows a large version of the selected image. The others allow
you to view and modify detailed information about your
image file or other documents.
Stacking images
Another new feature in Bridge allows you to group images
together. You can create stacks by selecting images in the
Content panel and choosing Stacks>Group as Stack or pressing Command-G (PC: Ctrl-G). To expand the stack, click on the
number in the upper left-hand corner of the stacked thumbnail (our example shows 6 because there are six images in
the stack we created). Note that stacking them together still
allows you to use the Loupe on the topmost image in the
Preview panel.
ISTOCKPHOTO/DAVID POLITI
share space with the Filter panel. You can then add a vertical
filmstrip by dragging the Content panel from the bottom of
the screen to the right-hand panel area. Bridge automatically
organizes the thumbnails into a tidy column (as shown).
Slideshow mode
Ive also come to love the new Slideshow mode. Choose
View>Slideshow (Command-L [PC: Ctrl-L]) to enter the slide
show and watch it play automatically. Or better yet, click on
a slide to zoom in to 100%. Then click-and-drag to scroll the
image and examine other details. As with the Loupe function,
you can zoom in and out by pressing the + or keys, respectively, or by using the mouse scroll wheel. The difference is
that youre not seeing a tiny detail of your image; youre seeing
a large window into the whole thing.
More than ever before, the revamped Bridge is a splendid
way to preview and organize the images in your library. Q
Deke McClelland is author of Adobe Photoshop CS2 One-on-One (Deke Press/OReilly Media) and host of the online video series PhotoDeke McClelland is author of the full-color Adobe Photoshop CS2 One-on-One and Adobe InDesign CS2 One-on-One (Deke Press/
shop CS2 Channels & Masks and Photoshop CS3 Beta One-on-One (www.lynda.com).
OReilly Media) as well as hundreds of hours of video training for Total Training. Go to iTunes and check out Dekes video podcast, dekePod.
w w w. p h ot o s h o p u s e r . c o m
DEKE SPACE
053
or example, a website designer may enhance photographs or create composite images in Photoshop for use
in a site that is being developed in Dreamweaver and
Flash, prototyped in Fireworks, and tested in Device Central
for display on a cellphone or PDA.
Another important example of cross-product integration
in CS3 is this seamless workflow between Photoshop CS3
and Dreamweaver CS3. Your students can now bring a native
Photoshop file into Dreamweaver, automatically optimize
the file for the Web during import, and later re-open the
source file for further editing in Photoshop. Follow these
steps to teach this easy and practical workflow. [Note: This
tutorial assumes you have access to (and basic knowledge
of) Dreamweaver CS3.]
054
JAN KABILI
p h ot o s h o p u s e r j u n e 2 0 07
click Copy. You can customize this page by typing over the
headlines and text with content of your own choosing.
[NAPP members may download this image and a PDF of this
column at www.photoshopuser.com/members/magcenter/
2007.php.]
STEP TWO: In Photoshop, open a native Photoshop PSD file
that has several layers. The PSD we used here has a pixel-based
photo layer, a type layer with a drop shadow layer effect, and
a shape layer. Choose Select>All or press Command-A (PC:
Ctrl-A). To copy all the layers, choose Edit>Copy Merged, or
press Command-Shift-C (PC: Ctrl-Shift-C). If your file had only
one layer, you would choose Edit>Copy.
STEP THREE: Next, optimize the file in Dreamweaver. Click on
the image placeholder on the sample page, and press Delete
(PC: Backspace). Choose Edit>Paste or press Command-V
(PC: Ctrl-V). The Image Preview dialog opens in Dreamweaver.
This dialog functions like the Save for Web dialog in Photoshop.
Click the 2-Up or 4-Up icon at the bottom of the Image Preview dialog to see several views of the file as it will look after
its optimized for the Web. Click one of the image previews
and choose settings that affect only that preview. You can
w w w. p h ot o s h o p u s e r . c o m
055
Beginners Workshop
Learning Adobe Photoshop from the ground up
N BY DAV E C R O S S
p h ot o s h o p u s e r j u n e 2 0 07
056
continued on p. 58
BEGINNERS WORKSHOP
Camera Raw to smart object
To take things up a notch, you can open the JPEG as a smart
object in Photoshop. Click on the workspace link (the one that
indicates the current size of the image at the bottom of the
window) and in the dialog, check the Open in Photoshop as
Smart Objects box.
p h ot o s h o p u s e r j u n e 2 0 07
058
Communication Is Key
With digital photographys varying range of purposes, communication between photographer and
client is more important that ever. These multiple usages can present a problem downstream if the
right questions arent asked, and proper workflow decisions are not made before the project starts.
p h ot o s h o p u s e r j u n e 2 0 07
060
JIM DIVITALE
Size matters
Todays digital cameras have limitations on how big images
can be and still look crisp. There are many interpolation
techniques and third-party software that can enlarge
images to huge dimensions; however, its still a good idea
to ask how large an image the client could possibly go to,
Jim DiVitale is an Atlanta-based photographer and instructor specializing in digital photography. His clients include Mizuno USA, Carters,
Genuine Parts Company, IBM, TEC America, Scientific-Atlanta, and Coca-Cola. Check out his new website at www.divitalephotography.com.
w w w. p h ot o s h o p u s e r . c o m
061
p h ot o s h o p u s e r j u n e 2 0 07
GAREN CHECKLEY
062
Target the layer you want to work with (click its thumbnail
in the Layers palette). In CS2, make a duplicate layer to work on
(Command-J [PC: Ctrl-J]). In CS3, choose Filter>Convert for Smart
Filters; now youll be able to apply the filter as an editable layer
on its own, without permanently changing the image.
[NAPP members may download the image used in this tutorial
at www.photoshopuser.com/members/magcenter/2007.php.]
STEP TWO: Choose Filter>Render>Lighting Effects. Refer to
the dialog at the top right as you adjust the settings. Beginning with the Default lighting style (chosen in the Style menu
at the top of the dialog), position and aim the light as follows:
STEP FIVE: When you see the result at full size, you may want
to tone it down by blending the filter treatment with the
original lighting. We reduced the Opacity of the filter effect
to 85% but you could also try increasing the theatrical look
with a high-contrast blend mode such as Overlay, or choose
Lighten or Darken for a more subtle effect. In CS3s Layers
palette, double-click the slider icon at the far right of the
Lighting Effects entry, then make adjustments in the Blending
Options dialog and click OK. In CS2s Layers palette, set the
Opacity and blend mode for the filtered layer.
Linnea Dayton and Cristen Gillespie are authors of The Photoshop CS/CS2 Wow! Book (Peachpit Press).
w w w. p h ot o s h o p u s e r . c o m
063
Production Clinic
Gain expertise on scanning, prepress, Photoshop, and digital file prep
N BY TAZ TALLY
p h ot o s h o p u s e r j u n e 2 0 07
064
TAZ TALLY
PRODUCTION CLINIC
STEP FOUR: Do the same with the Shadows point to find the
darkest shadow detail area (the right foreground cobbles). Note:
Unlike Levels, in Curves you can show both points without pressing a key, which allows you to perform the Eyedropper placement in the next step faster and easier. Simply click on either the
highlights or shadows point to activate one view or the other.
STEP FIVE: Now, double-click on the highlight (far right) Curves
Eyedropper tool. In the Select Target Highlight Color dialog, tab
to the RGB value areas and enter R:242, G:242, B:242 to set a 5%
neutral white highlight target value in the RGB channel. Click OK
to close the dialog. Next, double-click on the shadow Curves
Eyedropper tool (far left) and in the dialog, tab to the RGB value
areas and enter R:12, G:12, G:12 to set a 95% neutral black shadow
target value in the RGB channel. Click OK.
STEP SIX: In the Curves dialog, click on the Highlights point on
the curve to activate the highlight clipping view. Click on the
highlight Eyedropper to activate it, and then click on the bright
highlight area in the image.
STEP SEVEN: Then, click on the Shadows point in the curve to
activate the shadow clipping view (which will have changed
after using the highlight Eyedropper). Click on the shadow
Eyedropper to activate it, and click on the original dark shadow
area in the image.
STEP EIGHT: Turn off
the Show Clipping view
and turn on the Preview
checkbox to view your
corrected image. View the
resulting histograms and
the adjusted curves on the
RGB and individual color
channels. Note how the initial (baseline) curve (shown
in gray) appears as well
as the adjusted curves.
Also note the adjusted
Highlights and Shadows
point locationstheyre
all right here in the super
Curves dialog.
STEP NINE: Return
to the master RGB
channel and apply
an S-shaped curve
at the quarter- and
three-quarter-tone
points to enhance
contrast (notice the
intersection line).
Click OK to close
the Curves dialog.
Tip: Make a copy
of your final image
and flatten it (Layer>
Flatten Image), then
Save your PSD layered
image, in case you
need to edit it later.
And heres our
final image. N
Taz Tally, Ph.D., a nationally known electronic publishing consultant, provides training on a wide range of electronic publishing topics,
including scanning, Photoshop, prepress, and digital file preparation. Hes also author of Photoshop CS2 Before & After Makeovers.
w w w. p h ot o s h o p u s e r . c o m
065
The Photoshop
workaround
There are two
ways to work
around this
problem: the
pre-Photoshop
CS method
(my preferred
method) and
the post-Photoshop CS method. The pre-CS method is to
work with images that have either the width or the height
equal to the video width or height and then set the other
side to a value that makes the image a true 4x3 ratio. For
example, you could work with documents in Photoshop
that are either 720x540 or 648x486. Both of these sizes
have a 4x3 ratio. Then, to counteract the scaling that takes
place when the image goes to video, you resize either of
those formats to 720x486. The image is stretched in the
opposite direction than it will be stretched when it goes to
video. The result is that you have canceled the effect of the
scaling that takes place when the image is forced to fit a
4x3 video frame.
066
ISTOCKPHOTO/VLADIMIR POPOVIC
p h ot o s h o p u s e r j u n e 2 0 07
Rules on PAR
The rules are simple. Choosing Image>Pixel Aspect Ratio
and selecting a nonsquare format for a video still from a
video frame grab tells Photoshop that these images came
from video and have nonsquare pixels. Photoshop can then
work with them accordingly and will scale them so they
look correct while youre working with them. This scaling
can be turned on and off by choosing View>Pixel Aspect
Ratio Correction. The reason you dont want to change the
pixel aspect ratio on any of the other images is because
they arent nonsquare images. Theres a common misconception that its okay to set the pixel aspect ratio on digital
photos if youre preparing them for use in video. Thats
simply incorrect.
Use the following steps if you have digital photos that
you want to get ready for video by using pixel aspect ratio
in Photoshop:
w w w. p h ot o s h o p u s e r . c o m
067
p h ot o s h o p u s e r j u n e 2 0 07
he Black & White adjustment layer (Image>Adjustments>Black & White) is the Channel Mixer all grown-up,
with an advanced degree in ease of use. Its best to
use layers (instead of one-time adjustments) so you can
change your mind because once you see the power of Black &
White, youll have a hard time deciding!
[NAPP members may download the gazebo image from
www.photoshopuser.com/members/magcenter/2007.php.]
068
It would be logical to think that adding value to the Yellows would also darken the blues, right? Go ahead and move
the Yellows slider to the right. What happens? Yep, the trees
lighten but the sky and water dont change. The key to understanding this tool is that each slider increases or decreases the
brightness of its color only.
STEP THREE: Now, hold down the Option (PC: Alt) key and
the Cancel button becomes a Reset button. Click on it and
the sliders are repositioned to the settings the tool originally
chose for the image.
Remembering which color slider changes what tone in a
black-and-white image is hardly intuitive. Of course, theres a
better way. Click-and-hold in the dark area of the sky above
the treesto the left of the gazebo, and between the clouds
(as shown below).
shop, there are several to tone them as well. The best part of
the Black & White adjustment layer is that toning is built right
in, so click the Tint checkbox, set Hue to 39, and Saturation
to 10%.
Now click on the Preset options icon (left of the OK button),
choose Save Preset, name it Sepia, and click Save. Next time
you create a Black & White adjustment layer, these settings
will be waiting for you in the Preset menu. Click OK to close
the Black and White dialog.
STEP SEVEN: The conversion leaves this image a little flat,
so we need to radiate some intensity. Show the Info palette
(Window>Info) and then click on the Create New Adjustment Layer icon (at the bottom of the Layers palette) and
select Curves.
In the Curves dialog, hold down the Option (PC: Alt) key
and click in the grid (to make a fine grid). Start at the lower-left
corner of the grid, count two boxes right, then two up, and
Command-click (PC: Ctrl-click) to set a point that will protect
the shadow values. In the image, click-and-hold while moving
the cursor over the columns in bright sunlight. When the dot
on the curve gets to its highest point, hold down the Shift key,
release the mouse button, and click to place a color sampler
on that point. Read the RGB numbers in the Info palette. Our
numbers show R:234, G:222, and B:196, which is a little dark for
the highlight in a print.
Hold down the
Command (PC: Ctrl) key
and click on top of the
sampler in the column.
A black dot appears
on the curve. Press the
Up Arrow until Red in
the Info palette reads
around 245. Theres still
detail in the column
and the image has a lot
more snap. Click OK.
Hide and show the
Curves layer to see the
difference and if its too
much of a change, lower
the layer Opacity. Now
its time to make test prints and see which one works best.
Black and white is all about the contrast contained in the
photograph. We want to see deep, rich blacks and sparkling,
bright whites with detailed tones in between. The Black &
White adjustment layers a welcome new tool in creating
stunning prints. Until next time, keep shooting! Q
Kevin Ames, a commercial digital photographer, is author of Adobe Photoshop CS2: The Art of Photographing Women, Digital SLR
Photography with Adobe Photoshop CS2 All-in-One for Dummies, and the upcoming Digital Photographers Notebook: Practical
Tips for Professional Photoshop Users. You can email him at Kevin@amesphoto.com.
w w w. p h ot o s h o p u s e r . c o m
069
Crazy Text
Step right up. Its hard to believe but here it is, for the first time everthe ability to apply crazy filters
to your type, and still be able to edit the text. Yes, ladies and gentlemen, you heard it right: Apply
filters to text and keep the ability to edit the text. Thanks to Photoshop CS3 its available right now!
STEP ONE: Use your Type tool to add some text to a document.
To better see the effect, we used a large font size but of course,
the technique will work on all sizes of type.
p h ot o s h o p u s e r j u n e 2 0 07
070
continued on p. 72
STEP FOUR: When you use a filter, such as Sprayed Strokes, you
may notice that the filter introduces some white areas. If you
want to remove these (that is, make the white transparent), double-click on the layer name to open the Layer Style dialog and
use the white Blend If slider to make the white pixels transparent.
To do this, click-and-drag the This Layer white slider to the
left, then Option-click (PC: Alt-click) and drag the right-hand side
of the triangle slider to the right (as shown).
STEP FIVE: Smart Filters have a separate Layer Mask (one mask
for all the Smart Filters) so if you want to adjust the effect of the
filters, you can click on the mask thumbnail and paint on the
mask. In our example we used a Brush (B) from the Thick Heavy
Brushes set in the Brushes palette with the Opacity set to 30%
black, and painted a brush stroke across the center of the text
to slightly lessen the effect.
p h ot o s h o p u s e r j u n e 2 0 07
072
And heres our finished design that, when saved as a multilayered PSD file (including the Smart Object and Smart Filters),
can easily be changed at any time, simply by double-clicking
on the Smart Object. N
p h ot o s h o p u s e r j u n e 2 0 07
To: Wanda
From: NAPP Help Desk
Adobe Camera Raw 4, which you use
with Photoshop CS3 and Bridge CS3,
includes several new features, including
the Retouch tool, which is a combined
healing and cloning tool. You can copy
either texture (healing) or pixels (cloning).
And, because the editing is in Camera
Raw, no permanent change is made to
the image; the work is simply recorded in
the images metadata. Later, you can reopen the image in Camera Raw, if desired,
and change or reverse the effects of the
Retouch tool.
074
CHRIS MAIN
Before
Peter Bauer is Director of the NAPP Help Desk and a featured columnist at PlanetPhotoshop.com. His latest book is Photoshop CS2 for Dummies.
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$50
Mac and Windows
Digital Film Tools, LLC
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EZ Mask
Review by
David Singer
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078
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not be enough distinction between foreground and background to use the basic method.
If you make a mistake marking your foreground or background, or with the Unknown
Brush strokes, the Eraser tool
allows you to fix it easily and
continue with creating your
mask. Once EZ Mask is done
processing, you can view the
foreground or background,
the mask, or a composite
image in the preview window
using the buttons along the
top of the interface.
I highly recommend EZ Mask:
Creating masks in Photoshop
really doesnt get any easier. N
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Get the inside scoop on all the latest Photoshop gear
Filter Forge
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David Singer
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Complete
Photoshop CS3 for
Digital Photographers
1-58450-536-2 $44.99
An intermediate to advanced
level, project-based guide concentrating on the updated photo
editing tools of Photoshop CS3.
This full-color book covers creative techniques for images as
well as output techniques.
Advanced Photoshop
CS3 Trickery & FX
1-58450-531-1 $49.99
Transform ordinary photos into
incredible special effects and
digital creations using the tools
of Photoshop CS3. Full of realworld tutorials, this book covers
advanced techniques for digital
artists wishing to create realistic
or fantasy effects.
Digital Character
Painting Using
Photoshop CS3
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Create emotion in your characters as you seamlessly blend
character design and digital
painting using the painting tools
of Photoshop CS3. This intermediate-level book is ideal for digital artists wishing to paint real
and fantasy digital characters.
w w w. p h ot o s h o p u s e r . c o m
079
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080
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081
books
Get the inside scoop on all the latest Photoshop books
Reviews by Peter Bauer
p h ot o s h o p u s e r J u n e 2 0 07
082
Photoshop Type
Effects Gone Wild
by Bruce Fraser
by Sascha Steinhoff
by Al Ward
The title of this book is a bit misleadingin a good way. Theres so much
more than simply type effects. For
example, in the first project, you learn a
technique for converting a photo to an
artists rendering. The author explains
Liquify and the Lighting Effects filter,
works with warping and layer styles,
and introduces masking and custom
gradients as well. Sample files are on
the CD so you can work along. Each
project starts with a plan, walks you
through the steps, and then adds a
recap. With this book youll learn lots
more than simply type effects!
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Peachpit Press
288 pages
www.peachpit.com
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John Wiley & Sons, Inc.
290 pages (with CD)
www.wiley.com
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Adobe Creative Suite 3?
Dont just get a book.
digitalmedia.oreilly.com
2007 OReilly Media, Inc. OReilly logo is a registered trademark of OReilly Media, Inc.
All other trademarks are the property of their respective owners. 70267
Photoshop Q & A
Answers to some of the most commonly asked Photoshop questions
N BY MAT T KLOSKOWSK I
ISTOCKPHOTO/EVA SERRABASSA
p h ot o s h o p u s e r j u n e 2 0 07
084
MATT KLOSKOWSKI
Q. How do I get rid of the little color sampler icons that appear on
my images?
A. Great question! Lets catch everyone up, though, on how this
happens. People often add color sample points with the Color
Sampler tool when color correcting their photos. These little
icons remain in your image, even when youre done with them.
I know, I knowtheyre tiny and they dont actually affect anything, but they can be really annoying to look at. So naturally,
youll want to delete them. Here are two ways you can remove
them: First, if you want to delete all color sample points on the
image, then select the Color Sampler tool and click the Clear
button in the top Options Bar. Thatll get rid of all the points.
But if you only want to delete one point and leave the others,
then hold down the Option (PC: Alt) key. When you move your
cursor over one of the color sampler points, youll see the cursor
change to a pair of scissors. Just click on the point (or points) you
want to remove and theyre history.
%# "
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Photoshop file?
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Media Lab has changed the face of
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Suddenly any graphic designer with
basic Photoshop skills can begin rapidly
developing web pages supporting everything from Flash image galleries to
email forms.
##
Find out more and download the demo at: www.medialab.com/grind
086
ISTOCKPHOTO/JOEY NELSON
p h ot o s h o p u s e r j u n e 2 0 07
ISTOCKPHOTO/WOLFGANG KAISER
p h ot o s h o p u s e r j u n e 2 0 07
088
Then
click on the
frame layers icon to
reveal your
adjusted
vignette.
QUICK KEYSTROKES
Brought to you this month by the
letter J (for June)
1. Pressing the letter J on the keyboard chooses whichever Healing
tool is visible.
2. Pressing Shift-J cycles through
the Spot Healing Brush, Healing
Brush, Patch, and Red Eye tools,
showing a new tool each time.
Photoshop
user
June 2007
I N D E X
O F
A D V E R T I S E R S
For advertising information, please contact Melinda Gotelli, Advertising Director, at 916-929-8200.
email: mgotelli@photoshopuser.com
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THE
ULTIMATE
IN
PHOTOSHOP
TRAINING
p h ot o s h o p u s e r j u n e 2 0 07
110
Gimme my gradient
In Photoshop CS3, you have access to
your gradient picker anywhere you want
it. Choose the Gradient tool from the
Toolbox (or press G). When your cursor is
in your image, Control-click (PC: Rightclick) or press the Return (PC: Enter) key
and the gradient picker appearsnow
thats handy. This also works for Brushes
(B), except you have to Control-click (PC:
Right-click) to get your Brushes palette.
Stop selecting that type
Have you experienced the frustration
of trying to add a new text layer when
its close to existing type? Whenever you
click, you select the previous type rather
than creating a new text layer. You tried
hiding the old type or locking the layer to
get around this issue. Good newsno more
workaround needed. Hold the Shift key as
you click with the Type tool to force a new
text layer. Yep, this works on previous versions of Photoshop. Its been there all along.
Unifying text layers
After youve created multiple text layers,
you changed your mind on the color, font,
or size. You could select each piece of text
with the I-beam and change it if you like,
but heres what Id suggest. With nothing
selected, simply select all the text layers
you want to change at the same
time by pressing Command-C (PC:
Ctrl-C) and clicking the text layer
thumbnails in the Layers palette.
Choose the Type tool (T) and make
your changes in the Options Bar or
the Character palette and watch all
your text layers update at once.
Displaying mask overlays
When painting on a layer mask,
have you ever wanted to see the
Contents
Photoshop User CS3 Bonus Issue
www.photoshopuser.com
Feature
8
Columns
14
32
18
22
20
34
36
39
Smart Filters
42
30
Little-Known Changes
Terry gives us a look at some of the lesser-known changes
in Photoshop CS3.Terry White
28
Auto-Align Layers
3D File Formats
You can now import native 3D files into Photoshop and
manipulate them in 3D.Corey Barker
44
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Adobe
Creative Suite 3
By Matt Kloskowski
features have the most influence, I realized that each addition impacts
008
CAMERA RAW
Now that youve got your photos imported,
youve looked through them, and labeled
your selections, its time to start processing
them in Camera Raw. What? You dont
shoot in RAW format? No sweat, Camera
Raw now supports JPEG and TIFF formats
pretty mind-blowing, huh?
When you first look at the Camera Raw
dialog, youll see some pretty significant
changes. Before CS3 there were six tabs
and now there are eight (theyre icons just
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
009
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
PHOTOSHOP CS3
010
Next stopretouching
Typically next in the workflow, Id do
my retouching. Guess what? It just so
happens that CS3 has some brand-new
retouching features. Go under the
Window menu and youll see a new
palette option called Clone Source (its
tied to the Brushes palette). This palette
lets you take your retouching tools
(Clone Stamp and Healing Brush) even
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
FOTOLIA/DASHEK
011
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
Output
012
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
oday, high-bit depth RGB captures are simply the best for
whatever creative inspiration strikesespecially making
stunning black-and-white prints. You can find the new
Black and White Adjustment converter in several ways: by
selecting Image>Adjustments>Black & White; as an adjustment
layer by choosing Layer>New Adjustment Layer>Black & White;
or by pressing the half-black/half-white icon at the bottom of
the Layers palette and choosing Black & White from the menu.
Color in Photoshop is mixed using varying values of red,
green, and blue. The complementary colors are cyan, magenta,
and yellow, respectively. Red, green, and blue are the primary
colors on a color wheel
and their complements are
opposite them, that is: reds
complement is cyan, greens
is magenta, and blues is yellow. Heres how to remember it: RGB CMY. Or look at
the Info palette where the
complement for each RGB
color is listed in the CMYK
column (ignore the black).
014
Presets
When you open the Black
and White dialog, the Preset
default is None where the
RGB values total 100% and
the CMY values add up to
200%. The color wheel for
this conversion shows that
red and green are equal
values while blue is darker.
(Note: The outer ring is in color to illustrate what the layer does.)
There are ten effects in the Preset menu (not including None
and Custom). Six of them mimic the effect of colored filters that
photographers would place over the lens to control contrast
when shooting with black-and-white film. Compare what Red
Filter, High Contrast Red Filter, Green Filter, Blue Filter, and Infrared do to the color wheel. Youll notice that the Red Filter and
the High Contrast Red Filter return almost the same result.
The Maximum Black preset has all of the sliders set at 0%.
This produces a desaturated image using the minimum values
of red, green, and blue for each pixel. Applying it to the color
Custom conversions
The Black & White converter works best with a properly
exposed photograph that has good contrastholding detail
in the shadows and highlights like this image of Sycamore
Canyon near Malibu. When we add a Black & White adjustment layer, set at the defaults, its pretty flat and boring.
But if we change the Preset to High Contrast Red Filter, it
makes a big difference. Heres where we can have some fun
with the Black & White converter. Click-and-hold inside the
photograph. The cursor becomes a scrubby slider and the
colors value is highlighted in the dialog. Now, drag to the
right to brighten the color or to the left to darken it.
When the Preview box is checked on, you can see the
effect in real time. If its unchecked, the image returns to color,
which I recommend using to see which colors are available for
enhancement. For example, lets click-and-drag to the right
on the blue surf in the shaded foreground to make it brighter.
Sometimes clicking in the image cant pick a color so
try moving sliders around while watching the photograph
update. Heres a tip: Yellow is a predominant color in
Before
Auto filter
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
Auto
When you click the Auto button, it looks at the relative values
and makes a well-informed best guess. Its particularly useful
in converting flat-looking, low-contrast photographs. Reset
the dialog by pressing-and-holding the Option (PC: Alt) key
(the Cancel button changes to Reset). Click on Reset and the
dialog reverts to its default settings.
015
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
Color Tints
A good black-and-white conversion is not complete unless
it leaves options for toning the final product. Thats where
the tools Tint section shines. Click the Tint checkbox to
activate it. Change the color by dragging the Hue slider
and setting the amount of the color with the Saturation
slider. Simulating traditional darkroom toning effects happens at lower saturations with most of the color showing
in the shadows and midtones. Here are cold and warm tone
versions of the surf photograph. Which is better? That
depends doesnt it?
The Black & White adjustment is a welcome addition
to Photoshops family of tools for making color into fine
monochrome. Try it and see for yourself. N
016
Kevin Ames, a commercial digital photographer, is author of Adobe Photoshop CS2: The Art of Photographing Women, Digital
SLR Photography with Adobe Photoshop CS2 All-in-One for Dummies, and the upcoming Digital Photographers Notebook:
Practical Tips for Professional Photoshop Users. You can email him at Kevin@amesphoto.com.
ALL IMAGES BY KEVIN AMES
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
ISTOCKPHOTO/ELIZABETH SHOEMAKER
018
will slightly distort the image to give the eye some variation from the original so that it doesnt look like an exact
mirror image.
STEP FOUR: Next, click the Create a New Layer icon at the
bottom of the Layers palette and make sure the Sample option
is set to Current & Below in the Options Bar. Then move the
cursor to the inside corner of the closed eye. Use the Overlay
image to help line up the open eye based on the closed eye.
When its lined up, click on the image.
STEP SEVEN:
Select a soft
brush with a size
thats just slightly
smaller than the
iris. Hold down the
Option (PC: Alt)
key and click in the
center of the original open eye to
establish the clone
source point.
STEP FIVE: Now start painting the eye in the image. When
you start painting, the image Overlay will disappear. This is so
you can see where youre painting easier. If you want to leave
the Overlay on, simply go into the Clone Source palette and
uncheck the Auto Hide box at the bottom. Heres where you
can also change the Opacity of the Overlay, Invert the values,
or change the blend mode.
STEP EIGHT: Then go into the new eye and line up the Overlay
image. Begin painting inside the iris until the original reflection
replaces the incorrect reflection.
STEP SIX: Now that the eye is in place, we have one little
problem. The light reflecting in her eyes is on opposite
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
019
020
Selecting the
background
In our example
image, we want
to end up with a
selection of just the
dancer. For comparison purposes,
we attempted to
make our selection
using the Magic
Wand tool. After
many aborted
attempts that
involved changing
the Tolerance setting, Shift-clicking
to add to the selection, and many undos, we never achieved
a satisfactory selection. How did the Quick Selection tool
perform? Surprisingly well!
Choose the Quick Selection tool (W) from the Toolbox,
and in the Options Bar, set the Brush size. This is one of the
major factors that affects the performance of the tool, and
it can be changed using standard brush-sizing shortcuts:
Press the Left Bracket key ([) to reduce the brush size, and the
Right Bracket key (]) to increase the brush size. Use a smaller
brush to select a smaller range of colors and a larger brush to
select, well, larger areas.
DAVE CROSS
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
ISTOCKPHOTO/JACOM STEPHENS
021
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
ISTOCKPHOTO/REN MANSI
022
Q. I heard that in CS3 you can make the Clone Stamp tool ignore
any adjustment layers youve added to your document. Is this a
preference setting? Where do you turn it on?
A. First, select the Clone Stamp tool (S). Then go up in the Options
Bar, and to the immediate right of the Sample pop-up menu
(the default is Current Layer, but youll need to select on of the
other Sample options), youll find a little icon that toggles this
feature on and off.
Q. In Bridge CS3, when youre viewing photos in Bridge as a fullscreen slide show, is there any way to stop, edit a file, and pick
up the slide show where you left off?
A. Well, if youre shooting in RAW there sure is. Heres how it
works: When youre watching the slide show (View>Slideshow)
and you see a RAW photo you want to tweak, just press
Command-R (PC: Ctrl-R) to pause the slide show and open
your photo in Camera Raw. You can make the edits you need,
then click the Done button to return to the slide show, and the
preview updates. Now just press the Spacebar to continue on
with the slide show.
youre using. Just look up in the Options Bar and youll see a
button for Refine Edge.
Q. Is the new Refine Edge dialog only available when youre using
the new Quick Selection tool?
A. Nope. Luckily, Adobe made this amazing feature available any
time you make a selection, no matter which selection tool
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
ISTOCKPHOTO/KEVIN RUSS
Q. Is there a way to turn off the little pop-up Tool Tips in CS3?
There used to be a checkbox for turning them off in the Photoshop General preferences but its not there anymore. Are they
just on now, forever?
A. Thankfully, no. Theyve just been movednow they appear
under the new Interface preferences. Youll find them by
opening the Photoshop preferences (Command-K [PC: Ctrl-K]),
then clicking on Interface from the list of preferences on the
left side of the main Preferences dialog, and unchecking Show
Tool Tips.
023
Smart Filters
Revel in the control of nondestructive editing
N BY DEKE M cCLELLAND
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ISTOCKPHOTO/JOEY NELSON
SMART FILTERS
Deke McClelland is author of Adobe Photoshop CS2 One-on-One (Deke Press/OReilly Media) and host of the online video series
Photoshop CS2 Channels & Masks and Photoshop CS3 Beta One-on-One (www.lynda.com).
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p h ot o s h o p u s e r C S 3 b o n u s i s s u e
hotoshop CS3 Extended incorporates tools specifically crafted for postproduction video work that arent
available in the standard edition. It has all of the
comprehensive toolsets of the standard edition of Photoshop but adds powerful new features and enhancements
designed for the needs of creative professionals who work
with film and video. It also opens up a whole new world of
possibilities for graphic designers and digital photographers
who want to take their existing skill set and apply it to a
new medium: video.
Some of the new possibilities include: Easily navigating
and working with film, video, and animation files in the
enhanced Animation palette. Movie Paint allows painting,
cloning, and healing on every frame of a movie file (use these
editing tools in conjunction with the Onion Skinning control
so you can see the frames before and after the one youre
editing). And even take existing Photoshop layered graphics,
animate them, and export a fully animated and rendered
video fileall from within the new Photoshop CS3 Extended.
It starts with the Animation palette (Window>Animation),
which at first glance looks exactly like it did in Photoshop
CS2. But if you look closely, youll notice a new toggle switch
located in the bottom right-hand corner of the palette. When
pressed, it reveals a full video editor Timeline.
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This new Timeline view has all the same layers that are in
your Layers palette, plus some extras. The extra layers allow
you to apply and animate global lighting controls to your
Now do all the cool things to your video that you would
normally do with a still image. Change its hue and saturation.
Convert it to black and white. Add a layer mask and only let
certain objects show through in full color. Apply the Healing
Brush or Patch tools to clean up areas of your video clip. You
can even use the Clone Stamp tool to clone pixels from one
area of your video to another. The possibilities are limited
only by your imagination! N
Rod Mac Daddy Harlan is the Founder and Evangelist of
the Digital Video Professionals Association (www.dvpa.com).
The DVPA Online University has more than 40,000 streaming
video training files for all of the Adobe applications (as well
as Microsoft and Apple applications). He can be reached at
rod@dvpa.com.
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Auto-Align Layers
A welcome addition to the king of photo-compositing tools
N BY T ERRY WHI TE
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Setting up
To use the Auto-Align Layers
command, open two or
more images, choose the
Move tool (V), and Shift-drag
the images into a single
document. Unlock the Background layer by clicking the
Lock icon and renaming the
layer. Select all layers in the
Layers palette then, with the
Move tool still active, click
the Auto-Align Layers icon at
the right of the Options Bar.
You can also choose Edit>Auto-Align Layers to bring up the
Auto-Align Layers dialog. In the dialog, youll notice that there
are four options and the default setting is Auto. In this mode,
Photoshop analyzes the source images and then applies
either a Perspective or Cylindrical layout, depending on which
produces a better composite.
Photo 1 layer
Photo 2 layer
AUTO-ALIGN LAYERS
In his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative
professional product specialists. He is also the author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips.
IMAGES COURTESY OF ADOBE SYSTEMS INC.
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Little-Known Changes
Hey, did you notice?
N BY T ERRY WHI TE
he first area of improvement is performance. Photoshop CS3 launches at least twice as fast as Photoshop
CS2. These few seconds of time saved each day will
add up to minutes and hours during this versions lifespan.
Youll also notice faster, smoother onscreen display, faster
brushing performance, and accelerated filter previewsthe
kinds of things you dont see under the menus; you just
experience them as youre working in the application.
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
Bridge CS3
The biggest complaint about Bridge CS2 was performance
and now Bridge CS3 is much faster. And Bridge also has
several little enhancements to make it easier to work in.
Photographers will appreciate the ability to stack images.
A little-known feature about Stacks is how you select a stack:
When you click on top of the stack, it selects only the top
image in the stack butif you click just to the right of the stack
on the outer outline, it selects all the images in the stack. Now
you can just double-click to open all of the images at once.
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the controls better. If you dont want to play them, you can
simply scrub through them as you would a video clip in a
video player.
Bridge CS3 also has a Photo Downloader so, instead of
relying on other methods to get your images from your
memory card to your hard drive, you can have Bridge bring
in those images and put them in your folder of choice. Not
only thatyou can also have the Photo Downloader rename
the images, convert them to DNG, make a backup copy, and
apply a metadata template, all in one fell swoop.
In addition, Bridge CS3 has a new Reject flag: Just press
Option-Delete (PC: Alt-Backspace) on the image and its
labeled as a reject. When youve rated all your rejects, just
click Reject in the Filter panel. If you want to hold on to your
rejects (I dont know why), merely hide them by going to the
Bridge menu and navigating to View>Show Reject Files.
Camera Raw version 4
Here are a few of the not-so-obvious things about the
brand-new version of Adobe Camera Raw 4 that ships with
Photoshop CS3. First, the line between RAW and JPEG/TIFF
files just got a little more blurry because Camera Raw 4 can
now work with JPEGs and TIFFs as well as RAW files. I still
recommend shooting in RAW if your camera allows; however, for those stuck with JPEGs or TIFFs, you can now easily
make the nondestructive tonal corrections that weve been
enjoying with RAW files for years. Just select the images in
the Bridge and hit Command-R (PC: Ctrl-R) and youll start
editing in the Camera Raw dialog. Youll also notice that the
Highlight/Shadow clipping checkboxes are gone; now you
just click on the triangles at the top of the histogram in the
Camera Raw dialog to turn on these warnings.
Refine your edge
How many times have you made a wrong guess when you
feathered a selection? If youre like the rest of us, you key in an
arbitrary number, and hope for the best. In Photoshop CS3,
the new Refine Edge dialog takes the guesswork out of this.
After you make your selection with your favorite selection
tool, click the Refine Edge button in the Options Bar and you
LITTLE-KNOWN CHANGES
Wheres ImageReady?
ImageReady has been discontinued as of Photoshop CS3.
Before you go out on that ledge, however, youll be happy
to know that the remaining functionality that existed in
ImageReady CS2 and not in Photoshop CS2 has been rolled
into Photoshop CS3 and CS3 Extended. So theres really no
reason to have a separate app. Most users wanted this all
along anyway.
Save for Web and Devices
All of the CS3 apps now come with a device prototyping tool
called Device Central. Say you want to design wallpaper in
Photoshop for your cellphone but its a challenge to know
how big to make it. And youll want to know how it will look
under various conditions. Now, when you create your design,
you can choose File>Save For Web & Devices and click the
Device Central button in the bottom-right corner of the
dialog. When Device Central launches, your image will appear
on the default device and from there you can choose other
devices on which to preview it.
Also it works the other way around too: You can first launch
Device Central (File>Device Central) and ask Device Central
to create a brand-new Photoshop file to match the size of a
selected device. This way, you can build your image and know
that its the correct size right off the bat.
Export>Zoomify
If you ever want to show your client a photo in full detail
(without actually giving them the photo), check out the new
Export>Zoomify command under the File menu. Using this
tool, you can build a simple website with a Flash front end
that allows you to zoom in on your photo and pan around it
on the Web. N
In his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative
professional product specialists. He is also the author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips.
IMAGES COURTESY OF ADOBE SYSTEMS INC.
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
can see the effect of your feather amount as you drag the
slider. And a plus is that you can also click the little Zoom
tool in the Refine Edge dialog to zoom in on your image
without leaving the dialog.
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change. You can also change printers at the top of the dialog. Look below the preview area and youll see the ability
to change the print orientation from landscape or portrait
without going into a different dialog. Finally, one little
cool feature is the way the Print Resolution appears at the
bottom of the Scaled Print Size section. Now when you
change your scale settings, this readout will automatically
change to reflect the resolution at which the image will
print. Its a small thing but one of those simple enhancements that makes using the dialog easier.
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Zoomify
If youre showing off your photos on the Web, then youll
love this one. What are two of the biggest hassles with
viewing high-resolution photos on the Web?
1. File Size: The file size of large photos often makes it
prohibitive to put them on a webpage. This happens
mainly because of bandwidth constraints. It may not be
a problem for one photo, but a full Web gallery could
bring someones pleasant Web viewing experience to a
screeching halt.
MATT KLOSKOWSKI
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
One-stop printing
The first of these improved output features is the Print
dialog, which works much more intuitively now. One thing
to keep in mind is that printing hasnt changed; the same
features are still there but now theyre easier to get to.
For example, one of the first things youll notice under the
File menu is that the Print with Preview option is missing.
Actually, its not missingits outright gone. Thats right,
its all done in one place now: the Print dialog.
The next thing youll notice is that all the Color Management and Output options have been moved over to the
right side of the Print dialog, but thats just an organizational
ISTOCKPHOTO/JAAP HART
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
PDF Presentation
The PDF Presentation automation is one of those features that really makes it much easier to send multiple
images to a client for review. You can just drop a PDF
Presentation into an email and youre set. The previous
version of PDF Presentation was lacking in a few areas,
but CS3 has addressed those issues. The main new
feature in CS3 is that you can now add the filenames
on each image in the PDF. This is important because
your client needs a way to tell you which images they
like the best as they look through the PDF. Without the
filenames, youre making it a lot more difficult and prone
to error; for example, if a client tells you, I like the 32nd
image, instead of telling you the exact name of the fi le
they like the best.
To get to the PDF Presentation automation, go to the
File menu and choose Automate>PDF Presentation. In
the PDF Presentation dialog, youll see an entirely new
section called Include. At the top of the list of items that
you can include with each image is the Filename. Just
check it and the filename will now show up under each
image in the final PDF. Sweet!
037
Device Central
Finally, theres Device Central.
Over the last few years, designers have been increasingly
asked to make sure their
graphics look good on mobile
devices. As these devices
become more popular, that
demand will continue to grow.
JOinthe
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Illustration
Nation
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Refreshed interface
All of the ACR 3 functions are still available but some have
been moved to a different place, and have been given a new
name and a new look. For example, the Shadow and Highlight
Clipping Warning checkboxes (formerly in the toolbar) have
moved into the histogram. The RGB readings, formally dis-
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
There are things we just know cant get any better: that perfect day fishing, your favorite team
winning the World Series, or Adobe Camera Raw 3. Well, hold on to your fly rod and championship pennant. Welcome if you will with huge applause and cheersAdobe Camera Raw 4!
039
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You can also use the Option (PC: Alt) key when adjusting the Blacks slider. The preview is white when theres no
shadow clipping. Colors show which channels are clipping.
Black appears in the preview when all three channels are
clipped to 0.
The Fill Light slider adds light to the shadows, and is a powerful tool in high-contrast situations. It doesnt preview clipping
with the Option (PC: Alt) key pressed or necessarily counter
all of the effects of higher settings in the Blacks adjustment.
Vibrance affects the saturation so that clipping is minimized
as a color is close to reaching full saturation. It also changes
the saturation of less-saturated colors so they wont impact on
higher saturated ones. Vibrance is great for making skin tones
more vivid without driving them into cartoon-like colors.
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041
3D File Formats
Import native 3D file formats with Photoshop CS3
N BY CO R E Y B A R K E R
p h ot o s h o p u s e r C S 3 b o n u s i s s u e
STEP ONE: Go to the File Menu and select Open. This will bring
up the Open dialog where you can seek out the file you want
to open. (Note: Photoshop will open files created in Adobe
Acrobat 3D Version 8 (U3D), 3D Studio Max (3DS), Alias (IBJ),
Maya (KMZ), and Google Earth.)
Select the desired file and click OK. A dialog appears that
prompts you to enter the Image Size. Enter the desired values
and Click OK.
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STEP THREE: In the Options Bar, select the Rotate the 3D Object
tool (R). Click inside the document window, drag the mouse
around, and youll see the object move around in three dimensions. Click the Commit icon to reposition the angle of the object.
3D FILE FORMATS
texture, simply treat it as you would any other Photoshop file;
for example, drag-and-drop images or create new art in the
same window. In this example, we dragged in some art that
I had already created. Once youre finished, choose File>Save
and the 3D Object will update.
The cool part is that you can still manipulate the 3D Object
with the 3D tools and the layer style will update based on the
new position or angle. So there you have it. You can begin to
see what possibilities this new feature can offer.
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p h ot o s h o p u s e r C S 3 b o n u s i s s u e
Calibrationtwo methods
The ability to calibrate an image to a standardwhether a
rational or arbitrary unitis most important. To create a calibrated state, Photoshop must know how many pixels make up
a unit. From the Analysis menu, select Set Measurement Scale
and choose Custom to open the dialog. The Presets dropdown menu gives access to any previously saved calibrations.
Three input fields (Pixel Length, Logical Length, and Logical
Units) allow for easy calibration.
044
Measurement Log palette is visible, the Record Measurements button at the top-left corner of the window.
By recording the measurements on your image, Photoshop will fill in the spreadsheet with the data points you
selected earlier. (Note: the datas recorded whether the
Measurement Log palette is open or not.)
Ruler and Count tools
Before we pursue this programs ability to record data
collected from an image, lets
explore two new tools in the
Analysis menuRuler and
Count. Theyre also in the Photoshop CS3 Toolbox
under the Eyedropper.
The Ruler Tool is a quick and easy way to determine the length in any image. (Note: For accurate
measurement, the image perspective must be
undistorted and perpendicular to the film plane.) The Ruler
is a basic, single-use tool that relays data to you in the
Options Bar, registering only one measurement at a time.
In the Options Bar, the two most useful data points are
Length (L) and Angle (A).
The Count Tool records the clicks as you identify and count
objects in your image. Each item is labeled with a numbered
point in the order it was clicked. You can choose the Label
Color in the Options Bar to optimize visibility.
Measurement data repository
Now lets examine the way Photoshop records and displays
the data with the Measurement Log palette. (By default, the
Measurement Log shares a display with the new Animation
palette. If you want, grab the Animation tab, separate it,
and then close the Animation palette to reduce distraction.)
The Adobe engineers have given the new Measurement Log
palette a lot of built-in information. If you hover your cursor
over a heading for a second, a sentence-long description
pops up, sometimes helpful; sometimes not, for example,
CircularityThe circularity of the feature measured. Actually, the way that circularity works is that it displays a number
from 0 to 1, with 1 being a perfect circle and 0 a perfectly
straight line.
You can resize each column: Just click-and-drag the
dividing line between headings and adjust it until all the data
is revealed. The data collected for different measurement
attempts is displayed in rows. Select neighboring rows by
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For Logical Units, Photoshop gives you free reign. You can
call the units any word or abbreviation you like: microns, millimeters, or even parsecs. The usefulness is bounded only by
your imagination. Click OK to close the dialog.
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Lastly, because the scale bar is on the same layer as the text,
it can be repositioned easily using the Move tool (V).
Eric J. Wexler is a Research Scientist in the pharmaceutical industry. His expertise includes histology, microscopy, and imaging.
Currently, he is a member of Adobes Biomedical Image Advisory Group.