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THE A D O B E P H O T O S H O P H O W -T 0 MAGA ZINE j u ly 2 0 1 7

Retouching Learn to generate accurate masks


quickly and efficiently with the
The flexibility of artboards
can take your productivity and Designing
Magic power of the Color Range command creativity to brand-new heights with Photoshop

SELECTIONS
& MASKING
Once you master
selections in
Photoshop, your
imagination will
be set free

THE OFFICIAL PUBLICATION OF

George Peters | KelbyOne Member


Watch How Zach Got the Shot

The Rapid Box Duo


Portable Speedlight Modifier
Watch Whats Trending on the
KelbyOne Channel!

Photo Tip Friday: Kristina Sherk Removing Tan Lines in Photoshop

Photo Tip Friday: Larry Becker Photo Tip Friday: Moose Peterson
Image Stabilization Protecting Your Camera Lens

Photoshop Buried Treasure: The Tree Maker Filter

Lightroom Tips | Photoshop Tutorials | Photography Tips


Photo Tip Friday Quick Tips | Online Class Trailers | Full Episodes of The Grid
[ P H O T O S H O P U S E R J U LY 2 0 17 V O L 2 0 N O 6 ]
CONTENTS

Images: Adobe Stock; Layout: Jessica Maldonado


[058] BETTER MASKING AND SELECTION By Dave Cross
Making selectionsquickly and accuratelyis one of the most important skills to master in Photo-
FEATURE

shop, as its often the first step in working with layers, making masks, etc. In this article, well look
at effective methods for making selections and working with masks. Along the way, well explore
some very important secrets that can make things easier.
Adobe Stock/ykumsri

Kirk Nelson

[022] [032]
HOW TO
DEPARTMENTS
[007]
A NOTE FROM SCOTT
[022] DOWN & DIRTY TRICKS
Create New Worlds with Hyper-Realistic 3D Reflections
[009]
CONTRIBUTORS
[032] DOWN & DIRTY TRICKS
Creative Self-Portrait
[010]
BENEFIT SPOTLIGHT
[042] BEGINNERS WORKSHOP
Using the Pen Tool to Create Selections
[012]
KELBYONE COMMUNITY
[046] RETOUCHING MAGIC
Say Goodbye to Painting Masks by Hand
[018]
HEARD ON THE TWEET
[070] DESIGNING WITH PHOTOSHOP
Working with Artboards in Photoshop
[020]
NEW ONLINE TRAINING

[094]
FROM THE HELP DESK
COLUMNS
[052] PHOTOSHOP PROVING GROUND
Displacement Map for Particle Effects, Part 2

DOWNLOADABLE CONTENT [076] PHOTOSHOP TIPS


Whenever you see this symbol at the Boost Your Productivity and Creativity
end of an article, it means there are either
downloadable practice files or additional
content for KelbyOne members at
[078] DESIGN MAKEOVER
http://kelbyone.com/magazine. Professional but Fun
Whenever you see this button at
Discuss this Issue

the end of an article, click it to go to the [082] PRODUCT REVIEWS


Online Community to ask questions or Get the Scoop on the Latest Gear
make comments about this issue.

Click this symbol in the nav bar at the top [092] BOOK REVIEWS
of the online reader to access the Contents. Reviews of Photoshop and Photography Books
Kristina Sherk

Adobe Stock/Alexander Y

[046] [052]
KelbyOne Members
Receive Exclusive Discounts
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FROM THE EDITOR

> A Note from Scott

COMMUNITY
Well, once again, theres a lot going on, so here we go. amazing work with you, and I hope you can join us at
Last issue, I mentioned we were about ready to put the 8 p.m. on Friday, July 21, 2017 (well share the link directly
new KelbyOne course app into beta testing using mem- with you via email).
bers from our online Community forums. Im happy to My new course on using Macphuns Luminar plug-in
announce that the beta is up and running, and were is out, and the feedback has been just tremendous. Lumi-
getting some great feedback. The app is pretty stable, nar is what Im using in place of Color Efex Pro 4 now that
so it should be available to everyone shortly on both iOS Google has announced theyre no longer issuing bug fixes
and Android. I know a lot of you have been waiting to be for their Nik Collection of plug-ins, which is slowly dying for
able to take courses offline for travel, or when you dont many users out there. I hope youll give the course a look
have an awesome Internet connection, and this app will let now that its been released. Plus, we got Macphun to give
you do just that, so were excited to get it to you as soon our members a 15% discount, so check that out in the
as the beta testers give it the thumbs up. Perks section of your Dashboard.
Were starting a new interview column here in the We have more live Members-Only Webcasts coming
magazine designed to help you get to know your KelbyOne up, including one with Paris-based Lightroom expert (and
instructorsespecially some of the exciting new instructors Photoshop World 2017 instructor) Serge Ramelli. For those
that weve brought on board, such our first instructor in of you who caught Serge during his recent appearance on
this series, Budapest-based high-end retoucher Viktor Fejes. The Grid (my weekly photography show that airs live every
He was absolutely wonderful during his private Members- Wednesday at 4 p.m. EST), you know how valuable Serges
Only Webcast a few weeks ago, and he gained a whole insights are, so youll want to be sure to catch this private
bunch of new fans; but we want you to learn more about Members-Only Webcast on Tuesday, July 18 (keep an eye
the man behind the retouching, so make sure you check on your inbox for the link and times).
out his interview in this issue, starting on page 16. Lastly, it was Serge who was telling me that he saved
If youre not already interacting with other mem- nearly $400 using his Apple discount just for KelbyOne
bers and the instructors, such as Viktor, in the KelbyOne members when he bought his new Macintosh computer.
Community, I cant urge you enough to stop in there. Its Apple doesnt really take much (if anything) off the price
an incredibly friendly, helpful, generous place, and very of an iPhone or iPad, but if you need a new laptop or com-
different from some of the public forums youve experi- puter, the discounts they give our members are pretty amaz-
enced out there. I promise that youll find this a very warm, ing. Look for the link to their special KelbyOne store Apple
welcoming environment. Plus, each time we release a created just for KelbyOne members on the Discounts page
course, we have a Discuss this Course button where you (again, under Perks in your member Dashboard).
can jump in and talk with other members whove watched There will be lots more to share next issue, as we have a
the course, and in most cases, you can address the instruc- bunch of new projects were working on behind the scenes,
tors themselves. Youll find more and more instructors and lots more amazing courses on the way. Thanks for
in there, especially when a new course comes outtheyre taking a couple of minutes to catch up on all this stuff with
right in there answering questions and chatting with me, and well see you online in the Community forums. :)
members from all over the world. You can find the commu-
nity in your member Dashboard: under Community, click All my best,
Discussion. While youre there, theres a link where you
can order KelbyOne swag (T-shirts, ball caps, cups, etc.).
Were just a few days away from honoring the work
> K ELBY ON E . CO M

of KelbyOne member Melanie Kern-Favilla in her own Scott Kelby


gallery showing and interview, streamed live, at The KelbyOne President & CEO
Gallery at KelbyOne. Were excited to share Melanies Editor & Publisher, Photoshop User

[7 ]
J U LY 2 0 17 V O L 2 0 N O 6

AN OFFICIAL PUBLICATION OF

EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor

CONTRIBUTING WRITERS:
Corey Barker Steve Baczewski Peter Bauer Dave Clayton
Michael Corsentino Dave Cross Kirk Nelson Kristina Sherk
Colin Smith Lesa Snider Scott Valentine Erik Vlietinck
Jake Widman

GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Senior Web/Graphic Designer

MARKETING:
Adam Blinzler Jacque Johnson Rachel Scott Kleber Stephenson
Melissa White

WEB:
Adam Frick Curt Husting Yojance Rabelo Aaron Westgate

PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager

ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152

HOW TO CONTACT KELBYONE:


U.S. Mail: 118 Douglas Road East Oldsmar, FL 34677-2922 Each issue we feature
Voice: 813-433-5000 Fax: 813-433-5015 cover art by a KelbyOne member!
Customer Service: info@kelbymediagroup.com
Letters to the Editor: letters@photoshopuser.com This issues cover is by George Peters, a Minneapolis-based digital artist. He combines his
Help Desk: http://kelbyone.com/my-account/helpdesk two loves, illustration and photography, with his passions, people, animals, and exploring
the world through line, texture, and tone. George worked many years as an advertising
art director in Manhattan and Minneapolis. He learned the art of visual storytelling from
COLOPHON: some amazing hall-of-fame characters before striking out on his own. Along the way, he
Photoshop User was produced using Adobe Photoshop CC 2017 created two books of humorous essays and illustrations published by Penguin Books. He
and Adobe InDesign CC 2017. Korolev was used for headlines and has illustrated thousands of images for iStock, Getty Images, and many other clients around
subheads. Frutiger LT Std for text. the world. Turn to page 14 to learn more about George. [Cover model: Mariah Hartmann.]
All contents COPYRIGHT 2017 KelbyOne, LLC. All rights reserved. Any use of the contents of this publication without the
written permission of the publisher is strictly prohibited. Photoshop User is an independent journal, not affiliated in any way
with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop are registered
trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned
belong to their respective owners. Some of the views expressed by contributors may not be the representative views of the
publisher. ISSN 2470-7031 (online)
DAVECROSS
has been helping people get the most out of their Adobe software for
more than 30 years. He has a bachelor of education degree, is an Adobe
Certified Instructor, and is in the Photoshop Hall of Fame. Dave has
written many articles and books, co-hosted Photoshop User TV and has
appeared in many DVDs and online courses for Kelby Training, Creative-
Live, and Photoshop Cafe.
CONTRIBUTORS

COREYBARKER KRISTINASHERK
is an award-winning designer and illustrator. A featured instructor is a high-end retoucher based in D.C. and has worked for clients
at the Photoshop World Conference and an Adobe MAX Master such as Time Inc. and Hasselblad. She loves translating Photoshop
Instructor, he has produced numerous training titles for KelbyOne. for people and has written for Shutter Magazine, as well as authored
Look for his latest book Photoshop Tricks for Designers. KelbyOne courses and PhotoshopCAFEs Fashion Retouching DVD.

STEVEBACZEWSKI COLINSMITH
is a freelance writer, professional photographer, graphic designer, is an award-winning digital artist, photographer, and lecturer
and consultant. He also teaches classes in traditional and digital who has authored 19 books and has created a series of training
fine arts photo graphy. His company, Sore Tooth Productions, videos. Colin is also the founder of the online resource
is based in Albany, California. PhotoshopCAFE.com and president of Software-Cinema.com.

PETERBAUER LESASNIDER
is an Adobe Certified Expert that does computer graphics con- is the author of Adobe Lightroom CC and Photoshop CC for
sulting for a select group of corporate clients. His latest book is Photographers: Classroom in a Book (2016), Photoshop CC: The
Photoshop CC for Dummies. He was inducted into the Photoshop Missing Manual, TheSkinnyBooks.com, more than 40 video
Hall of Fame in 2010. courses, and the Creaticity column for Macworld.

DAVECLAYTON SCOTTVALENTINE
is a KelbyOne instructor, designer, and creative specialist with is a member of Adobes prerelease team, an Adobe Community
more than 30 years experience. He specializes in creating brand- Professional, and Photoshop author. His books include The
ing projects and logos and has been published by Peachpit and Hidden Power of Adjustment Layers and The Hidden Power of Blend
KelbyOne. Hes also an Adobe Influencer and ACA in InDesign. Modes (both by Adobe Press). Keep up with him at scoxel.com.

MICHAELCORSENTINO ERIKVLIETNICK
is an award-winning wedding and portrait photographer, founded IT Enquirer in 1999. A J.D. by education, Erik has been
Photoshop and Lightroom expert, author, columnist for Shutter a freelance technology editor for more than 22 years. He has
Magazine and Resource Magazine, and speaker and international written for Macworld, Computer Arts, and many others. He also
workshop leader. Learn more at www.michaelcorsentino.com. contributes to UK-based Red Shark News and Red Shark Sound.

KIRKNELSON JAKEWIDMAN
is a professional graphics artist in the Washington, D.C., area. He is a writer and editor who lives in San Francisco. Hes been
has a B.A. from George Mason University and is an Adobe Certified covering the intersection of computers and graphic design for
Expert in Photoshop. Kirks career has touched on a broad range of about 25 years nowsince back when it was called desktop
> K ELBY ON E . CO M

subjects from logo design to animation. He can be reached here. publishing and Photoshop was just a piece of scanning software.

[09]
> Benefit Spotlight

KELBYONE MAGS: THE NEW MOBILE APP FOR


PHOTOSHOP USER & LIGHTROOM MAGAZINE

We recently released KelbyOne Mags for both iOS and suggestions about the magazines, online courses, or any-
Android devices. This new app is perfect for reading Photo- thing to do with photography, Photoshop, or Lightroom?
shop User and Lightroom Magazine on the go. And the library Visit the Community and start interacting with other mem-
is stocked with back issues. Photoshop User goes all the way bers, instructors, and writers. There are tons of people there
back to January 2014, and the entire collection of Lightroom ready to help. Plus, you can access the new KelbyOne
Magazine is available in the app. Thats more than 60 issues. Insider. This blog is for members only and will keep you up
If youre on a Wi-Fi or cellular network, just tap the cover to date on everything going on at KelbyOne.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

of the issue you want to read and start reading. If you know And finally, you can access our Facebook and Twitter
youre going to be somewhere without an Internet connec- feeds directly in the app to give you even more ways to
tion, download a few issues directly in the app, and then interact with KelbyOne. You can find out more about the
you can read them offline! (We highly recommend that you app right here on the Insider. We also have a dedicated
download issues over Wi-Fi, unless you have unlimited data.) topic for the app on the Community. So go ahead and
But thats not all. The app also gives you instant access download KelbyOne Mags today and visit the Community
to the KelbyOne Community. Have questions, comments, or to let us know what you think.
[10]
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Images by: Sal Cincotta, Jim Garner, Steve Harrington, Annie K Rowland
RACHELSCOTT & DAVECLAYTON
> KelbyOne Community
Inspiration, information, and member musings to fuel your creativity
Congratulations, Kaylee Greer! Meet our Newest Instructors
For those of you who havent heard the news, professional Weve introduced you to a few new instructors this year
dog photographer and KelbyOne instructor, Kaylee Greer, three to be exact! And we have more on the way! But lets
has earned not one, but two awards in the Kennel Club Dog not get ahead of ourselves. In case youve been busy taking
Photographer of the Year competition. Kaylee took third other KelbyOne classes from names you recognize, wed like
place in the Rescue Dogs (Charity Category) with a picture to take the time to introduce you to the latest members of
of Joshua, a Pit Bull Terrier. And she took home first place the KelbyOne instructor gang and give you an idea of what
in the Dogs at Play category with the image below of Petey, you can expect from them. Starting with the most recent new
a Wheaten Terrier. Lets have a round of applause for her instructor, here we go:
accomplishments. Way to go, Kaylee! Kalebra KelbyYou Shot That with Your iPhone?: For those
If youd like to see more of the winning images in of you who are avid watchers of The Grid or Scott Kelbys
the Kennel Club Dog Photographer of the Year, visit the classes, or have been to Photoshop World, youve prob-
website and view the 2017 Winners Gallery. But if you ably seen Kalebra a time or two or threeshes one of the
havent seen any of Kaylees classes yet, nows the per- KelbyOne partners, Scotts wife, and a really incredible iPhone
fect time to sit down and catch up! She has two you can photographer. Shes always snapping photos and sharing her
choose from: Dog Photography: Overcoming Challenging adventures, which you can read about on her blog, Kalebra.
Situations and The Secrets to Capturing the Best. Dog. Kalebra doesnt just show you how to take a photo on
Photos. Ever. Taken. your iPhone. She helps you familiarize yourself with all the
little technicalities of the device so that when you take the
image, you get a DSLR-quality photograph.
Rob FoldySports Photography: Make Your Pee Wees Look
Like Pros: Based outside of Miami, Rob Foldy is a professional
sports and portrait photographer. His clients include, Nike,
Beats by Dre, and more. Hes also had work featured by The
New York Times, ESPNs Sports Center, and many more. So to
say he can teach you a thing or two about sports photography
is an understatement!
In his class, Rob shows you how you can use the gear you
already have, whether its a phone, a point-and-shoot, or a
DSLR, to take the photos your subjects will be proud to show
off to friends and family.

Announcing the Next Featured Tracy SweeneyFamily Photography: The Art of Storytelling:

Artist of The Gallery at KelbyOne Owner and photographer of Elan Studio, Tracy Sweeney, is
based in Bristol, Rhode Island. Tracy is known for her newborn
Were beyond excited to announce the next featured artist
and child photography and has won awards internationally
with a solo show at The Gallery at KelbyOne. Congratulations
for her work and been featured in Click Magazine, Digital SLR
to Melanie Kern-Favilla! Located in Long Island, Melanie is
Photography Magazine, Rangefinder, and more.
the proud owner of MFK Photography. She photographs a
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Rather than just teach you how to photograph kids in a


number of different subjects, but the work that really caught
portrait setting, Tracy teaches you how to capture those oh-so
our attention was her Flora body of images. With a clean
beautiful candid moments and tell photographic stories that
aesthetic, these floral images really pop. We cant wait for
evoke real emotions.
you to see all of her images printed and mounted (thanks,
Bay Photo!) in our gallery. The show itself will take place at By the way, were going to start interviewing instructors
7 p.m. EST on Friday, July 21, 2017. Starting at 8 p.m. EST, in each issue so you can get to know them even better.
well broadcast a live 1-hour interview from the KelbyOne This issue, we interviewed Viktor Fejes on page 16. In fact,
Theater. Whether its in person or virtually, we hope to see hes so new to the instructor team, his classes are still
[1 2 ] you in the audience! in postproduction.
ARTIST SPOTLIGHT >> LARRY GRACE
MEMBER SINCE 2012

ARTIST SPOTLIGHT >> HOLLY HIGBEE-JANSEN


MEMBER SINCE 2017
WHOS WHO IN THE KELBYONE COMMUNITY >> GEORGE PETERS DESIGN & ILLUSTRATION
MEMBER SINCE 2004 | SALSA MODEL (TOP RIGHT): KARLEE ANN CALLENDER
K E L BYO N E C O M M U N I TY

Whos Who in the KelbyOne Community


George Peters is a Minneapolis-based digital artist. He worked many years as an advertising art director
and has illustrated thousands of images for iStock, Getty Images, Society 6, and many other clients.

As a longtime graphic designer, illustrator, and I purchased a camera to capture textures and simple images,
photographer, what still excites and inspires you? and of course, I got hooked on the camera.
Light and shadow inspire me, especially chiaroscuro, back light- Im not great at any one skill, but when I combined my illus-
ing, and atmospheric perspective. Ive been playing with color tration, Photoshop, concepting, and design skills with photog-
grading and also turning day photos into night images. Its all very raphy, suddenly the whole became greater than the sum of its
exciting. You can see examples of the color grading and night parts. At that point, my engraving style developed quickly and it
images in my websites Conceptual Gallery. all came together for me.
Microstock suddenly appeared on the scene and I became
You were once an advertising art director in a buyer, than I started submitting to iStock and quickly
Manhattan. How did that career path come about? became an exclusive vector and photo contributor. Ive been
I studied Illustration with a minor in graphic design and worked doing that full time ever since, along with freelance illustra-
part time at a type shop where I developed strong typography tion work. I began attending iStock events around the world,
skills. Once I finished school, I moved to Manhattan and inter- hanging with the most talented, fun, and interesting group of
viewed with an award-winning advertising creative director. people Ive ever been associated with. Eventually, I was hired
He loved great type but didnt like the tedious work that good as a Vector Inspector.
type requires, so he hired me to be his hands. I was promoted
to art director and worked with some wonderfully talented Do you shoot with the illustration side in mind, or do
photographers, illustrators, and retouchers. the images inspire you when youre editing them?
As an art director, I worked with photos and illustrations every I shoot for both, which is a real advantage. In southern Utah,
day. I learned to concept them, evaluate, and crop them. I also I can shoot outside all day. Ill shoot for photographs in the
art-directed photo shoots, so by the time I bought my first cam- early and late light, and Ill shoot for illustrations in the harshest
era many years later, I was already comfortable with the entire midday light. I absolutely love the way those hard shadows fall
process of creating imagery. across peoples faces and on their bodies. It really adds drama
and brings out texture detail in trees and rock formations. You
What is your history with KelbyOne? can see some great illustration examples of people with hard
In the late 1980s, Minneapolis was one of the most creative shadows in my websites Mezzotint Gallery, especially the
advertising and design cities in the country. I moved there and Panama street scenes.
made the transition to graphic design, which I really enjoyed.
Photoshop and Illustrator hit the scene, so I took classes at a When creating images for stock, how do you decide
community college and read everything I could get my hands what to submit, and as a Vector Inspector what
on. Thats when I discovered Photoshop User magazine and types of images get selected?
joined the National Association of Photoshop Professionals I choose subjects that everybody deals with: The economy, fam-
(NAPP). I attended my first Photoshop World Conference in ily, finances, work, travel, relationships, health, exercising, sports,
South Beachan incredible experience! I attended every NAPP etc. Pick a few subjects and go for it!
seminar that came to Minneapolis and purchased their great For artists interested in submitting stock, theres an excellent
training materials. In fact, I still see some of the same faces section on the iStock website called Work with Us. Youll find
working the booth. (Especially the friendly woman with the FAQs and videos. It will answer questions much better than I can.
long black hair. I dont remember her name, but we always
say hello.)
What advice would you give to anyone looking to
improve his or her skills?
You create striking and unique images of people Learn to use adversity to your advantage. For example, if youre
combined with illustration techniques. When did planning a day shooting the streets of Paris and it starts raining
> K ELBY ON E . CO M

you first discover your style? use it. Get down on your knees and shoot the buildings in the
It evolved over time. I went on my own as a freelance graphic puddle reflections. Shoot through the rain-drenched windows.
designer and started winning clients based on the Photoshop Ill learn more from a day of adversity than I will in a week of
montages I was creating. Buying photos was expensive, so smooth sailing. n
[15]
WHOS WHO ON THE KELBYONE INSTRUCTOR TEAM >> VIKTOR FEJES
INSTRUCTOR SINCE 2017
K E L BYO N E C O M M U N I TY

Whos Who on the KelbyOne Instructor Team: Viktor Fejes


Where are you from, and what kind of work do you do?
Photo Credits: Top left: Emily Soto Top right: John Keatley Bottom: Greg Swales

Thats a tricky question, as I was born in Budapest, Hungary, but I dont

[10]
really consider myself a Hungarian, as I spent a lot of time abroad, espe-
cially in England.
Now, the kind of work I do involves loads of sitting around while
staring at computer screens: I am a retoucher. I work in the adver- RAPID-FIRE
tising and fashion fields with my company, GILD Studios, trying to QUESTIONS
make everything look better so people stop to stare for a few more
microseconds in our extremely busy world. Sometimes I create fantasy
worlds and sometimes I just make people look the way they look in
VIKTORFEJES
real life: beautiful.
1. Favorite movie
Inglourious Basterds
Who do you look to for inspiration?
Most of the times its not really a who, as I like to be inspired by movies 2. Is there anything you cant
and real life. When it comes to movies, the people involved really have live without?
to work hard to make you look where they want you to look. They really I used to have no money at all, so Im not
have to create a seamless experience that makes their work beautiful that big on possessions; however, I cant
and precise, while not really giving too much away from their magic. imagine a life without my wife.
And real life is also extremely important, as thats the aim: to stay
believable. So, I constantly try to learn what beauty is, how we perceive
3. Favorite type of music

Anything Im in the mood for from
perfection, and how far I can take an image before it screams fakeand
Ed Sheeran to Eminem.
to me all of this is fascinating.
4. What do you like to do in your

What do you enjoy most about teaching? spare time?


Teaching helps me better understand my craft. I have to analyze my Whats spare time?
thought process and every move I make in the most concise and compre-
5. Whats your favorite place
hensible way in order to be able to give my knowledge to anyone willing
to learn. Hence, it really is about deepening my own understanding of
to travel?
London
the subject Im teaching. In that sense, tutoring is a two-way street, and I
learn more as I teach more. And not just that, its also exceptionally amaz- 6. What are three things you always
ing when you can help someone take his or her next step. So yeah, these take with you when you travel?
things are pretty great about teaching. Noise-cancelling headphones, Wacom tab
let, and my Moleskin.
Do you have any work rituals? 7. Whats your favorite new app?
I dont have any rituals at all; I just like to go with the flow. If there
Not really an app guy. I use Notes a lot.
were anything that I couldnt do my work without, then I should just say
good-bye to being a retoucher. Sometimes my schedule is so crazy that 8. Whats the best advice youve
I have to adapt to any situation. Working in hotels, on airplanes, or in the ever received?
backseat of a car isnt a problem for me, and Ive been there and done My grandfather always says that what-
that. So, no ritualsjust me and my usual thought process trying to get ever you do, do it well. Words I live by.
through the task at hand. It really is about problem solving.
9. Who would you recommend some
one to follow on social media?
Is there any hardware or software tools Hit up @deanbradshaw on Instagram and
you just couldnt live without? be amazed.
> K ELBY ON E . CO M

I try to structure the way I work to be non-dependent on anything. To


me, it doesnt really matter if Im using a Mac or a PC, working in Photo- 10. Whats the one thing you wish
shop or GIMP. If you know what you want to achieve, the tools you use somebody would ask you?
are irrelevant. Although, I have to admit that I dont think that I could be Would you want to be the exclusive
as precise as I am without a digital tablet. retoucher for Norman Jean Roy? n
[17]
> Heard on the Tweet
A Quick Glance at Some Highlights from our Twitter Feed
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[18]
HEARD ON THE TWEET

Follow KelbyOne and Scott Kelby on Twitter!

> K ELBY ON E . CO M

[19]
Here Are Your Late
Every week, we publish at least one new training c

You Shot that


with Your iPhone?
Join Kalebra Kelby as she shares what shes learned from 10 years of shooting exclusively with her trusty
iPhone. In this course youll learn the importance of shooting with intention, how to leverage built-in func-
tionalities in ways you never thought of, tips for creating stronger compositions, how to get the most out of
different lighting situations, how to get better photographs of people, and more.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Camera Bag Essentials


for Photographers
Join Moose Peterson for an in-depth lesson on what to pack, how to make it all fit, what to check, and
how to do it all safely when traveling by air. He packs each lesson with hard-earned tips hes learned from
traveling thousands of miles each year. Its not all about the gear, though. Youll learn the importance of
[20] planning ahead, how your attitude can make all the difference, and much more!
est Online Courses
course. Check out these brand-new courses below:

How to Use Macphuns


Just One MoreLuminar
Flash Plug-in
For Lightroom and Photoshop
Learn Join
how Scott
to addKelby as heflash
one more introduces
to youryou to how
portrait he uses
lighting withMacphuns Luminar,
Scott Kelby! Buildingaonplug-in for Lightroom
the foundation youand gained
Photoshop, as well as a standalone image editor. In this course, Scott shows you how to
in Just One Flash, Scott teaches you the why, when, and how of adding a second flash to your Speedlight access Luminar,
gets you
setup. Whether youoriented
want toto its interface,
create andbetween
separation then showsyouryou how and
subject he uses its filters, presets,
the background, add aand
fill light, or
features to give his images that extra finishing touch through several start-to-finish
change the look of the background itself, youll be amazed at all the great things you can do with projects.
a second flash.

A Clear Vision of Lenses


for Photographers
> K ELBY ON E . CO M

Join Larry Becker for a class designed to give you a firm understanding of lens characteristics, capabilities,
technologies, and key terms. Larry takes you through the variety of lens mounts, aperture settings, focusing
concerns, image stabilization, and cutting-edge lens technologies that will make you a better lens consumer.
Larry wraps up the class with a closer look at a few popular lens configurations currently available. [2 1 ]
COREYBARKER

CREATE NEW WORLDS


WITH HYPER-REALISTIC
3D REFLECTIONS
There are many ways to create water reflections in Photoshop,
but the one Im going to show you here will have you trying this
technique on every landscape photo you have. In this project,
were going to create 3D reflections from 2D photos with realistic
and customizable effects.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[2 2 ]
DOWN & DIRTY TRICKS

Step One: Start by opening the Adobe Stock

Adobe Stock/ykumsri
image by following the instructions below, or you
can use one of your own images thats similar.
Using the stock image will help you better under-
stand the procedure as we move through the
technique, and then when were done, I guaran-
tee youll want to try this on all kinds of photos.

To obtain the stock image used in this exercise so


you can follow along, download the watermarked
preview from Adobe Stock, or add it directly to
your Libraries panel (Window>Libraries) by click-
ing on the link for the image below. When the
Adobe Stock webpage opens, make sure youre
logged in to your Adobe account, then to the
right of the image, youll see the option to Save
Preview to My Library (you can click on My Library
to select a different library or download option).
Click on the cloud-with-an-arrow icon, and the
preview image will automatically be downloaded
to your Libraries panel in Photoshop. Simply
double-click the image in the Libraries panel to
open it in Photoshop.

Road to Chalten, Fitz Roy in background

Step Two: Once the file is open, go to the File


menu and choose Save As. Name the file some-
thing different than the original filename. Here
Im just calling it illum_base.psd. Set the Format
to Photoshop and save it to the desktop. (This file
will come into play in a little bit.)

Step Three: Make a duplicate of the Background


layer by pressing Command-J (PC: Ctrl-J). Then
> K ELBY ON E . CO M

create a new blank layer and fill it with solid black


by pressing Shift-Delete (PC: Shift-Backspace) to
open the Fill dialog and choosing Black from the
Contents drop-down menu. Click OK. This layer
will eventually become our water reflection layer. [2 3 ]
HOW TO

Step Four: With the black-filled layer


active in the Layers panel, Shift-click the
duplicate background layer so theyre
both selected. Then go under the 3D
menu, to New Mesh from Layer, and
choose Postcard. (If Photoshop asks if
you want to switch to the 3D workspace,
click Yes.) This will convert both layers
into individual 3D layers. The images are
still flat but can be manipulated in 3D
space; however, we need them to be in
the same 3D layer.

Step Five: With the top layer active


in the Layers panel, press Command-E
(PC: Ctrl-E) to merge it with the 3D layer
below. If the 3D panel isnt already open,
go under the Window menu and choose
3D to open it. Make sure the Properties
panel is visible, as well.
In the 3D panel, youll see the indi-
vidual 3D objects (Layer 1 Mesh and
Layer 2 Mesh). You can rename these
3D line items to help better identify the
objects. Just double-click the name to
change it. We renamed Layer 1 Mesh
(the duplicate background layer) to
Backdrop, and Layer 2 Mesh (the
black-filled layer) to Water. Nested
with each 3D object are the materi-
als. We renamed these as well: Layer 1
became Backdrop Mat and Layer 2
became Water Mat. Once the layers
are renamed, click on Current View in
the 3D panel.

Step Six: With the Move tool (V)


selected, go up to the Options Bar and
youll see the 3D Mode tools to the far
right. Click on the first one, which is the
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Orbit the 3D Camera tool. Then click-


and-drag the upper-right corner of the
image in a subtle clockwise move from
3 oclock to 7 oclock. This will rotate
the camera angle of the object so you
can see the two layers. (You can watch
this short video on this camera move.)
Now you can see the black-filled layer is
[24] in front of the backdrop layer.
DOWN & DIRTY TRICKS

Step Seven: Go to the 3D panel and


select the main Water object. Then jump
over to the Properties panel and click
on the Coordinates tab at the top (its
the second icon). In the middle column,
which are the angle settings, set X to 90
and press Enter. This will set the water
layer perpendicular to the backdrop.

Step Eight: With the Water object still


selected in the 3D panel, youll see a wid-
get appear above the object. Use this to
reposition the object itself. Hover over
the blue arrowhead until it turns yellow,
then click-and-drag to move the black-
filled layer up or down, depending on
where you want the waterline to be in
the photo. Next, use the green arrow-
head to slide the water layer out to the
left so that less of it is behind the back-
drop layer. This will give us more surface
from which to reflect.

> K ELBY ON E . CO M

[2 5 ]
HOW TO

Step Nine: Once the 3D planes are


positioned, go back to the 3D panel and
select Current View again. Then go to the
Properties panel, click on the View drop-
down menu, and choose Default Cam-
era. This will spin the camera around so
its perpendicular to the image.

Step 10: Now go down to the FOV set-


ting in the Properties panel and set it to
25 to get a slightly wider view of the 3D
layers. The 3D objects will appear to jump
back in space. Its merely changing the Step Nine
view based on the virtual lens change.

Step 10

Step 11: In the Options Bar, choose the


Slide the 3D Camera tool. Hold the Shift
key and then click-and-drag down to
move the camera closer to the 3D lay-
ers. Stop when the 3D backdrop image
fits in the frame. At this point the water
layer may need some position tweaks so
it fills the bottom of the frame. Just click
on the Water object in the 3D panel,
and use the widget like we did before to
adjust its position.

Step 12: Now lets make some changes


to the surface behavior of the water
layer. Be aware that 3D reflections arent
> P H O T O S H O P U S E R > J U LY 2 0 1 7

visible until you initiate a render. So well


go through the steps here in the 3D and
Properties panels, and then when we
render, youll magically see a reflection.
Start by selecting the Water Mat object
in the 3D panel. In the Properties panel,
set the Shine and Reflection to 75%,
and add just a touch of Roughness at
[2 6 ] about 3%. That will do for now.
DOWN & DIRTY TRICKS

Step 13: Select the Backdrop Mat object


in the 3D panel. Go to the Diffuse set-
ting at the top of the Properties panel,
click on the page icon to the right of the
Diffuse color swatch to open a pop-up
menu, and choose Edit Texture. Click
OK in the dialog that appears. This will
open the original mountain backdrop
image with which we started. Create a
new blank layer in this image and fill it
with black as we did earlier. Close the
file and save the changes. Go to the
Opacity setting in the Properties panel,
click on its page icon to its far right, and
choose Remove Texture from the drop-
down menu.

Step 14: Go up to the Illumination set-


ting in the Properties panel, click on
its pop-up menu (the folder icon), and
choose Load Texture. Remember the
illum_base.psd we saved earlier? Go find
> K ELBY ON E . CO M

that and load it here. Click Open. This


will place the original image as an illumi-
nated texture, meaning this image now
emits light as a backlit photo. See where
this is going? ;) [2 7 ]
HOW TO

Step 15: Go under the 3D menu and


choose Render 3D layer. If youve fol-
lowed the steps correctly, youll see
a majestic reflection appear on your
photo. If you dont see the reflection,
then double-check your settings.

Step 16: While this reflection looks


really good, its a little too good. What
if you wanted to have some rippling
movement in the water? Go back to the
3D panel, and choose the Water Mat
object again. Then go to the Bump set-
ting in the Properties panel, click on its
drop-down menu (the folder icon) to the
right, and choose New Texture. In the
New dialog that appears, set the docu-
ment size to the approximate size of the
working document, then click OK. (If
youre using the Adobe Stock image, its
dimensions are 1000x665 pixels.) This
will open a new file in Photoshop.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Step 17: Go under the Image menu, to


Image Rotation, and choose 90 Clock-
wise. This is necessary because the next
[2 8 ] effect can only be applied vertically.
DOWN & DIRTY TRICKS

Step 18: Go under the Filter menu, to


Render, and choose Fibers. Set both the
Variance and Strength to 5, and click OK.

Step 19: Go back to Image>Image


Rotation and rotate back to 90 Coun-
ter Clockwise. Then go under the Filter
menu again, to Blur, and choose Motion
Blur. Set the Angle to 0 and the Dis-
tance to 250 pixels, and click OK.

Step 20: Go to the Blur menu again and


choose Gaussian Blur. Set the Radius
to around 3 pixels and click OK. Finally,
invert the image by pressing Command-I
(PC: Ctrl-I). This may not be necessary if
the image is already mostly dark. Once
> K ELBY ON E . CO M

done, close this document and save the


changes. Initiate the render again, and
youll see more realistic waves in the
water. Press Escape anytime to cancel
the render. [2 9 ]
HOW TO

Step 21: You can influence the calm-


ness of the water by adjusting the Bump
texture properties to create different
frequencies of waves. Go to the Bump
setting in the Properties panel, click on
its pop-up menu once again, and this
time choose Edit UV Properties. Go to
the Scale settings, set the V/Y Scale to
50%, and click OK. This will compress
the texture vertically resulting in smaller
waves as you can see here. By setting
the number higher, youll enlarge the
texture, which results in larger, calmer
waves, as shown in the final image
below. (Dont forget that youll need to
render each time you change a setting
to see the reflection.)
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[3 0 ]
DOWN & DIRTY TRICKS

You can see the final image has quite


a serene feel. Of course, if youre a
designer like me, you can get creative
with text.

As if this wasnt cool enough. You can


also swap out the illuminated backdrop
image for a completely new scene with-
out having to start over. Its essentially
a reflection template. Bear in mind that
youll need to make some tweaks to the
position and/or scale of the objects, but
as you can see in these examples, this
technique has some impressive possi-
bilities. You can watch this video to see
how to add 3D text like this, as well as
how to swap out images. n
Adobe Stock/DmytroKos

> K ELBY ON E . CO M

[31]
KIRKNELSON

CREATIVE
SELF-PORTRAIT
The self-portrait is a time-honored exercise that allows artists
to hone their craft. For a fun twist, imagine if a person was actu-
ally able to draw himself! Not an image of themselves, but their
real presence, as if what theyre drawing is actually coming to
life. In this project, well use Photoshop to accomplish just that.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[3 2 ]
DOWN & DIRTY TRICKS

Photoshop does have some filters that can

Kirk Nelson
approximate the appearance of a sketch, but
frequently those look very mechanical and
filtered. If you have the skill to actually draw
a self-portrait, you might not even need the
filters. The suggested approach is to use the
filter to generate the basic set of lines and use
that as a guide to aid the hand sketching. The
use of a pressure-sensitive drawing tablet will
make projects like this considerably easier,
because they can translate pen pressure into
line width or opacity, and this feature alone
gives a much more realistic result.
So grab a self-portrait image (or use the
model photo provided) and join us on this
adventure of creating a fun and creative
self-portrait!

Step One: While the entire point of a self-


portrait is to draw yourself, weve provided a
model image to use so you can follow along.
Download the image from the link below
and open the file SelfPortraitModel.jpg. If
you want to perform any standard type of
portrait touch-ups, like removing blemishes
with the Spot Healing Brush tool (J), this is
the time to do it.
[KelbyOne members may download the
file used in this tutorial at http://kelbyone
.com/magazine. All files are for personal
use only.]

Step Two: Transform the image into a smart


object by going to Layer>Smart Objects>
Convert to Smart Object. This allows for
smart filtering, so any filter settings can be
readjusted later on. Go to Filter>Camera Raw
Filter. In the Basic section, increase the Clarity
to +20 and the Vibrance to +38. Then switch
to the Detail tab and increase the Lumi-
> K ELBY ON E . CO M

nance Noise Reduction to 34. This will help


the image look more illustrated and provide
richer color tones and contrast. Click OK to
apply the filter to the image and return to the
main Photoshop workspace. [3 3 ]
HOW TO

Step Three: Use the Rectangular Marquee tool


(M) to create a rectangular selection around the
upraised hand. Keep the selection tight to the
contour of the hand. Press Command-J (PC:
Ctrl-J) to copy the selection to a new layer. Dou-
ble-click the name of the new layer, rename it
Hand, and convert it to a smart object with
Layer>Smart Objects>Convert to Smart Object.

Step Four: Illustrated hands are often drawn


proportionately larger than real-life hands. To
mimic this effect, well scale up the models
hand. Go to Edit>Transform>Distort to bring
up the transformation handles around the Hand
layer. Grab each top corner and move them
slightly up and out. Be cautious to make sure
that the wrist area still aligns with the rest of the
arm. Press Enter to commit the transformation.

Step Five: Go to Layer>New>Layer and in the


> P H O T O S H O P U S E R > J U LY 2 0 1 7

New Layer dialog, name the layer Dodge/Burn


and set the Mode to Overlay. Then check the
option for Fill with Overlay-Neutral Color (50%
Gray), and click OK. This will add a new layer that
appears gray in the Layers panel, but you cant
see it in the image because the Overlay blend
mode renders the gray fill as completely invis-
ible, but there are still pixels there with which
[3 4 ] to work.
DOWN & DIRTY TRICKS

Step Six: Grab the Dodge tool (O), and in the


Options Bar choose a soft round brush tip, set
the Range to Highlights, and lower the Exposure
to 10%. Begin working on dodging the high-
lights of the image. The tool works subtly so it
requires multiple strokes on the brightest parts
to really make the highlights shine!

Step Seven: Now press Shift-O to switch over


to the Burn tool, and use the Soft Round Brush
tip with Range set to Midtones and Exposure at
10%. Begin working on the shadow areas to
deepen them and create more contrast in the
image. If at any point you feel like the dodging or
burning has gotten away from you, then switch
to the regular Brush tool (B) and use 50% gray as
a paint color (click the Foreground color swatch,
set the color to #808080 at the bottom of the
Color Picker, and click OK) to use as an eraser
to remove the dodge-and-burn work.

Step Eight: Now add a Hue/Saturation adjust-


ment layer by clicking on the Hue/Saturation
icon, which is the first icon in the second row in
the Adjustments panel (Window>Adjustments).
Use the onscreen adjustment tool (thats the icon
of a pointing hand with two small arrows next to
it in the Properties panel) to sample the skin area
> K ELBY ON E . CO M

of the model. The Properties panel reveals that


the tool is targeting the Reds. Click on the skin
tone and drag to the left to reduce the Satura-
tion to about 25. Then drag the Lightness slider
in the Properties panel to +15. [3 5 ]
HOW TO

Step Nine: With the top layer active in the Layers panel, hold
down the Shift key and click on the bottom layer to select
all the layers. Then go to Layer>Group Layers, and name
the group Photo Group. Hold down the Option key (PC:
Alt) and go to Layer>Merge Visible to create a merged layer.
Drag this merged layer below the Photo Group in the Layers
panel, and create a duplicate of it by pressing Command-J
(PC: Ctrl-J).

Step 10: Click the Eye icons next to the Photo Group and the
duplicate layer to hide them so only the bottommost layer
is visible. Rename this layer to White BG. Use the Lasso
tool (L) to create a rough selection around the model. Then
go to Edit>Fill and change the Contents drop-down menu
to Content-Aware. The Mode should be set to Normal.
When you click OK, Photoshop will attempt to remove the
model from the background. If the process doesnt remove
him completely, make a new selection of the problem area
and try again. Press Command-D (PC: Ctrl-D) to deselect.
Unhide the duplicate layer and name it Drawn Effect. Go
to Filter>Convert for Smart Filters to turn the layer into a
smart object.

Step 11: Tap the D key to set the colors to the default black
and white and then go to Filter>Filter Gallery. Expand the
Sketch folder and select the Photocopy filter. Set the Detail to
5 and the Darkness to 13. Dont close the Filter Gallery just yet.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[3 6 ]
DOWN & DIRTY TRICKS

Step 12: At the bottom of the Filter Gallery,


click the New Effect Layer icon to add a new fil-
ter stacked above the Photocopy filter. Select the
Torn Edges filter and set the Image Balance to
32, Smoothness to 15, and Contrast to 12. Then
click OK to apply the filters. Change the layers
blend mode to Multiply near the top left of the
Layers panel to allow the background layer to
show through the drawing effect.

Step 13: Reveal the Photo Group, and with the


group as the active layer, click the Add Layer
Mask icon (circle in a square) at the foot of the
Layers panel. Select the Brush tool (B) and open
the Brush Presets panel (found in the Window
menu). If youre using a pressure-sensitive pen
and tablet, select the Round Angle Low Stiffness
brush tip; if youre using a mouse, you can try
one of the Spatter brushes and lower the Opac-
ity in the Options Bar to build up the effect. Press
X until the Foreground color is black, then gently
> K ELBY ON E . CO M

paint on the mask to remove the photo elements


around the models upraised hand, lower torso
area, and the back of his head and neck. Use the
Bracket keys on your keyboard to quickly change
the size of the brush as needed. [3 7 ]
HOW TO

Step 14: Add a new layer with Layer>New>Layer


and name this layer Drawing. Then with the
Brush tool still active, fly open the Tool Presets
found in the upper-left corner of the Options
Bar. Click on the Gear icon and, from the menu
that appears, click on the tool preset library
called DP Presets. Click Append in the resulting
dialog. Then select the DP Comic Inker preset.
This preset works particularly well if youre using
a pressure-sensitive graphics tablet to vary the
thickness of the lines.

Step 15: Using the DP Comic Inker brush, sketch


in the main contours of the hand and other areas
where the photo is painted out. If you need
the original photo to be visible as a reference,
then click Shift-click on the Photo Group mask
thumbnail to temporarily disable it. Afterwards,
Shift-clicking it again will re-enable the mask.

Step 16: Add another new layer called Shad-


ing, and place it beneath the Drawing layer in
the Layers panel. In the Options Bar, reduce the
size of the current brush tip to 3 pixels and the
Opacity to 40%. Use shorter, quicker strokes to
create the shading effects in the natural shadow
areas of the drawn portions of the image.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[3 8 ]
DOWN & DIRTY TRICKS

Step 17: Create another merged layer at the top


of the stack by holding down the Option (PC:
Alt) key while going to Layer>Merge Visible. Turn
this layer into a smart object and run the Camera
Raw Filter. In the Basic tab, increase the Exposure
to +0.40 and the Clarity to +33. Then in the fx
tab, go to the Post Crop Vignetting section and
set the Amount to 18. Click OK to finish the
effect and enjoy your creative self-portrait!

The blend of photography and hand-drawn


sketches is always a visually interesting effect.
Photoshops robust photo-editing features,
mixed with a full set of drawing tools, make proj-
ects like this fun and easy to do. n

> K ELBY ON E . CO M

[3 9 ]
LESASNIDER
> BEGINNERS WORKSHOP
USING THE PEN TOOL
TO CREATE SELECTIONS
The Pen tool is the most precise of all the tools you can use to create a selection, though its difficult
to learn because of how it worksit uses anchor points and control handles, which are collectively
referred to as vector paths. Once you have a perfect path, you can convert it into the smoothest
selection youll ever see.

Step One: In this example, well create a path

Adobe Stock/fullempty
around a gemstone destined for use in a catalog.
Choose File>Open and navigate to an image that
youd like to use. If youd like to use the amethyst
photo from Adobe Stock that were using here,
follow the instructions below. (If youre starting
in Lightroom, select the photo and then choose
Photo>Edit In>Adobe Photoshop CC.) In Photo-
shop, activate the Pen tool by pressing P or by
clicking it in the Toolbar. In the Options Bar,
choose Path from the mode drop-down menu on
the left (circled).
To obtain the stock image used in this exercise
so you can follow along, download the water-
marked preview from Adobe Stock, or add it
directly to your Libraries panel (Window>Libraries)
by clicking on the link for the image below. When
the Adobe Stock webpage opens, make sure
youre logged in to your Adobe account, then to
the right of the image, youll see the option to Save
Preview to My Library (you can click on My Library
to select a different library or download option).
Click on the cloud-with-an-arrow icon, and the
preview image will automatically be downloaded
to your Libraries panel in Photoshop. Simply dou-
ble-click the image in the Libraries panel to open
it in Photoshop.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Close up of a purple amethyst stone

Step Two: Zoom into the photo by pressing Com-


mand-+ (PC: Ctrl-+) a few times (you can Space-
bar-drag to reposition the photo onscreen). Click
along the bottom edge of the stone to set a start-
ing anchor point. To create a straight-line segment,
move to a spot along the object edge and click.
[4 2 ] Repeat until you reach a curved section.
BEGINNERS WORKSHOP

Step Three: To create a curved seg-


ment, click-and-hold to add a point
and then drag in the direction you
want the curve to go (dont let go of
the mouse button until the curve is
positioned the way you want). This
creates an anchor point with two
handles. The direction and length
of the handles determine the shape
of the curved segment. (The han-
dles arent actually part of the line;
theyre little levers you use to con-
trol each line segments curvature.)
Continue around the object, creat-
ing curved and straight segments. To
delete the anchor point you just set,
press Command-Z (PC: Ctrl-Z).
Tip: If you get to a place on your
own photo that you need to change
direction, set the ending anchor
point for the preceding segment,
as youve been doing; then Option-
click (PC: Alt-click) that anchor point
to convert it into a corner point. Con-
tinue in the new direction, creating
segments as before. For example, if
you click-and-drag a point to create
a curve, and the curve isnt behaving
the way you want, press Command-
Z (PC: Ctrl-Z) to undo the last point,
Option-click (PC: Alt-click) the pre-
vious point to convert it to a corner
point, and then try drawing your
curve again.

Step Four: When youve gone all


the way around the stone, point your
> K ELBY ON E . CO M

cursor at the starting anchor point,


and when a small circle appears near
the cursor, give the point a swift click
to close the path.
[43]
HOW TO

Step Five: If necessary, use the Direct


Selection tool to reposition points
on the path. Begin by activating the
Direct Selection tool (circled here).

Step Six: Click the point you want


to adjustit becomes solid, but the
rest of the points are see-through.
If the point has control handles,
youll see those too. Now drag
the point, or one of its handles, to
adjust its position. Adjust the other
points as necessary. Remember to
Spacebar-drag to reposition the
photo as you go.

Step Seven: Switch to the Pen tool,


trot up to the Options Bar, and click
Mask. Photoshop adds a vector mask
to the stone layer and the back-
ground becomes transparent. The
points and control handles are now
preserved in a vector mask, enabling
> P H O T O S H O P U S E R > J U LY 2 0 1 7

you to continue adjusting them even


after you save and close the docu-
ment (to do that, click to activate the
vector mask in the Layers panel and
then use the Direct Selection tool).

[4 4 ]
BEGINNERS WORKSHOP

Step Eight: To save the Photoshop docu-


ment (and your vector mask!), choose
File>Save As. In the resulting dialog, pick
Photoshop as the file format and click Save.

Step Nine: To save a copy of the photo


with a transparent background, choose
File>Export> Export As. In the resulting
dialog, choose PNG from the menu at the
upper right and make sure Transparency is
turned on. Click Export All. In the window
that appears, tell Photoshop where you
want to save the PNG and click Export.
Photoshop saves a copy of the document
as a PNG with a transparent background
(this is something Lightroom cant do).
Note: If you peek at the PSD in Lightroom,
youll see the stones original background.
Why? Because Lightroom doesnt support
transparency; however, if you reopen the
PSD in Photoshop from inside Lightroom,
using either the Edit a Copy or Edit Original
options, itll open with the vector mask and a
transparent background.

Step 10: To create a solid-colored back-


ground instead of a transparent one, click
the half-black/half-white circle at the bottom
of the Layers panel (circled here). Choose
Solid Color from the resulting menu, and in
the Color Picker that opens, pick a color and
click OK (white was used here). Now drag
the Solid Color Fill layer beneath the stone
layer in the Layers panel. If later on you want
to change the background color, double-
click the Solid Color Fill layers thumbnail to
reopen the Color Picker.

Neat, huh? Obviously, this isnt a compre-


hensive guide for using the Pen tool, but
now youre on the right path (ha!). And as
usual, practice makes perfect. Heck, when
> K ELBY ON E . CO M

you get really good at it, you can use the Pen
tool to draw complicated shapes and make
art from scratch! Until next time, may the
creative force be with you all. n
[45]
KRISTINASHERK
> Retouching Magic

SAY GOODBYE TO PAINTING MASKS BY HAND


Work smarter, not harder. Anyone who has watched my KelbyOne courses knows this is my mantra,
and I honestly live by these words. Its important to not only keep up with the latest gear but its also
just as important to spend time growing your knowledge of the software that you already subscribe to
and use on a daily basis. The better you know the software (or hardware) you already own, the easier
youll work, and the more proficient youll become. You can have all of the newest gear in the world,
but if you dont know how to use it, you wont be a good photographer. (Sorry to all those gear heads
out there whose bubble I just busted.)

Thats why Im so thrilled about my article this issue. Its


about my all-time favorite tool in Photoshop: Color Range.
Ive said it before and Ill say it again, Im a lazy Photoshop
user, especially when it comes to masking. I hate creating
masks by hand. It just takes way too long. You have to
create a mask, make sure youre painting with the right
color, and then take the time to ensure your mask edges
match up with whatever youre masking in the photo-
graph. You also need to make sure that the brushstrokes
you created while painting the mask arent visible, etc. Is
anyone else exhausted yet? I know I am. Ive already lost
count of how many steps that would take.
What if there was a tool that literally eliminates the
need to create freehand masks? Wouldnt that save us
loads of time? Thankfully, the folks over at Adobe agree,
and they gave us a miracle tool that does just this.
Color Range is an incredibly powerful tool that will
make intricate selections based on many different factors. A
You can choose to have it create a mask based on a spe-
cific color, highlights, shadows, or midtones. But my favor-
B
ite way to use Color Range is to tell it to select skin tones
C
(more on that later).
At this point, your ears should be perking up and you D
should be sitting a little straighter in your chair to read on
through the rest of this article, because Im about to teach
you something that has the potential to decrease (by about
> P H O T O S H O P U S E R > J U LY 2 0 1 7

90%) your need to create hand-drawn masks. Here we go. D


TOUR OF THE COLOR RANGE DIALOG
To access this awesome tool, go to the Select menu at
the top of Photoshop, then scroll down and choose Color
Range from the menu.
This will bring up the Color Range dialog as shown
here. Lets take a minute to explore this window a little.
F
[46]
RETOUCHING MAGIC

A. The Select drop-down menu: This allows you to chosen, so you really need to play around with this slider
choose from a wide variety of options as to how to make to see what it does.
your selection.
1. G
 enerate a selection by using the Eyedropper E. Invert: Once youre happy with the selection that Color
to click on the color you want to select. Range has created for you, youll need to click OK. This will
2. G
 enerate a selection by specific colors: Reds, create a bunch of marching ants around the area that Photo
Yellows, Greens, Cyans, Blues, or Magentas. shop has automatically selected for you. When you create a
mask, the selected areas will be white in the mask and the
3. G
 enerate a selection by tonal value (i.e., Highlights,
non-selected areas will be black. Anything thats white in a
Midtones, or Shadows).
mask will reveal that area of the layer, and anything black
4. Generate a selection by the Skin Tones in the image.
hides areas. There will be some instances when you want to
5. Or select the colors that are Out of Gamut. have the opposite pixels selected in order to turn them white
in the mask youre working on. In that case, make sure the
Invert checkbox is turned on.

F. Selection Preview: If you want to see the selection on


which youre currently working in the entire image instead
of just in the little preview window inside the Color Range
dialog, you can turn on one of the Selection Preview options
in the drop-down menu at the bottom of the dialog. This
will turn your whole image into a preview of what the selec-
tion will include/exclude as you work to perfect it.

LETS CREATE A MASK USING COLOR RANGE


Are you starting to see the mighty power behind this tiny
little dialog? Its truly awesome! But lets get into a real-
life example. Heres an image I took on one of my trips to
South Africa.
B. Localized Color Clusters: If youre using Sampled
Colors (the Eyedropper tool) to make your color selection,
having the Localized Color Clusters checkbox turned on
means Photoshop will only select the colors close to the
color on which you clicked in the general vicinity of where
you clicked. If Localized Color Clusters is unchecked, it
will select the color on which you clicked throughout the
entire image.

C. Fuzziness: The higher the Fuzziness number, the more


lenient Photoshop becomes in adding the colors that arent
quite the exact color you chose, but still a close color relative.

D. Range: This slider isnt always active. If you choose to I want to make the sky slightly bluer, so Ill start by
> K ELBY ON E . CO M

use Sampled Colors with Localized Color Clusters turned on choosing the Color Range option from the Select menu.
to make your selection, or you choose to select the High- Once inside the dialog, Ill choose Cyans from the Select
lights/Midtones/Shadows, this slider will become active. It drop-down menu, and click OK. This gives me a bunch of
does different things depending on which option youve marching ants around the sky area.
[47]
HOW TO

Now that Photoshop has done the hard work


of creating the intricate selection for me, I can eas-
ily turn it into a mask with only one click. I want
to add a Hue/Saturation adjustment layer from
my Adjustments panel (Window>Adjustments).
Hue/Saturation automatically comes with a mask,
which will automatically use the selection in the
image to generate the mask. Heres the mask that
was immediately created for me.
Can I just take a moment to point out that
weve created a detailed mask with only a mouse
click and no free-hand painting? Yeah, we just
did that!

POWER USER TIP


POLARIZING YOUR MASK
Sometimes the mask I get when I use Color
Range is really detailed, but I need the mask to
be more extreme, so I need to tweak the mask
that I currently have. To do this, hold down
Option (PC: Alt) and click on the layer mask
thumbnail to preview the mask on the whole
image. Then press Command-L (PC: Ctrl-L) to
bring up the Levels dialog. In the Input Levels
section, pull the highlight and midtone sliders
to the left to make the mask more polarized
or more black-and-white (with less grey). Take
a look at the two screen grabs to the right and
look at the different positions of the sliders and
see how it changes the areas that are white,
gray, and black in the mask.
Click OK in the Levels dialog, and then hold
Option (PC: Alt) again while clicking on the layer
mask thumbnail once more to turn the mask
preview off and go back to looking at the actual
image and not the mask.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[4 8 ]
RETOUCHING MAGIC

Now that Ive polarized my mask, I can click


back on the layer thumbnail of the Hue/Satura-
tion adjustment layer and modify the settings to
make the sky bluer. In the Properties panel, Ill
increase the Saturation to +27.
Since Ive already created the mask to reveal
only the adjustment on the blue sky, its safe
to increase the Saturation of all the colors (the
Master channel) instead of just focusing on the
Cyans/Blues, because I know the mask will only
allow the increased Saturation to affect the areas
I want! Nifty, right? Heres the before and after
of the image with the better sky.

> K ELBY ON E . CO M

[49]
HOW TO

SKIN TONES
Lets talk about my favorite way to use this tool.
As I mentioned previously, Color Range has the
option to isolate only skin tones in an image.
Heres one of my signature shots that Ill use for
this example. Id like to increase the lightness of
the skin tones just slightly.
Lets see how easily Photoshop can create a
mask of the skin tones in this photo. Well start
again by selecting Color Range from the Select
menu, and then Ill choose Skin Tones from the
Select drop-down menu.

Before
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Wow, check out this exceptionally detailed


mask I was able to create in all of 2.2 seconds
with the help of this dialog.

[5 0 ]
RETOUCHING MAGIC

After

Once we click OK, the marching ants will appear on the image
showing us where Photoshop has made its selection. All we have left
to do is save it to a mask by clicking the Curves adjustment icon in the
Adjustments panel. Then, we can very slightly increase the lightness of
the skin tones by modifying the curve in the Properties panel. Above is
what the final image looks like.

In this article, I purposefully didnt do a ton of modifications to each


of the images because this tutorial is about the Color Range tool
and teaching you how to use it to create detailed, super-charged
masks without any freehand masking at all. So get in there and start
experimenting with this fantastic, and oftentimes totally under-
> K ELBY ON E . CO M

rated tool. I guarantee it will save you loads of time on your future
retouching projects! n

ALL IMAGES BY KRISTINA SHERK

[51]
SCOTTVALENTINE
> Photoshop Proving Ground

USING THE DISPLACEMENT MAP


FOR PARTICLE EFFECTS, PART 2
Last issue, I showed you the inner workings of Displacement Maps in Photoshop. If youve played with
them at all, youve discovered a few limitations, such as operating only in 8-bit RGB, and not having any
real capability with transparency. That can lead to awkward, hard edges, and permanent changes to
your image layer. Even worse, D-maps (as the cool kids call them) are destructive to your image layer.

Adobe Stock/Alexander Y
> P H O T O S H O P U S E R > J U LY 2 0 1 7

We can get around these limitations with varying degrees LAYER MASKS
of success, and we can do some cool extra tricks by Prior to applying your D-map, create a mask for your subject,
adding masks and smart objects to our toolbox. The first then duplicate your Background layer. The mask doesnt
thing I wanted to fix is the problem with hard, pixelated have to be perfect, but make it reasonably good.
edges, so heres a technique that gives you some addi- When you apply the D-map, the displacement will also
tional flexibility. be applied to the mask, which is a really handy feature. After
you apply the D-map, you can make an edge selection and
blur away those pesky pixels using the following steps.
[5 2 ]
PHOTOSHOP PROVING GROUND

Masked layer ready for displacement Mask result after displacement

Step One: After duplicating the Background layer, apply


the D-map to your duplicate masked layer, ensuring that the
mask is linked to the layer content.

Step Two: Hold Command (PC: Ctrl) and click on the dupli-
cate layers mask thumbnail to load it as a selection.

Step Three: Go to Select>Modify>Contract, enter 1 px for


the value, and click OK.

Step Four: Go to Select>Modify>Feather, enter 0.5 px for


the value, and click OK.

Step Five: Go to Select>Inverse to load the outside area of


your mask. Trust me!
Note: Instead of creating a mask, you could alternatively
cut out your subject, then apply the D-map and continue
with the steps above. Doing so creates your displacement
effects against transparent surroundings, which may make
> K ELBY ON E . CO M

some tasks easier, such as rearranging and tweaking indi-


vidual pieces of the displacement results, or copying-and-
pasting to fill in sparse areas. This gives the same effective
result as the next set of instructions.
[5 3 ]
COLUMNS

Step Six: Now that you have the edges selected, you can Step Five: After Step Three, you can immediately launch
apply a slight blur of your choosing. I used Blur Gallery>Path the Blur Gallery and apply your blurs or other effects to the
Blur to get some movement, but you could easily use Motion, selected area. But if you created a new layer in Step Four,
Gaussian, or other blurs (you could even delete the selection you can blur the displaced bits on a layer by themselves. You
if you like). When you apply the blur to a masked layer, the can also filter and blend them, apply Liquify effects, or any-
blur applies to the mask as well. In this case, youre actually thing else you like. You can then grab a few pieces indi-
blurring the entire layer, but you can only see the amount vidually and duplicate/transform them to fill in or shape the
of the selection thats revealed by the blurred edges of the dispersion effect.
mask. If you turn off the mask (Shift-click its thumbnail in
the Layers panel to turn the mask on and off), youll see
that everything on the layer has been blurred, except your SMART OBJECTS
subject and the main chunks of the displaced bits. As youve seen, working on a duplicate layer is one method,
but smart objects are another a great solution. Smart objects
Step Seven: This process will remove the smallest details, give you the added benefit of letting you adjust the D-map
so if you want to keep those, be sure to deselect those areas and add other filters.
with your favorite method (holding Option [PC: Alt] and Tip: There are two ways to approach using masks with
using either the Lasso or Marquee tools to exclude some smart objects: you can apply them before or after conversion
regions, or switch to Quick Mask mode [Q] and paint those from a regular layer to a smart object layer. I tend to prefer
areas out with the Brush tool [B] set to white). applying the mask first, just because I generally create my
Creating your mask before duplicating means youve mask on the original Background layer, then duplicate it so
saved the original subject layer mask, and that gives you the the mask is already there. The advantage to creating or add-
chance to isolate the displacement results. Way back in the ing the mask after conversion is that you have access to the
December 2014 column, I showed you a few tricks for modi- Mask Properties panel, including feathering and refining.
fying selections. In this case,
you can subtract the main
subject from the displaced
copy like this (everything
happens in the Layers panel):

Step One: Command-click


(PC: Ctrl-click) on the dis-
placed layer mask to load it
as a selection.

Step Two: Hold Com-


mand-Option (PC: Ctrl-Alt)
and click on the original
subjects mask to subtract it
from the selection and iso-
late the displaced pieces.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Step Three: Click on the


displaced layers thumbnail.

Step Four: Optional: Press


Command-J (PC: Ctrl-J) to
duplicate the selection to a
new layer.
[5 4 ] Step Five: path blur
PHOTOSHOP PROVING GROUND

Adobe Stock/iiievgeniy
Before

After

For this example, Ive applied the layer mask prior to con- When you apply the same D-map multiple times, it takes
version to a smart object, so the subject is isolated on the the results of the prior application as input, so you tend to
layer. I can stack up several filters and keep the ability to start getting motion style effects with this dispersion tech-
adjust each one individually, including changing opacity or nique. You can also fill in some areas or create different
blend mode of just the effect. I can also apply several differ- effects by stacking D-map applications with different Scale
ent D-maps, or apply the same one several times. And you values in the Displace dialog. If you do this, I recommend
have the ability to modify the D-map and reapply it with- starting with smaller scales, then working upward, but try
out having to undo it or create a new copy of the original going the other direction just to see the resultsyoull get
> K ELBY ON E . CO M

layeran excellent way to refine your work. To do this, sim- something very different!
ply make your edits to the D-map itself, save it again, then Of course, there are other ways to get this look. One of the
double-click the Displacement smart filter in the Layers panel most popular is to duplicate the subject layer and use the Liquify
and apply the edited map. filter to distort it, then apply a mask and selectively reveal the
[5 5 ]
COLUMNS

Adobe Stock/akamaraqu

Original D-map

distortion with spatter brushes. Alternatively, you could use the


Clone Stamp tool (S). Both of these are worth exploring, and
will probably feel more organic because they use familiar
techniques. Using D-maps gets you two advantages for cer-
tain situations, though: You can save the maps along with
many variations, which is great for consistency; and its a
seriously fun party trick that almost nobody has ever seen.
In the image on the previous page, I used D-maps after
isolating the models face to add some spatter texture, and
then ran the Smudge tool over those areas with a Bristle
Brush preset. Since that took away too much of the spatter
texture, I just repeated the displacement to get it back.

Remember that youre not limited to these dispersion


effects. Knowing how Displace works in Photoshop, you
can fine-tune those standard fabric overlays with con-
fidence, build up a spiffy watermark, or create bizarre
surreal distortions using found textures. Heres one last Result
experiment where I used Filter>Render>Clouds followed
by the Filter>Pixelate>Crystallize on each of the Red
and Green channels separately (Window>Channels). After
> P H O T O S H O P U S E R > J U LY 2 0 1 7

doing a File>Save As, I used this file as a D-map on the


original watercolor texture, and ended up with a swirly
delight. Wed love to see what you come up with in the
KelbyOne Community and on social media using
#KelbyOne and tagging us in the post! n

[5 6 ]
#KelbyOneBooks
Making selections
quickly and accurately
is one of the most important
skills to master in Photoshop,
as its often the first step
in working with layers,
making masks, etc.

In this article, well look at


g
effective methods for makin
> P H O T O S H O P U S E R > J U LY 2 0 1 7

rking wit h ma sks.


selections and wo
lore som e
Along the way, well exp
that
very important secrets
can make things easier.

[5 8 ]
The Selection Tools & Commands MY TOP 10
Although were not going to cover all of the Here are my top techniques when working with selections
following in detail, Photoshop has many and masks.
selection tools and commands, each with their
own advantages, and each designed for dif- 1. End up with a Great Selection
ferent selection situations. Although you may sometimes be able to make a great selection
with one tool, chances are its going to take several steps and tools.
SHAPE SELECTION TOOLS As we know, there are many options for making selections both in
 ectangular Marqueefor selecting
R tools and under menus, and its very likely that youll end up using
rectangles and squares
multiple functions together.
Elliptical Marqueefor selecting ovals
and circles For me, its always made better sense to think, End up with a
Single Column Marqueefor a one- great selection, rather than Select something.
pixel column selection If youve made an initial selection and its not quite right, you can
Single Row Marqueefor a one-pixel use the same selection tool (or a different one) to tweak the selection.
row selection Think about fine-tuning your selection using keyboard modifiers and
Polygonal Lassofor selecting straight- the Transform Selection command, in this way:
edged shapes
Lassofor selecting free-form shapes  old down Shift and click-and-drag to add to
H
Penselecting using anchor points the existing selection.
and paths
 old down Option (PC: Alt) and click-and-drag
H
to remove from an existing selection
AUTOMATED SELECTION TOOLS & COMMANDS
 agic Wandautomatic selection based
M As an example, start with a selection made with the Quick Selection
on a range of colors tool (W) and then switch to the Lasso tool (L) to add the missing areas
Magnetic Lassosenses edges to help (with the Shift key held down).
make a selection
You can also use Select>Transform Selection to click-and-drag
Color Rangeselects by ranges of
colors, with options to adjust on handles to resize a selection to fit the shape you need. Use the
Quick Selectionthe edge detection same techniques as you would with Free Transform (Command-T
tool (click-and-drag) [PC: Ctrl-T]), such as Shift to constrain and Command (PC: Ctrl) to
Focus Areamakes a selection based edit the individual corners.
on depth of field
Adobe Stock/asafeliason

OTHER SELECTION METHODS


(FOUND UNDER THE SELECT MENU)
 uick Maskview and edit the selection
Q
as a colored overlay
Load Selections from other sourcesuse
layers or channels to create selections
Growexpand an existing selection
Similarselect pixels similar to existing
selection
Transform Selectionadjust a selection
using transformation handles
Once youre in Transform
Modify commandsa series of
Selection, you can also click the
> K ELBY ON E . CO M

commands to adjust a selection


Save Selectiona means to store Warp icon (the warped grid shape
selection for later use with a curved arrow below it in the
S elect and Maska workspace to Options Bar) and drag the grid to
refine and adjust the selection adjust your selection.
[5 9 ]
2. Something is Better than Nothing the mouse button (but continue to hold Option [PC: Alt]),
This philosophy is similar to the concept of End up with and it will switch to the Polygonal Lasso tool. Click to add
a great selection. I sometimes see people trying an auto- straight lines to the selection. Before you click to draw your
mated tool or method and being unhappy with the results last straight line, let go of Option (PC: Alt), click to draw
because it wasnt perfectand then starting over from that final line, and youll be back to the Magnetic Lasso. It
scratch. I prefer to think of this as a great start, compared takes a bit of practice but its a great timesaver.
to the alternative of my making a manual selection.
For example, the automated selection tools will some- 3. See What Youre Doing
times work very well, but often make a selection thats less One of the challenges of making selections is being able to
than ideal; but rather than starting over again, consider tell how accurate your selection really is because sometimes
whether you can build on the selection (as we discussed the selection edges (a.k.a. marching ants) make it difficult
in the first tip). to see how well youre doing. For these situations, try using
The Magic Wand, Select>Color Range command, and Quick Mask. With an active selection, click on the Quick
the Quick Selection tools all make a selection more auto- Mask icon near the bottom of the Toolbar, or tap Q on your
matically than any other methods, and as a result, provide keyboard. The selection displays with a colored overlay that
a fast way to get a great start. represents the areas that arent selected. The selected areas
have no colored overlay. (Note: If your selected area is red,
BONUS: Change Lasso tools on the Fly
double-click the Quick Mask icon in the Toolbar to open
Use this method to change between the Lasso, Magnetic the Quick Mask Options, and make sure Color Indicates is
Lasso, and Polygonal Lasso tool on the fly, without stop- set to Masked Areas.)
ping and starting again to change tools. With the Magnetic To fine-tune the selection in Quick Mask, paint with
Lasso (press Shift-L until its active in the Toolbar) start drag- black to add to the colored overlay and remove from the
ging out your selection. Without letting go of the mouse selection. To add to the selection, paint with white. You can
button, press-and-hold Option (PC: Alt). If you continue use any method of painting, from using the Brush tool (B)
to drag, youll now be using the Lasso tool. Then, release to making a selection and filling it with black or white.
Adobe Stock/teksomolika
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[6 0 ]
HINT 1: If you use the Brush tool, the size and edge By adding an adjustment layer such as Levels using
of the brush will have an influence on the selection. Use the Layer>New Adjustment Layer menu (not the Image>
smaller brushes for detailed areas; hard-edged brushes to Adjustments menu), we can temporarily over-adjust to
create non-feathered selections; and soft-edged brushes to help make the selection. Dont worry about ruining the
create feathered edges. photo; all we care about is temporarily making it easier to
HINT 2: Use a series of short brushstrokes, rather than see the edge.
one long brushstroke. That way if you make a mistake, its
easy to undo the last short stroke rather than all of the
painting youve done.
When I think a selection is good enough to move on to
the next step, its become a habit for me to always tap Q
for Quick Mask to make sure I didnt miss anything.
TIP: If the item you selected is red and the red overlay
is too confusing to work with, you can double-click on
the Quick Mask icon to change the color in the Quick
Mask Options. Next, click on the photo layer in the Layers panel to
make it active and make the selection.

4. Get Temporary Help


If you look at a photo and you cant see much contrast
between the subject and the background, consider this: If
you cant see the edge, Photoshop probably cant either. In
these cases, you can take advantage of the option to tem-
porarily adjust the photo either using an adjustment layer
or a Camera Raw smart object. In this image, the Quick Once the selection is complete and youve created a
Selection tool wouldnt have much success since the edge layer mask, throw away the Adjustment Layer.
is hard to detect.
Adobe Stock/gzorgz

> K ELBY ON E . CO M

[61]
You can use a similar process with RAW
files, thanks to Camera Raw smart objects. To
set this up, you have to open a RAW file in Cam-
era Raw and click on the link at the bottom
of the window to open the Workflow Options
Dave Cross

dialog. In that dialog, click on the checkbox to


Open in Photoshop as Smart Objects, and click
OK. The Open Image button should now say
Open Object. Click that button to open the
image in Photoshop.
This creates a two-way editing street
between Camera Raw and Photoshop that lets
you continue to make RAW adjustments from
within Photoshop. In Photoshop, double-click
on the layer thumbnail to return to Camera
Raw and make editing changes.
In this example, the photo was deliberately
shot to be dark to make it hard to distinguish
between the subjects hair and the background,
which also means that it will be next to impos-
sible to make an accurate selection. We want
to select the subject and apply a layer mask to
reveal a new background behind him.
After placing the subjects layer on the new
background (more on that in the next tip), jump
back to Camera Raw and use the Basic panel to
temporarily make it easier to see the edge of the
subjects hair. Click OK to return to Photoshop.
Once the selection is made and a layer
mask is created, return to Camera Raw to make
your final edits in the context of the new back-
ground. Click OK to return to Photoshop.
Remember, the key to both of these meth-
ods is to make temporary adjustments so that
you can return to the original photo once the
mask has been created.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[6 2 ]
Woman: Dave Cross; Gym: Adobe Stock/.shock

5. Work in Context
If the reason for your selection/mask is to put
your subject on a different background image,
this is perhaps the most important tip: Drag the
subject onto the new background before mak-
ing a selection. That way, every decision you 6. Select in Pieces
make is in the context of the background, and This technique has saved me so much time! When I used to use Refine
youll avoid spending too much time making a Edge (now Select and Mask), I tried to select both hard and soft edges
selection and mask, only to find out that on the at the same time and it never really worked very well. Now I make my
new background some of the selection work selection in pieces.
you did wasnt necessary. After placing a Camera Raw smart object, I duplicate the layer,
giving me two exact copies of the same photo.
Then I hide one of the layers by clicking on its Eye icon in the Layers
panel and make a selection of areas with hard edgesin this case,
Dave Cross

the subjects body. I delib-


erately dont include her
hair in the selection.
Then you can work on
the other layer, making a
selection of just the hair.
That way in Select and
Mask, you can use a much
higher Radius because you
dont have to worry about
having a negative impact
on the hard edges of the
subject (more on Select
and Mask later).
> K ELBY ON E . CO M

[6 3 ]
Youll end up with two layers,
each with a layer mask to reveal the
background below. Since the layers
are linked Camera Raw smart objects,
you can edit the settings of both lay-
ers at the same time: Double-click on
one of the smart object thumbnails,
make your changes, and both layers
will update. Just remember than youll
have to select both layers if you want
to reposition your subject.

BONU S : A Second Chance

Once a layer mask has been created, you have a second chance to access the
same controls to fine-tune the mask. To access these controls, double-click
on the layer mask. The first time you do this, youll be asked whether you
want to view the Properties panel or enter the Select and Mask workspace
> P H O T O S H O P U S E R > J U LY 2 0 1 7

(whatever you select is the way it will behave moving forward). Select Proper-
ties. This way, youll have access to both the Properties panel and Select and
Mask to tweak your layer mask (it will update the existing mask rather than
create a new one).

[6 4 ]
7. The Select and Mask Workspace
Formerly known as Refine Edge, the Select and Mask
workspace takes it up a notch with the addition of
selection tools. This means that although you want to
start off with as accurate a selection as possible, you
can adjust your selection inside the Select and Mask
workspace using the Quick Selection and Lasso tools.
Once you have a selection, click on the Select and
Mask button in the Options Bar.
You can change the View Mode in the Proper-
ties panel to help you refine your selection. The three
views I think are most useful are:

ONION SKIN (O): You can use the


Transparency slider to alter how much
of the original background (outside your
selection) that you see.

ON LAYERS (Y): Lets you see the layer


youre working on and the layer(s) below.
(Remember Work in Context above?)

BLACK & WHITE (K): This view is like


a preview of the mask that will ultimately
be created.

As a general guideline for selecting hair, start with


a selection thats slightly inside the edge of the hair.
Then use a brush size for the Refine Edge Brush tool
(R) that spans the existing selection and the hair youre
trying to select. Brush around the edge to select more
hair: Remember that something is better than noth-
ing, so even if it doesnt look like youve selected all
the fine hairs, if youre in Black & White view and you
can see something, that means you can refine it later
(more on that next).
For many people, one of the biggest challenges
with the Select and Mask workspace is trying to find
the ideal value for the Edge Detection Radius; but if
you use the suggestion earlier in this article about
selecting in pieces, its no longer necessary to try to
get both hard and soft edges in one mask.
And be sure to try the Decontaminate Colors
checkbox in the Output settings, as this can often
make a great improvement by removing any slight
> K ELBY ON E . CO M

fringe that you see.

[6 5 ]
8. The Magic of Overlay
When painting on a layer mask, chang-
ing your brush to Overlay mode can
save you a ton of time. Its particularly
useful when you have areas of a mask
that should be white but are light gray,
or areas that should be black but are
dark gray.
Let me remind you again of tip #2:
Something is better than nothing.
Rather than attempting to get a perfect
selection of hair directly from Select and
Mask, you can fix them by painting in
Overlay mode if you at least have some
areas of gray. Overlay mode changes
the behavior of the Brush tool (B) so
that white cant paint over black, and
black cant paint over white, making it
easier to adjust the gray areas.
To view the mask, hold down
Option (PC: Alt) and click on the mask
thumbnail in the Layers panel. Look for
light gray areas that should be white.
Change the settings of the Brush
tool to Overlay mode and 4060%
Opacity in the Options Bar. Press D to
set your Foreground color to white and
paint on the mask.
Once again, hold down Option (PC:
Alt) and click on the mask thumbnail
to return to the image view. This will
let you continue painting on the mask
while viewing the context of the sub-
ject on the new background. Paint over
areas where you want to see more
detail in those fine hairs. Dont paint
too much over the same area, as it can
quickly look artificial.
If you have areas that are dark gray
that should be black, switch the Fore-
> P H O T O S H O P U S E R > J U LY 2 0 1 7

ground color to black and paint over


them, once again with the brush set to
Overlay mode.

[6 6 ]
9. Automatic Masks

Adobe Stock/Cristian Teichner


Use the Paste Into command to create
an unlinked layer mask from a selection,
making it easy to reposition the layer
within the mask. Heres an example:
To create a mock-up of a website on
a tablet, make a selection of the screen.
Then make a selection of the graphic
that you want to paste, and copy it
(Command-C [PC: Ctrl-C]). Note: If
the graphic is made up of multiple lay-
ers, use Edit>Copy Merged to make a
merged copy of all the visible layers.
Switch to the tablet document with
the active selection and choose Edit>
Paste Special>Paste Into. This will create
a new layer with a mask, and the layer

Quartet photo Larry Becker


and mask will be unlinked (so you can
position and/or transform the photo
within the mask).

Now, use Free Transform (Com-


mand-T [PC: Ctrl-T]) with the Command
(PC: Ctrl) key held down to transform
each corner so the photo fits the screen.
Press Enter.
Often we can add to the believ-
ability of projects like this by adding
some finishing touchesin this case,
a highlight. To add a highlight, add a
layer above the pasted image, and with
a large, soft-edged brush, paint with
white. Then hold the Option (PC: Alt)
key and click between the highlight
layer and pasted-image layer to create
a clipping mask and lower the opacity.
> K ELBY ON E . CO M

[6 7 ]
Dave Cross

10. Channels
For challenging selections, you can often
take the approach of starting in the Chan-
nels panel with the goal of creating the
equivalent of a mask. The ideal mask for
replacing the sky in a photo like this would
be a black silhouette of the trees with
a white sky. Go to the Channels panel
(Window>Channels) and look at the Red,
Green, and Blue channels. Pick the one that
gives you the best start toward the black-
and-white silhouette (often the best channel
will be the opposite of what you need).
Click on that channel (here its Blue) and
drag it down to the Create New Channel
icon to duplicate it.
Its vital to make sure that youre now
working on the channel with copy at the
end of its name of whichever channel you
chose. To make the dark-gray areas darker,
and the light-gray areas lighter, try using Lev-
> P H O T O S H O P U S E R > J U LY 2 0 1 7

els. Just be careful not to over-adjust to the


point where fine detail is lost. You can also
paint in Overlay mode as described earlier.
Sometimes it can be helpful to invert
the channel by pressing Command-I (PC:
Ctrl-I) so you can spot issues you might
have missed, and of course, if thats the
way you need the mask.
[6 8 ]
USEFUL SHORTCUT S

Here are a couple of shortcuts to add to your


Photoshop skills: When the channel looks like the mask
P ress X to swap the Foreground and Back- you need, hold down Command (PC: Ctrl)
ground color (incredibly useful for switching and click on the channel to load it as the
between painting with black and white). selection. Click back on the RGB channel in
the Channels panel.
P ress the Left Bracket key ([) on your keyboard For this example, back in the Layers
to reduce your brush size, and the Right Bracket panel, I made a mask from the selection and
key (]) to increase the brush size. put a new sky photo below the layer. n
P ress the first number of the Opacity you
want to use for your brush (e.g., 2 for 20%,
4 for 40%, etc.). Press 0 to bring the brushs
Opacity back to 100%.

S hift-click on the layer mask thumbnail to


hide the mask; Shift-click again to show
the effect of the mask.

T o switch your brush to Overlay mode using


only the keyboard, press Shift-Option-O
(PC: Shift-Alt-O). To set the brush back to
Normal blend mode, press Shift-Option-N
> K ELBY ON E . CO M

(PC: Shift-Alt-N).

[6 9 ]
DAVECLAYTON
> Designing in Photoshop

WORKING WITH ARTBOARDS IN PHOTOSHOP


Since the introduction of artboards in Photoshop CC, many people have used them to create graphics
for Web and mobile interfaces, but thats because those are the default template settings for art-
boards. But thats not where the power of artboards begins and ends. Now that you can use multiple
artboards in a single native PSD file, there are many other options you can explore.

Although we can use artboards for mobile and Web, we can Step Two: Youll see a blank square on the page, as if youd
also use them for other possibilities when creating content in set up a regular document. But if you click-and-drag out
Photoshop. Think of artboards as documents within a docu- the bottom right-hand corner of the document window to
ment. This feature is included in Illustrator (also as artboards) expand it so you can see the canvas around the white square,
and in InDesign (as pages), and in each of these, you can youll see the words Artboard 1 just above it on the left.
create multiple designs in one single document, making it If you click on that label with the Move tool (V), four small
easier to manage content and assets. circles with plus signs in them will appear around the docu-
So lets take a look at some tips on how to use and set ment (well cover these a little later). Youll also notice that the
up these versatile artboards. Well begin with a standard Move tool automatically changes to the Artboard tool.
Instagram-size artboard of 1080 px square at 300 ppi. Why
are we using such a high resolution for Web, you ask?
Because theres always the possibility that these assets will
be needed for print, as well, and its better to create high-
resolution files just in case you need them. At least I always
do! (Note: I also covered a little of this in my recent KelbyOne
course, Designing Graphics for Social Media in Photoshop.)

Step One: Start with File>New, and along the top of the
New Document dialog, pick your output destination (Print,
Web, etc.). In this case, we selected Print so the Resolution
defaulted to 300 ppi. Enter 1080 pixels for both Width and
Height, tick on the Artboards checkbox, and click Create.

Step Three: You may have noticed in the image above


that my Artboard tool sits below the Move tool in my Tool-
> P H O T O S H O P U S E R > J U LY 2 0 1 7

bar (normally its nested with the Move tool). Since I use
artboards all the time, I customized my Toolbar to give me
easier access to the Artboard tool.
To do that, click-and-hold on the
three little dots near the bottom of
the Toolbar and select Edit Toolbar.
In the Customize Toolbar dialog,
drag the Artboard tool below the
[70] Move tool, and click Done.
DESIGNING IN PHOTOSHOP

Step Four: Its easy to change the size of an artboard Step Six: Were not going to create specific graphics in this
to various standard sizes for mobile and Web. Just make tutorial; this article is to show you how to set up and use
sure that both the artboards. In the Layers panel, youll see Artboard 1, which
artboard and Artboard appears as a layer group, with a Layer 1 nested in the group.
tool are active, and Anything you add to this artboard will sit in this nested layer.
then use the Size drop- Lets add a simple image to highlight this, so go to File>Place
down menu on the (either Linked or Embedded), navigate to your image, and
left side of the Options click Place. That image now shows in the layer stack.
Bar to select from the

Dave Clayton
list of presets.

Step Five: Heres a


handy tip if you make
these kinds of docu-
ments on a regular
basis: Save your docu-
ment as a template.
How and why would
you want to do that? Well, the how part is easy. When you
choose File>Save As, the regular Save As dialog lets you
rename the document and decide where it lives. Now simply
type a t at the end of the PSD file type suffix, and then save Step Seven: Now lets create a series of Instagram art-
the document. This document is now a template. boards. One way to do this is to click on one of the four
Now for the why: The next time you open this file and circles with the plus sign. New artboards can be to the left,
make changes to it, you cant accidentally save over the right, above, or below, depending on which plus icon you
original file. If you press Command-S (PC: Ctrl-S) for Save, click (e.g., if you want the new artboard placed to the right
the Save As dialog will appear instead, so you can rename of the original artboard, click the plus symbol on the right
the document and choose its location. Gone are the days side). This will create a new blank artboard at the same
of facepalms when you accidentally overwrite a file you dimensions, and it will show in the layer stack as Artboard
wanted to use again. 2. If we click the plus icon on the right side of Artboard 2,
well create Artboard 3, and so on.

> K ELBY ON E . CO M

[7 1 ]
HOW TO

Step Eight: Another way to create additional artboards is Step 10: We have two ways to export artboards. The first
to click on the artboards name with the Artboard tool to way is to go to File>Export>Artboards to Files. In the resulting
make it active, hold the Option (PC: Alt) key, click-and-drag dialog, you can choose the destination and File Type, and
away from the source artboard, and release. This creates then click Run. This will export all the artboards to this file
a duplicate artboard, but it will be labeled with the word type. Now you can check that theyve saved okay in your
copy at the end, such as Artboard 1 copy. You can still destination folder.
resize each artboard independently (more on resizing later).

Step Nine: Now that weve created a set of artboards, lets


cover saving and exporting them before we move on to Step 11: If you want to export only one of the artboards,
other ways to use them. In this example, weve added some Right-click on the artboard layer group in the Layers panel,
new images to each of the three artboards, which are now and choose Export As. Choose your settings in the Export As
ready for exporting. We can export each artboard individu- dialog, and click Export All. Now you can name your file and
ally as JPEGs or PNGs for uploading. choose where to save it.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[72]
DESIGNING IN PHOTOSHOP

Tip: Do you want to WHAT ELSE CAN YOU DO WITH ARTBOARDS?


just see one artboard You can actually create different-sized artboards in a
at a time in the Layers single document, and its easy to set up. You can resize
panel? Click on one an artboard using its transform handles. Just click on
of the artboard layer the artboard name so its active; otherwise, you may
groups in the Layers end up scaling the image inside it. The Options Bar at
panel, then click on the top shows the dimensions, which are adjustable, of
the drop-down menu the currently active artboard. Also, with the Artboard
at the top left of the tool selected in the Toolbar, you can click-and-drag out
panel where it says a new artboard at any size anywhere in the document.
Kind, and select Artboards are so versatile.
Artboard in the drop- And this is where the true power of artboards comes in
down list. Now when for me. Because we arent restricted to just Web and mobile
you click on any of the artboards in your document, youll designs, we can use artboards for comparison artwork.
only see the content for that artboard in the Layers panel. Oftentimes, when Im working on a document, I want to

try out different effects or type. With artboards, I can design


these variations side by side, and when Im done, I can either
delete the ones I didnt use, or pack them all up in a PDF to
send to a client using File>Export>Artboard to PDF. If you
choose Multi-Page Document in the resulting dialog, it will
place each artboard on its own page in a single PDF.
Heres an example of an A5 flyer design we could be
working on that has three options for images and fonts.
Artboards Adobe Stock/: (1) Robert Hainer; (2) yuryimaging; (3) Konstantin Yuganov

> K ELBY ON E . CO M

[73]
HOW TO

Now lets say we have a logo


that we want to place in the three
artboards, but wed like to experi-
ment with variations of the logo.
Go to File>Place Linked (not Embed-
ded) and place your logo. Because
the file is linked, if you change the
source logo and save it, the logo
will automatically update in each
of the artboards in Photoshop. In
this example, I changed the color
of the logo in Illustrator, and after
I saved it, Photoshop automatically
updated to the new version.

Another method for retouchers


is to set up duplicate artboards of
the same image and then test out
different retouching methods on
each, such as colors, blends, effects,
etc. Each image will behave as an
individual file, so you can experiment
in real time and see the differences
side by side.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

[74]
DESIGNING IN PHOTOSHOP

Also, its easy to convert a design to an


Adobe Stock/Guuver

artboard. Say, for example, that you design a


front-page flyer for a client, but then the client
decides they need a design on the back of the
flyer, as well. With your artwork on the canvas,
Right-click on any layer in the Layers panel and
select Artboard from Layers. This will convert
your layout to an artboard, and now you can
add additional artboards as needed.

So as you can see, artboards in Photoshop


arent only great for mobile and Web, theyre
also super flexible and can help out with your
design process. If you dont have InDesign and
you need to make multipage documents, then
give the artboard option a try. And remember
the template tip: Save with a t on the end
of PSD, and then youll always have a template
for that particular layout for future use. n

Adobe Stock/Guuver

> K ELBY ON E . CO M

[7 5 ]
COLINSMITH
> Photoshop Tips
BOOST YOUR PRODUCTIVITY & CREATIVITY
Hey, everyone! Im very excited to bring you the latest roundup of juicy Photoshop tips. These are the
kinds of tips that you can either use to show off to your co-workers, or just use them to get home at
a reasonable hour. I prefer to get home at a reasonable hour.

ONSCREEN DUPLICATION THE ERASER CAN DO THAT?


When youre working in Photoshop, there are times when If youre using the Eraser tool (there are rare occasions
you might want to duplicate a layer; maybe its a shape, a when its preferable to using layer masks), and you get a
block of text, etc. You already know you can drag the layer little excited and need to bring back some of the image you
to the Create a New Layer icon at the bottom of the Layers just erased, your only option is to undo, right? That can be
panel to create a copy (or press Command-J [PC: Ctrl-J]). problematic if youve done a lot of work without letting go
But heres a faster way: With the Move tool (V) active, hold of the mouse. (Extra Tip: Let go of the mouse often while
down the Option (PC: Alt) key, and drag on the layer as painting or erasing.) Try this instead: In the History panel
if youre going to move it. Instead of moving the layer, (Window>History) click in the box to the left of the previ-
however, youll now be dragging a copy of that layer. I use ous state just above the Eraser state, which should be at
this one all the time while designing. the end of the list. Hold down the Option (PC: Alt) key, and
paint. Whoa! Yeah, the eraser is now working like a His-
NONDESTRUCTIVE CROP tory Brush and painting back where youd previously erased.
When youre cropping an image, you can hide the edges Who knew?
of the image rather than permanently deleting them. This
is known as a nondestructive crop, and its easy. When you MOVE MASK INDEPENDENT OF LAYER
choose the Crop tool (C), take a peek at the Options Bar at Layer masks are fun and flexible. When you move a layer
the top, and youll see a box that says Delete Cropped Pix- that has a mask, the mask goes with it. But what if you want
els. Turn that off to crop nondestructively. That means after to move the layer independently of the mask, or you only
youve cropped, you can still reposition the image within the want to move the mask (it happens)? If you look carefully
frame because the original edges werent cut off. in the Layers panel, between the layer thumbnail and the
mask thumbnail, youll see a little chain link icon. Click on
that icon and it will disappear. Now
you can move the layer and the mask
independently of each other. Just
click in that space between the layer
and mask again to add the icon back
when youre ready for them to be
linked together again.

FAST CONTENT-AWARE FILL


> P H O T O S H O P U S E R > J U LY 2 0 1 7

I absolutely love Content-Aware Fill


in Photoshop; its so easy to remove
distracting objects from a photo. The
only thing is that it can be a lot of click-
ing to get to it in the menus. What
if there were a shortcut? (Spoiler
alert, of course theres a shortcut, or
I wouldnt have brought it up.) With
[76]
PHOTOSHOP TIPS

your selection active around the area you want to fill with you type a lowercase character after an uppercase character
Content-Aware Fill, press Shift-Delete (PC: Shift-Backspace), in Photoshop, there will be too much space between the
and the Fill dialog opens. Choose Content-Aware from the two letters. An easy way to balance the kerning is to look at
Contents drop-down menu and click OK. Photoshop will three characters at a time. Make them nice and even, then
work its magic (Adobe Magic is now a thing). Its sticky, so visually move your eye one character to the right, and look
the next time you open Fill, it will already be on Content- at the next three letters. Keep doing that, and youll have
Aware, so you dont have to choose it each time. perfect kerning.

BATCH PROCESS IN ACR


Did you know that you can edit more than one photo at
a time in Adobe Camera Raw? Well, you can, and Im not
even talking about the syncing feature. Select multiple pho-
tos from Bridge and open them in Camera Raw. Youll see
the additional images in the Filmstrip on the left. If you press
Command-A (PC: Ctrl-A), youll select all the images in the
Filmstrip. As you make adjustments to one photo, all of the
other selected photos will be adjusted exactly the same way,
at the same time, all in perfect harmony.
CROP AND STRAIGHTEN PHOTOS
If youre scanning images on a large bed scanner, you can
scan several images at once; just arrange them all on the
scanner and click scan. Then comes the funyou have to
separate the images. It goes something like this: Duplicate
the document three times, and crop and name each one.
(Oh, you thought I was going to say, Crop, Save, Undo,
re-crop, rename, resave, undo, and repeat?) Theres
a really neat tool thats been in Photoshop since around
Photoshop 6-ish (or was it CS2?). Choose File>Automate>
Crop a nd Straighten Photos. Photoshop will now detect
the edge of each scan, and separate and crop each as its
own image. As a bonus, it also does the second part of its
name: It will straighten the crooked scans too. This one is
a massive timesaver. REVEAL BOUNDING BOX OF OVERSIZED LAYER
Whenever you press Command-T (PC: Ctrl-T), youll enter into
FIX THAT KERNING, KID! Free Transform mode. A bounding box will appear around
Kerning is the space between two characters in a word. You the selected layer with points (handles) that can be dragged
know, that tiny space that can appear really huge when around to transform the shape or size of the object. Some-
youre looking at a poorly kerned menu or billboard. To the times when you drag a photo or layer into an existing docu-
initiated eye, nothing says amateur faster than bad kerning. ment, its much larger than the document, and you cant see
The good news is that its really easy to fix in Photoshop. the bounding box because it extends off the page. Heres a
> K ELBY ON E . CO M

With the Type tool (T) active, put the cursor in between the tip to make those handles visible: When youre in Free Trans-
two characters that need to be kerned. To change the spac- form, press Command-0 (PC: Ctrl-0) (zero). This will cause the
ing, hold down the Option (PC: Alt) key and tap the Left document window to expand so that you can see the entire
or Right Arrow keys to change the kerning. Typically, when bounding box and handles. Yay, crisis averted. n
ALL IMAGES BY COLIN SMITH [7 7 ]
JAKEWIDMAN
> Design Makeover
CLIENT
Refundo
www.refundo.com

professional but fun


[before] Founded in 2011, Refundo helps taxpayers receive tax
refunds faster than if they had to wait for the IRS to mail
a check. We partner with tax professionals, accountants,
and bookkeepers nationwide who offer our service as a
plug-in to their tax preparation software, says company
CEO Roger Chinchilla. He estimates that Refundo has
about 3,500 tax professionals using the platform, each of
whom has maybe 100 clients.
One way the company speeds up the refund process
is by setting up a temporary bank account for the tax-
payer. Most of the consumers that were helping are low-
to moderate-income taxpayers who dont have a direct
deposit account, says Chinchilla. The temporary account
lets the taxpayers receive a speedy electronic transfer.
The tax professionals interact with the company
through a dashboard on the Refundo site. After logging
in, the preparers can see all their clients, print out checks,
run reports, and measure how their office is performing.
Really, the heart of the operation is our dashboard, says
Chinchilla.
The company launched with a site and dashboard that
Chinchilla designed and built himself. Id fire up Photo-
shop, and write the HTML and CSS all on my own. Thats
how we got by, he recalls. For the first couple of years,
Chinchilla just added to that initial site as needed: It
was kind of put together little by little in a Frankenstein
way, he says. But the company never did any real prod-
uct design or usability testing, and while Refundo gained
plenty of users, the site no longer represented how the
company had grown. As we started to process hundreds
of thousands of taxpayers refunds equivalent to billions
of dollars a year, says Chinchilla, eventually it required
a more professional look. People expect something a little
more polished.
> P H O T O S H O P U S E R > J U LY 2 0 1 7

makeover submissions
Were looking for real-world makeovers for future installments of the Design Makeover, so let us know if you recently had a branding makeover or if you did
a branding makeover for a client that youd like us to consider. We cover everything from product packaging or labels, print advertisements, websites, logos, and
magazine covers that are currently in the marketplace. So if youd like to be considered, send us an email at letters@photoshopuser.com.

[78]
DESIGN MAKEOVER

CLIENT
Refundo
www.refundo.com

[ the project ] Chinchilla found a designer for Refundo dashboard proj-


ect on Dribbble, a site where Web designers, graphic
designers, illustrators, icon artists, typographers, logo
designers, and other creative typesshow their work,
process, and current projects. He happened to see Budi
Harto Tanrims mockup of a PayPal redesign. I thought
it was nice and clean, and I started talking to him, he
says. The two worked on a separate project, and Chin-
chilla liked the experience, so he invited Tanrim to work
on the Refundo dashboard redesign. Tanrim lives in Indo-
nesia, so Refundo brought him to New Jersey for a couple
of months, and after that they communicated via Skype.
We wanted something that was fun, says Chinchilla.
Were dealing with a lot of bank processes, and we didnt
want it to look so much like a regular bank website. We
wanted a little younger feel.
Most of Refundos year-round traffic is from tax pro-
fessionals, so Chinchilla also wanted the dashboard to
look tech-savvy and modern, which would help build
confidence in the companys product.
Chinchilla told Tanrim that he wanted the new dash-
board to be more user-friendly and to have a low learning
curve for a new user. When they presented the existing
dashboard to me, it was pretty confusing because I had
to grab information from different places, recalls Tanrim.
They got complaints from their customers about the unin-
tuitive user interface.
Chinchilla was impressed with Tanrims approach
to the project. Budi is very disciplined and also very
opinionated, which we appreciated, he says. Some-
times we didnt agree with each other, and he would
work out alternatives. But a lot of times he was right with
his approach.
Pages from the design process

about the client


> K ELBY ON E . CO M

Refundo wants to reinvent the tax-related bank product industry; its mission is to help tax professionals serve underbanked individuals and families nationwide. The company offers
a bank product platform to tax preparers that they can use with their own software to help their clients get refunds quickly. The companys Web application offers an intuitive
interface that lets its customers be more productive and save time during tax season. That translates into a low-cost and convenient bank product for underserved communities.
The Refundo team represents more than 25 years of both tax preparation and financial expertise. Some were e-file pioneers, while others have sat behind the desk giving
expert tax advice for decades. This experience and know-how enables the company to offer the tax preparers exactly what they need to serve customers with the utmost integrity
and transparency. [79]
COLUMN

DESIGNER
Budi Harto Tanrim
http://buditanrim.co

[ the process ] Tanrim began his design process by putting himself in the
position of a new user trying to use the dashboard for the
first time. I took a lot of notes about which parts were
confusing, he says, and I can tell you that over 90%
of the existing dashboard didnt work. He then talked
to Refundos marketing team about the issues they faced
when trying to gain a new customer, and to the customer
service team about the most common complaints they got
during the tax season.
After that, he says, his strategy was simple: From all
the information I collected, I focused on the top problems
first: check printing and company profile setup.
The check printing section is where the Refundo user
can print out a check for their customer, which the cus-
tomer can then use to get their tax refund. Tanrim learned
that the users often printed checks in the wrong orienta-
tion, for example, or in the wrong order. Thats an incon-
venience for the customer and a bad look for the tax
professional. The way I solved it was by letting the user
make a dummy printing and save their setup accordingly,
Tanrim says.
To divide the page elements and establish their hier-
archy, Tanrim decided to use a card UI to group features
and information into individual boxes. The downside
about a card UI is that it requires a lot of spacing. Never-
theless, I chose it because most users arent tech-savvy, so
the division has to be obvious for them.
As for color, Chinchilla told Tanrim that he wanted to
keep green as the primary. I used a lot of grays for the
hierarchy, and to make the green stand out from the rest,
Tanrim says. In the final design, all the green buttons and
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Pages from the design process actions are noticeable without a doubt from the user.

[8 0 ]
DESIGN MAKEOVER

DESIGNER
Budi Harto Tanrim
http://buditanrim.co

[ the result ] Budi always started from a sketch, recalls Chinchilla. He


carried around a sketchbook, and hed sketch things out
and show them. Once he felt strongly about something,
hed go ahead and build it with Illustrator or Photoshop,
and eventually little-by-little incorporate that into mock-
ups of the pages. I always went from idea to sketch to
some kind of software, agrees Tanrim.
When they saw the results, people were just aston-
ished by the difference, says Chinchilla. We incorporated
a lot of the feel of the website in the rest of our branding
for our trade show booths, our handouts, and our pam-
phlets. We had Budi make T-shirts for us, as well. Refundo
handed out thousands of the T-shirts at trade shows.
Im absolutely happy, says Chinchilla.
For his part, Tanrim says, Im the type of person whos
never satisfied and always feels something can be better.
However, at the end of this project, I was pretty happy
with the feedback we got from customer service.
The redesign is paying off in usability, too: the number
of complaints is down significantly, and customer feedback
on the new dashboard is great. From an aesthetic per-
spective, Im glad that all my design decisions are pretty
well-balanced, Tanrim says, for simplicity and usability at
the same time.

about the designer


> K ELBY ON E . CO M

Budi Harto Tanrim, based in Surabaya, Indonesia, likes to consider himself a multidisciplinary designer. Though he studied accounting, he found himself interested in and drawn
to design. He discovered 99designs, the online graphic design marketplace, and started entering a lot of the design contests hosted on the site. He won some, which gave
him the opportunity to establish relationships with a couple of clients and maintain them while continuing to study.
After graduating from Universitas Kristen Petra, Tanrim decided to become a full-time freelancer. He connected with a tech startup in San Francisco, called Zerply, which
asked him to help them with a redesign. Hes been dealing with a lot of great companies ever since, he says.
Tanrim believes that in order to be a great designer, he has to understand design from multiple perspectives and draw on his own style and philosophy. With that in mind,
he continues to explore new fields in his spare time, such as realistic drawing and painting. n [81]
> Reviews
GET THE SCOOP ON THE LATEST GEAR

Epson
The new Epson A2, SureColor P5000 printer replaces the vener-
able Epson 4900 with a new print head design, a new ink formu-
lation, and overall ease of use. From the outside, the two printers

SureColor look identical; however, the P5000 is large (34x30.2x15.9") and


heavy (115 lbs.), and this might be a consideration for those with

P5000
limited space. The P5000 is aimed at demanding photographers
who require reliable, high-quality prints, but are content with
print sizes limited to 8x10" through 17x22". I reviewed the P5000
Standard Edition, which includes Epsons Advanced B&W printing
Raising the Bar mode and is intended for photographers.
Review by Steve Baczewski
The P5000 has four paper feeds, three sheet feeds, and a
built-in roll paper feed with cutter. The roll feed, which is power-
driven, is ideal for panoramic prints. The front sheet feed is for
Company: Epson America, Inc. thick stock up to 1.5mm. The paper cassette has the benefit of

Price: $1,995
stacking multiple sheets of paper from 8x10" up to 17x22" and
the added convenience of automatically switching between it and
Rating
the roll feeder. The rear sheet feed is actually on top of the printer
Hot: Increased color gamut; reliability and has one annoying glitch: Its back paper support is flimsy and
only telescopes out a few inches, allowing 17x22" paper to flop
Not: No USB 3 connectivity
backwards. Despite that, I didnt have any paper-skewing issues;
however, I found that it was important to follow Epsons explicit
directions to avoid problems.
The SureColor P5000 seems to have fixed the issue of persistent
clogged nozzles that plagued the 4900 by using an ink repellent
coating on its print head; by using seals to prevent dust from enter-
ing; and instituting automatic inkless nozzle checks. In more than a
month, I havent experienced a single clogged nozzle.
Setup is straightforward, and connectivity is Ethernet or sur-
prisingly USB 2 instead of the faster USB 3. The P5000 isnt Wi-Fi
> P H O T O S H O P U S E R > J U LY 2 0 1 7

enabled. Epson supplies excellent ICC paper profiles on installation.


The printer comes packaged with eleven 80-ml cartridges, and
each standard cartridge holds 200 mls. The new UltraChrome
HDK ink formulation includes black ink thats 1.5 times denser than
earlier formulations, and the difference is clear on PK paper and
especially MK papers, which usually suffer from muddy blacks. The
deeper, richer black provides increased contrast and helps to set
[8 2 ]
REVIEWS

off the other colors. The increased color gamut is due in part to the
addition of orange and green inks, and in fact, green foliage has
an extraordinary vibrancy that I havent seen before. One caveat is
that occasionally I spotted some gloss differential on Luster paper.
The new ink formulation boasts a print permanence of 200 years
for color and 400 years for B&W. I used Bill Atkinsons test target
The deeper, richer black to compare the P5000 with the 4900. Atkinsons target is filled

provides increased contrast with relevant imagery in both color and B&W. Both printers use
the same color inks but the SureColor P5000s new formulation
and helps to set off the other with the denser black wins out. The improvements can be seen in

colors. The increased color smoother tonal gradation, impressive shadow and highlight detail,
and more accurate saturated colors, especially greens, reds, and
gamut is due in part to the yellows. Skin tones are beautiful. In general, theres a better match
between my calibrated display and prints. Printing with Epsons
addition of orange and green Advanced B&W mode shows neutral tones, distinct tonal separa-
inks, and in fact, green foliage tion, smoother gradations, more detail, and richer blacks.
To conserve ink when switching from PK to MK, or visa versa,
has an extraordinary vibrancy theres now a quick mode that uses less ink. The P5000 has a
that I havent seen before. maximum resolution of 2880x1440 dpi, a variable ink droplet size
as small as 3.5 picoliters, and uses 360 nozzles per channel.
> K ELBY ON E . CO M

The SureColor P5000 Standard Edition is another solid printer


from Epson. If youre a professional photographer, its reassuring
to know that the P5000 will deliver prints that match your hard
work in the field. n
[8 3 ]
REVIEWS

Dmitry Sytnyk

Luminar
Luminar is Macphuns all-round image editor, and its Neptune
release (for Macs) updates the app with an AI-based filter and
features that will appeal to professional photographers.

Neptune The biggest news coming from the Luminar Neptune release
is that it has the artificial-intelligence-based Accent AI filter. Its
said to automatically improve images, replacing dozens of other
AI-Based Filter Automates controls in the process. Im a bit allergic to those automatic
Dozens of Adjustments improvement algorithms, because, usually, I can do better.
Review by Erik Vlietinck I expected the Accent AI filter to be in the same marketing-
first-quality-later league, but I was actually happily surprised.
This filter does seem to intelligently adjust your image. The
Company: Macphun
Accent AI filter will spare many photo editors a lot of time, while
Price: $69 it will enable the average iPhone amateur to create decent pho-
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Rating: 5
tos with the use of one slider.
The new version is faster, has an improved crop tool and his-
Hot: Accent AI makes really intelligent choices;
tory, more UI improvements, and support for new RAW formats.
enhanced masking tools
The new Quick & Awesome workspace is ideal if your image is
Not: already sharp in focus and properly lighted. This new workspace

[8 4 ]
REVIEWS

Dmitry Sytnyk
Before After

Dmitry Sytnyk
Before After

The Accent AI filter will has been designed to get good results fast. It features three
filters, including the new Accent AI filter and the Saturation/
spare many photo editors a Vibrance and Clarity filters.
Luminars Vignette filter has been updated with two Styles.
lot of time, while it will enable You can choose from Paint Overlay and Highlights Priority. I found
the average iPhone amateur to their effects subtly different when cranking up the Amount, and
turning down the Feathering and Inner Brightness. Theres also
create decent photos with a very nice Place Center button and different Pre- and Post-Crop
the use of one slider. modes, giving you lots of creative freedom.
The masking tools have been enhanced as well, resulting in
buttery smooth editing. With the Neptune release, youll finally
also be able to round-trip images between Luminar and
Aurora HDR or other Creative Kit apps by Macphun. n
> K ELBY ON E . CO M

[8 5 ]
REVIEWS

X-Rite
Theres only one affordable option thats accurate enough to cali-
brate anything from cameras to displays to printers: the X-Rite i1Pro
2 spectrophotometer. I had the chance to test the Photo edition.

i1Photo Pro 2
The i1Pro 2 is very accurate and fast, and it switches between
UV-brightened and non-brightened media, as you need. The
i1Photo Pro 2 has an expanded feature set that offers photogra-
phers the ability to measure input and output, while correcting
for optical brighteners often found in photo papersall with the
Accurate, Affordable Spectrophotometer same device.
for Calibration and Profiling The device includes i1Profiler software, for which it acts as a soft-
Review by Erik Vlietinck ware dongle. The software features basic and advanced modes for
monitors, video-production workflows, projectors, scanners, and
RGB printers. If you output to a true CMYK printer (there are only
Company: 
X-Rite Pantone a few affordable ones around) or if you need to create specialist
DeviceLink profiles, youre better off with the Publish version as
Price: $1,659 that one comes with the most complete feature set (at $2,499).
The nicely designed and ergonomic i1Photo Pro 2 device comes
Rating: 5
in its own semi-soft carrying case. It includes the ColorChecker
Hot: Speed; design; accuracy; usage scenarios;
Classic target mini, ColorChecker Proof target, an Ambient Light
software offering Measurement Head, Monitor Holder, Projector Holder, Scanning
Ruler, Backup Board, and a Spot Color Positioning Target. All the
Not: accessories are robust, more so than those of its predecessors,
> P H O T O S H O P U S E R > J U LY 2 0 1 7

and with a much better design.


Software-wise, the i1Photo Pro 2 is very complete, profiling all
modern displays, such as LED, Plasma, RG Phosphor, OLED, and
Wide Gamut, and all input and output devices bar CMYK printers.
You can also adjust your monitor to any ambient light condition
for color-critical work. The device also supports calibrating iOS and
Android devices to ensure a client presentation is as accurate in the
clients office as it is in your studio. And the i1Photo Pro does all of
[8 6 ]
that with panache. n
REVIEWS

CalDigit Tuff
Eight months after we reviewed the Tuff 2TB, the most rugged
of all portables is now also the fastest. Just like its sibling, the new
Tuff 1TB SSD complies with military standard MIL-STD-810G and

1TB SSD
has full IP57 certification.
The new Tuff is shipped with the familiar USB 3.1 Gen 2 Type-
C port thats also compatible with Thunderbolt 3. Robustness
matters less with SSDs, but theyre still somewhat vulnerable,
so its kind of reassuring that the SSD version doesnt skimp in
Fast, Rugged Mobile Drive this area.
Review by Erik Vlietinck Since our review of the Tuff 2TB, CalDigit has launched its
own cable range, and the Tuff 1TB SSD comes with one. The
included CalDigit USB-C cable has a coaxial design for durabil-
ity, is capable of charging devices at 12V/3A, and has built-in
Company: CalDigit, Inc. E-Marker technology. (E-Marker is used to communicate power
going from device to device and helps prevent overpowering.)
Price: $499.99 The USB-A adapter cable is non-branded, but it too is now a
50-cm cable.
Rating: 5
The Tuffs throughput only reaches its maximum when you
connect it to a USB 3.1 Gen 2 or a Thunderbolt port. For example,
Hot: Speed and ruggedness; capability to
edit 4K video directly off the drive I ran a Blackmagic Design Disk Speed Test with the commonly
found USB 3.1 Gen 1 connection and it resulted in a decent, but
Not: not spectacular, write speed of 244 MB/sec and read speed of
331 MB/sec; however, when I connected the Tuff to a Thunder-
bolt (Gen 1) port via an adapter, performance went through the
roof: 474.5 MB/sec write speed and 495 MB/sec read speed. The-
oretically, the Tuff is capable of a maximum throughput of 540
> K ELBY ON E . CO M

MB/sec; but in the real world the Tuff 1TB SSD still proved to be
faster than the bare SanDisk SSD I use as a system disk.
The Tuff 1TB SSD is only available with a poison-green
silicon jacket, but different colored jackets are available for $14.95
per jacket. n [8 7 ]
REVIEWS

Profoto B1X
Profoto had a smash hit on their hands three years ago with the
introduction of their much-lauded B1 Air 500-watts/second (Ws),

500 AirTTL
battery-operated strobe. (I own three; theyre feature-rich, tough-
as-nails portable strobes.) Never one to rest on their laurels, Pro-
foto is back with the new B1X 500 AirTTL; however, the B1X is far
from a simple updateits in a league of its own.
Battery-Powered Monolight is
Ideal for On-Location Photography Like its predecessor, the B1X is 500 Ws, ten times more
Review by Michael Corsentino powerful than the average speedlight; but thats where the
similarities end. The B1X sees improvements in three key power

Company: Profoto
areas: the battery, the modeling light, and the implementation
of High-Speed Sync (HSS), along with cosmetic improvements.
Price: $2,095
Profoto also introduced two new light modifiers specially designed
Rating: 4.5 for use with the B1/B1Xs flat-front diffusion glass: the OCF Zoom

Hot: 325 full-power flash pops; 70% brighter Reflector and the OCF Magnum Reflector. The OCF Zoom
> P H O T O S H O P U S E R > J U LY 2 0 1 7

modeling light; 9-stop HSS


Reflector ($149) doubles the effective light output at two meters,
Not: How about more (800 Ws) and the OCF Magnum Reflector ($199) adds even more effective
power, Profoto?
power output.

[8 8 ]
REVIEWS

Starting with all-important battery life, the B1X boasts an


impressive 325 full-power flash pops compared to 220 for the
B150% more battery power, thats nice! Next up, the model-
ing light gets a power boost, going from an effective output of
75 Watts with the B1 to 130 Watts with the B1X. Thats 70%
the modeling light gets a brighterIll take it.

power boost, going from an HSS also gets a major upgrade in the B1X by breaking the 4-stop
HSS barrier of the older B1. The B1X 500 AirTTL allows High-Speed
effective output of 75 Watts
Sync to be used across all 9 stops of its power range. Now, thats
with the B1 to 130 Watts cool! (Thanks to Profoto, B1 users have been gifted this feature via

with the B1X. Thats 70% an available firmware update.)


Rounding out the B1X is a new, all-black exterior finish, and an
brighterIll take it. improved tensioning knob that allows you to tighten down heavier
modifiers. Also, TTL compatibility via Profotos optional Air Remote
TTL ($419) is now available for Canon, Nikon, Sony, and Olympus.
All in all, Profotos new B1X 500 AirTTL is a sexy beast inside and
out. I want 1or 3! n
> K ELBY ON E . CO M

[8 9 ]
REVIEWS

Cine Meter II
The nec plus ultra of iOS light meters for filmmakers and pho-
tographers is Cine Meter II by Adam Wilt. I tested Cine Meter II as
a reflective and an incident meter with an iPad Air 2.

for iOS
Cine Meter II has a waveform monitor, supports false-color
brightness levels, and uses shutter angles by default; but photogra-
phers will probably want to change these settings and show shut-
ter time in seconds and EV values.
Replacement for an Each of your iOS devices cameras has to be calibrated first.
Expensive Light Meter I used a Sekonic L-858d Speedmaster and my Sony A700s
Review by Erik Vlietinck built-in light meter to help with calibration and evaluate read-
outs. With a Luxi for All accessory from Extrasensory Devices
(a universal spring-loaded plastic dome priced at $22.45), you
Company: Adam J. Wilt can turn Cine Meter II into an incident light meter.
The app is very easy to use. By default, Cine Meter II floats expo-
Price: $24.99
surefloating values change with the light while you set the other
Rating: valuesbut you can easily change that and even lock exposure or
white balance to measure ND filters and ISO. The one thing Cine
Hot: Accurate; well-designed interface; very Meter II doesnt do is measure strobe light.
complete set of parameters to set color
values, waveform monitor When I actually started measuring light values, they were con-
sistent with the Sekonics, even with the iPads large, bright screen
> P H O T O S H O P U S E R > J U LY 2 0 1 7

Not: Inability to measure speedlight strobes glowing in a scarcely lit environment. Half an f-stop was the big-
gest difference I came across over the course of a week.
It takes some getting used to, however, when youre using the
bigger iPad with the Luxi for All dome. Cine Meter II with the Luxi
attached was quite sensitive to how I held the iPad. A few degrees
away or toward the light source made quite a difference. Its an
issue you probably wont experience if you use an iPhone or iPod
Touch, as theyre smaller and less awkward to hold. n
[9 0 ]
REVIEWS

Phottix Ares II
Things have come a long way for the industry and for Phottix
since they released their first 16-channel manual trigger for studio
strobes eight years ago. With the introduction of the Ares II Flash

Flash Trigger
Trigger, Photttix is getting back to their roots with a new budget-
friendly flexible set of manual flash triggers with plenty of bells
and whistles. (The Transmitters and Receivers are $54.95 each, or
you can purchase a kit that has both a Transmitter and Receiver
Wireless Flash Trigger System for $99.95.)
Review by Michael Corsentino Ares II Flash Transmitters and Receivers are perfectly suited for
manual triggering of studio strobes or hot-shoe flashes. Ares II
Triggers sport 16 radio channels from which to choose: the first
four channels are compatible with the Phottix Strato Protocol.
Company: Phottix This means Ares II Triggers can be used with any Phottix Strato
II Receiver or other Phottix products, such as Mitros+ speedlights
Price: Receivers & Transmitters $54.95 each;
Kit: $99.95 and the Indra series of studio lights. You also get four groups
to choose from. Pretty cool trickle-down technology in a new
Rating: affordable package!
Also new to the Ares II is the Digital ID feature that allows
Hot: Inexpensive; manual triggering;
16 channels; 4 groups users to assign their own discrete four-digit code to Ares II
Flash Transmitters and Receivers. This is particularly useful for
Not: No power control, but theyre manual avoiding potentially unwanted interference from other nearby
triggers and only $99
radio triggers when working around other photographers in
crowded situations.
Phottix is also taking care of handheld light meter users like
> K ELBY ON E . CO M

me. Ares II Flash Transmitters are compatible with the Sekonic


L-478DR-PX light meter, making wireless meter readings with
strobes and handheld flashes a snap. n

[91]
R E V I EWS

Photoshop: Step-By-Step Tutorial


For BeginnersLearn How to Start
Using Photoshop and Creating
Professional Looking Photos
A short, simple read, this is a good introduction to Photoshop CC.
By Micheal Stanley
Its not comprehensive by any stretch of the imagination, but for
Review by Peter Bauer
an overview of the program its okay. The promise that the book
(c)ombined with a bit of practice, this knowledge will help you

Publisher: 
Amazon Digital Services
edit like a pro in no time is a bit overblown. A bit of practice
to edit like a pro sort of makes me think that the author defines
Pages: 36 pages (Kindle)
the word bit as years and years. Or perhaps he defines pro
Price: $8.95; $2.99 (Kindle) as someone who has basic skills and can handle simple tasks,

Rating: such as cropping and standard color correction. The book does
include a link to a free download of a book about Photoshop
> P H O T O S H O P U S E R > J U LY 2 0 1 7

hacks. If someone you know doesnt yet own Photoshop and


wants to see if it fits his or her needs, you might recommend this
book as an overview of the program. n

[9 2 ]
R E V I EWS

Adobe Photoshop CC
Classroom in a Book
(2017 release)
This is a comprehensive guide to Photoshop CC 2017, minus,
By Andrew Faulkner and Conrad Chavez
of course, features added after the book was written. As is the
Review by Peter Bauer
standard for this series, the book is very well written and illus-
trated. It primarily uses a series of exercises to help you learn the

Publisher: Adobe Press


various features and tools in Photoshop. The files used in the
projects are available for download so that you can play along
Pages: 400
with the photos used by the authors. (If you have the Kindle
Price: $59.99; $37.67 (Kindle) edition, you can read the book on an iPad, tablet, or laptop

Rating: while working on the exercises rather than flipping back and
forth on a single computer screen.) If you consider yourself to be
an expert in certain areas of Photoshop and want to see what
else there is in the program, try this book. n
> K ELBY ON E . CO M

[9 3 ]
PETERBAUER
> From the Help Desk
ANSWERS TO PHOTOSHOP AND GEAR-RELATED QUESTIONS

I have trouble finding videos and tutorials on specific subjects on the website, especially ones Ive
already watched and want to see again. What can I do? Stan

You can take advantage of the advanced features of the Bookmark Courses: In the upper-right corner of each
KelbyOne.com website. Heres a list of the major features video is a turquoise button that will add that lesson to
that can help you take full advantage of the website: your Dashboard under My Bookmarks. You can access the
Dashboard either through the My Dashboard button at the
Search: Once you log on to the KelbyOne website, youll top right, or the button at the upper-left of the left-side
find the Search button at the upper right. After you type navigation panel. This is great for videos that you think
in your search terms and press Enter, you can filter your youll want to watch again.
search by courses, lessons, tracks, categories, and lessons
by a specific instructor. Heres a helpful link to learn more Discuss this Course: To the lower right of each video
about the Search functionality. course, you can click a button that leads to questions and
comments from other members who have viewed the
Transcripts: Below the video, youll see a Transcript video. You may find answers to questions or you may want
button that takes you to a text version of the video. This is to post your own comment.
especially handy if the presenter mentions a brand name or
piece of equipment you dont recognize. (A brands spelling Ask an Expert: And, of course, you can click the Ask an
may not be exact in the transcript, so when you do a Web Expert button below a video course to submit a question
search you might want to add some additional keywords.) to me. Youll soon get a reply from me or Janine Smith or,
for Lightroom questions, Rob Sylvan. Please, please remem-
Downloads: Many videos (not all) have images or other ber to include what operating system youre usingMac
items available. Below the video, click the Downloads or Windows and which version of the systemand what
button, click Course Assets, and the download will start version of Photoshop youre using. This often makes a big
immediately. In your Downloads folder youll find a .zip difference in the solution and prevents delays when we
file. Double-click it to expand to the courses items. have to email back to ask you.

Learn: Click Learn in the left-side navigation panel, and Gear: Some of the lessons also include a button below
youll be able to show videos according to Tracks, specific the video that lists what equipment is mentioned in the
courses by subject, Webcasts, and a link to the current video, sometimes with links to that item at the B&H
editions of Photoshop User and Lightroom Magazine (as Photo website. n
> P H O T O S H O P U S E R > J U LY 2 0 1 7

well as earlier issues).

[9 4 ]
NEXT STOPS: RICHMOND | NASHVILLE

Richmond, VA | 07.26.17 Nashville, TN | 07.28.17


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