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March 2016 Photoshop Magazine

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T H E A D O B E P H O T O S H O P H O W -T 0 M A G A Z I N E M a r c h 201 6

DYNAMIC Learn how to add depth

and dimension to your
Order matters when
it comes to adjustment
PROVING
RANGE portraits in Photoshop layers and blend modes GROUND

THE OFFICIAL PUBLICATION OF

PHOTOSHOP
WORLD 2016
THE CONFERENCE THAT WILL
CARRY YOU AWAY TO NEW
WORLDS OF CREATIVITY,
INSPIRATION, AND FUN

Visit our website at kelbyone.com

TABLE OF CONTENTS March 2016

Photoshop World:
FEATURE
The Conference Created
34 for KelbyOne Members
Every year as Photoshop World draws nearer,
Scott Kelby gets more and more excited. In
this feature article, he explains why he gets so
excited and why attendees love this show so
much that they keep coming back year after
year. This 3-day educational conference is
created for KelbyOne members, and if youve
never attended one before, be sure to read
Scotts article to learn all the reasons why you
shouldnt miss it this year.

Scott Kelby
Kevin Newsome

Departments How-To
From the Editor
006 020 DOWN & DIRTY TRICKS
Light Bulb Brush Effect

Contributing Writers
009 028 DOWN & DIRTY TRICKS
Nesting Heads

About Photoshop User Magazine

010 048 BEGINNERS WORKSHOP
How to Smooth Skin Realistically

KelbyOne Community
012 060 PHOTOSHOP PROVING GROUND
Layers, Part 2: Blend Modes & Adjustment Layers

Exposed: Industry News

016 064 PHOTOSHOP TIPS
Boost Your Productivity and Creativity

066 LIGHT IT
Film Noir: A Classic Style with a Modern Twist

104 FROM THE ADVICE DESK

Answers to Photoshop & gear-related questions

DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it means All lighting diagrams courtesy of Sylights
there are either downloadable practice files or additional content
for KelbyOne members at http://kelbyone.com/magazine. Click this symbol below to access the Table of Contents.
KELBYONE.COM

Lightroom Magazine
075 LIGHTROOM WORKSHOP
Retouching Portraits

080 UNDER THE LOUPE

Fixing Family Photos in Lightroom

086 MAXIMUM WORKFLOW

Imagenomic Portraiture

092 LIGHTROOM Q&A

094 LIGHTROOM TIPS & TRICKS

Scott Kelby
Portraits with
DYNAMIC
RANGE 52 Depth & Dimension
Manipulating the light, contrast, and sharpness in
Photoshop can help you create portrait images with
a three-dimensional look and feel, as if the subject
is coming toward you from the canvas. Glyn Dewis
shares all of his techniques for retouching portraits to
achieve these incredible results.

Glyn Dewis

Reviews
096 DSC Labs ChromaMatch Pro

097 Affordable Cyc Wall Systems

Epson SureColor P400 Printer

098 Phase One 100MP Digital Back

VAIO Z Canvas

099 Epson PictureMate PM-400 Personal Photo Lab

Strata Design 3D CX 8.1

100 Photoshop Book Reviews

A FEW WORDS FROM SCOTT KELBY

From the Editor

f rom photoshop world to
member-only webcasts
Its been about a month, so I wanted to update you on some of the cool stuff happening at KelbyOne, and in the magazine. Of course,
the big news is that registration is now open for the 2016 Photoshop World Conference in Las Vegas, where you can meet and learn
from the same KelbyOne online instructors. But, its different classes, its all live, and youre right there in the middle of it. Thousands of
KelbyOne members will come together for this event from all around the world. This conference was created for you, so youve gotta
be there.
More on that in a minute, because first I want to jump into some other cool stuff, starting with the KelbyOne app update. When we
launched our new Web experience back in November, it created kind of an unexpected, well, I think disaster wouldnt be too strong a
word. While it didnt affect all members, even if it affects two, thats too many. The good news is the apps completely fixed and running
better and faster than ever, which is awesome (and long overdue).
The next phase, updating the Android version, has already begun. In the meantime, we aired a live, members-only webcast to do
two things: (1) teach people how to use the app (its incredibly easy), and (2) get direct member feedback on what they want to see
in it, because now that its updated, we can start adding cool features again (you can see the webcast replay here). One thing were
working on is including the magazine right in the app, making it really convenient to read. Ill let you know when that feature goes live,
so stay tuned.
Also, I hope youre enjoying the new platform were serving up the magazine in now. Its a huge upgrade from what we were using.
We can add all sorts of new and cool interactive features, like the interactive polls and quizzes youll find throughout this very issue. This is
just the beginning, and an important step in making the digital version of Photoshop User magazine the very best it can be. My hats off
to our Managing Editor, Chris Main, who worked tirelessly to find just the right fit of features, ease-of-use, and a platform that addressed
what our members were asking for most (high-five, Chris!).
I just alluded to another thing were focusing on this year, which are live, private members-only webcasts, where we bring you people
and topics you wont find anywhere else. We kicked this off with a special broadcast featuring two of Canons top tech gurus, Brent
Ramsey and Rudy Winston, in a live Q&A about Canons just-released EOS-1DX Mark II. Brent and Rudy fielded questions on all sorts
of topics, and they totally crushed it. Were archiving these webcasts, so if you miss one, you can still catch the replay. I hope youll take
advantage of them.
One more thing Im sure youll notice is some of the improvements weve made to the backend of our new site. In particular, I hope
youre digging the improved overall speed, where pages load faster, videos load faster and are smoother, and its just a much more
enhanced experience overall. Were working on lots of new things to make your membership more valuable and more useful, and to
make you more productive and creative all without raising the cost. Not only are we glad youre here with us, were working hard to
make your experience even better, here in the magazine, and on the site.
Lots of cool classes are coming up, as well as lots of great tutorials and articles here in the magazine, including our cover story on the
2016 Photoshop World Conference in Las Vegas (starting on page 34). As a KelbyOne member, you get $100 off a full-conference pass.
Plus, if you register now, you can save $100 on the early-bird special. So, you can get a full-conference pass, for the full three-days, for
p h ot o s h o p u s e r m a r c h 2 0 1 6

just $599 (if youve ever attended a three-day conference of any kind, in any industry, you know thats an incredible steal)! Weve also
negotiated special room rates at Mandalay Bay (our host hotel, and where the conference is held). All the details are at Photoshopworld
.com. So, come join us July 1921. Youll learn more in three days than you have in three years!

All my best,

Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Photoshop User
006
The official publication of KelbyOne

MARCH 2016 Volume 19 Number 3

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

Contributing Writers
Ajna Adams Steve Baczewski Corey Barker Peter Bauer
Tom Bol Pete Collins Michael Corsentino Glyn Dewis
Sen Duggan Daniel East Sean McCormack Colin Smith
Lesa Snider Rob Sylvan Scott Valentine Erik Vlietinck

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

MARKETING:
Ajna Adams Kleber Stephenson Lindell Stover

WEB:
Brandon Nourse Yojance Rabelo Aaron Westgate

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

ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 152
Veronica (Ronni) ONeil, Director of Circulation/Distribution
800-738-8513 ext. 235

HOW TO CONTACT KELBYONE:

U.S. Mail: 118 Douglas Road East Oldsmar, FL 34677-2922
Voice: 813-433-5000 Fax: 813-433-5015
Customer Service: [email protected]
Letters to the Editor: [email protected]
Letters to the Lightroom Editor: [email protected]
Advice Desk: http://kelbyone.com/my-account/helpdesk

COLOPHON:
Photoshop User was produced using Adobe Photoshop CC 2015 and
Adobe InDesign CC 2015. Roboto was used for headlines and subheads.
Frutiger LT Std for text.

This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.

All contents COPYRIGHT 2016 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

| fuel for creativity their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 2470-7031 (online)
PHOTOSHOPS MOST WANTED

Contributing
Writers
STEVE BACZEWSKI
is a freelance writer, professional photographer, graphic designer, and DANIEL EAST
consultant. He also teaches classes in traditional and digital fine arts photography. is an author, freelance writer, presenter/trainer, and consultant with more than
His company, Sore Tooth Productions, is based in Albany, California 20 years experience in photography, pro-audio, and marketing. Daniel is also founder
and president of The Apple Groups Team support network for user groups.
COREY BARKER
is an award-winning designer and illustrator. A featured instructor at the Photoshop SEAN McCORMACK
World Conference and an Adobe MAX Master Instructor, he has produced numerous is the author of Essential Development: 20 Great Techniques for Lightroom 5.
training titles for KelbyOne. Look for his upcoming The Photoshop for Designers Book. Based in Galway, Ireland, he shoots subjects from musicians, models, and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com.
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select COLIN SMITH
group of corporate clients. His latest book is Photoshop CC for Dummies. He was is an award-winning digital artist, photographer, and lecturer who has authored
inducted into the Photoshop Hall of Fame in 2010. 18 books and has created a series of training videos. Colin is also the founder of
the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
TOM BOL
is an editorial and commercial photographer specializing in adventure sports, LESA SNIDER
portraits, and outdoor lifestyle photography. His images and stories are used is the author of Photoshop CC: The Missing Manual, Photos for Mac and iOS:
worldwide. You can see more of his work at www.tombolphoto.com. The Missing Manual, several eBooks, and more than 40 video courses. She also
writes a weekly column for Macworld. For more info, visit PhotoLesa.com.
PETE COLLINS
is an education and curriculum developer and website overseer for KelbyOne. ROB SYLVAN
He is one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts is the Lightroom Help Desk Specialist for KelbyOne, on staff at the Digital Photo
background, Pete is well versed in photography, graphic design, and illustration. Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom SCOTT VALENTINE
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker is an Adobe Community Professional and Photoshop author. His latest book
and international workshop leader. Learn more at www.michaelcorsentino.com. is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
GLYN DEWIS
is a photographer, retoucher, trainer, and author based in Oxford, UK. His clients range ERIK VLIETINCK
from athletes to the BBC. An Adobe Influencer and Photoshop World Dream Team founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education,
Instructor, he teaches around the world, including at his own series of workshops. Erik has been a freelance technology editor for more than 20 years. He has written
for Macworld, Computer Arts, Windows NT Magazine, and many others.
SEN DUGGAN
is the co-author of Photoshop Masking & Compositing, Real World Digital
Photography, and The Creative Digital Darkroom. He leads workshops on digital
photography, Photoshop, and Lightroom (SeanDuggan.com).
k e l b yo n e . c o m

009
ABOUT PHOTOSHOP USER

Photoshop User
Magazine
Photoshop User magazine is the official publication of

Photo & Compositing: DomQuichotte; Stock Images: Fotolia

KelbyOne. As a KelbyOne member, you automatically
receive Photoshop User ten times a year. Each issue
features in-depth Photoshop, Lightroom, and photo
graphy tutorials written by the most talented designers,
photographers, and leading authors in the industry.

About the Cover: DomQuichotte won a Photoshop

World 2014 Guru Award with this amazing image in
the Photo Montage category.

About KelbyOne
KELBYONE MEMBER DISCOUNTS
is the worlds leading resource for Adobe Photoshop, Lightroom, and Save anywhere from 23 times your membership cost by using our many
photography training, news, and education. Founded in 1998 as the National industry-related discounts.
Association of Photoshop Professionals (NAPP), KelbyOne has evolved from
NAPP and KelbyTraining to create a singular hub for creative people to learn, grow,
and inspire. From photographers to graphic designers, beginners to professionals,
KelbyOne is open to everyone. TECH SUPPORT
Fast, friendly Photoshop, Lightroom, and photo gear help; equipment
Theres no faster, easier, and more affordable way to get really good at Photoshop advice; and more from certified experts.
and photography. You can join for only $19.99 per month or $199 U.S. for a full
year of training. To learn more, visit www.kelbyone.com.
MEMBER COMMUNITY
KelbyOne members range from beginners to pros and love to lend each

Member Benefits
other a hand. Together, we have built the friendliest, most knowledgeable
Photoshop and photography community on the Web.

PHOTOSHOP USER MAGAZINE NEWS & REVIEWS

Ten issues of the best Photoshop tutorial-based magazine in the industry. Unbiased coverage on the latest equipment, plug-ins, and programs
in the marketplace.
MEMBERS-ONLY WEBSITE
p h ot o s h o p u s e r M a r c h 2 0 1 6

Our extensive website features time- and money-saving content.

MONTLY E-NEWSLETTER
ONLINE CLASSES & EDUCATION The KelbyOne Newsletter is your monthly connection to everything
Thousands of Photoshop and photography tutorials, full online classes, KelbyOne. Its produced exclusively for members to keep you informed of
and quick-tip videos. everything new in the industry and at KelbyOne headquarters.

010 FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 MondayFriday, 9:00 a.m. to 5:30 p.m. EST.
KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
By Ajna Adams

Peter Hurley
in the House
We were beyond thrilled when Peter Hurley, author of The Headshot,

Ajna Adams
stopped by our headquarters on February 18 to guest-host our weekly
photography show, The Grid, alongside Scott Kelby. Before The Grid
aired, we took the opportunity to host a fun social-media contest with
Peter as our judge. We asked our community to submit their favor-
ite headshot or profile pics, and the engagement was spectacular!
After receiving hundreds of submissions across Facebook, Twitter, and
Instagram, we sat down with Peter and our Periscope community for a
live judging session that was both fun and educational. While critiqu-
ing your submissions, Peter gave us some great tips on how to create
amazing headshots.
During our live broadcast of The Grid, Scott announced the winners, hand-selected by Peter himself, and each one
received a signed copy of The Headshot. Congratulations to our winners: Mike Carrigan, Mads Peter Iversen, Travis
Putman, Denis Lomme, and Jeff Rease! Check out some of their images on the next two pages, and then be sure to join
us on The Grid each Wednesday, at 4 p.m. EST.

Make Your Magazine Even Better!

Click on the Member Input logo (below) to vote on what topics youd like to
see covered in future issues of Photoshop User, plus take our quiz on page 101
to test what you learned in this issue!

Happy Birthday, Ansel!

On February 20, we took to Facebook to honor legendary photographer Ansel
Adams with a short-and-sweet happy birthday message that really resonated
with our community. With more than 400 Shares and 1,300+ Likes later, all
organic, we heard how important this iconic photographer is to the photography
community as a whole and to you as individuals. We heard stories that both
inspired and motivated us to keep doing what we love. I was lucky enough to
take his class on the zone method in Yosemite in 73, Michael Long shared. Paul
Bardotz wrote, When learning about photography, I read every book he had
published. Love learning!

Jeremy Cowarts Im Possible Video

p h ot o s h o p u s e r m a r c h 2 0 1 6

Goes Viral with Nearly 2 Million Views

Hes one of the most influential photographers in the world, and also one of our
instructors! In a video posted to Facebook on February 16, Jeremy Cowart shares
his story. Here it ismy past, present and future, he writes. To every single
human in the world who thinks they cant do somethingthis one is for you.
Growing up, I was never smart, he says in the video. I couldnt pay atten-
tion for more than 3 minutes. I was a terrible listener, and I made bad grades.
I was quiet, shy, and really just average. I remember always telling my mom and
my dad, I cant do this. Everything I did ended with those words. Thats when
my dad started reprogramming my brain.
012 Watch the video here and be sure to check out Jeremys KelbyOne courses!
KelbyOne Headshot Contest
PHOTOGRAPHER: TRAVIS PUTMAN | MODEL: VINCENT ALFONZO JAMAL

k e l byo n e . c o m

013
KelbyOne Headshot Contest
PHOTOGRAPHER: DENIS LOMME | MODEL: ISABELLE LOMME
KelbyOne Headshot Contest
PHOTOGRAPHER: JEFFREY RE ASE | MODEL: WANNETTA CORDER

KelbyOne Headshot Contest

PHOTOGRAPHER: MADS PETER IVERSEN | MODEL: JESPER BRANDT
KelbyOne Community

Whos Who
in the KelbyOne Community
Dave Williams hides behind the alias Hybrid Dave. Hes a travel his bodybuilder classes, which translate to weddings. There are
and wedding photographer based in London. His professional just too many to choose a favorite!
affiliations are with the Guild of Photographers, the Society of
Wedding and Portrait Photographers, the Society of International What are you most proud of, personally
Travel and Tourism Photographers, and hes a proud contributor and professionally?
for Getty Images. He loves a photographic challenge, and to say What an open question. I have to say that on a personal level,
that hes a travel photographer is a clear sign that he shoots a mostly because Im such a klutz, Im proud of keeping my pho-
huge range of styles. tography business running for nearly 5 years now. Go me! (And
Peter, obviously.) On a professional level, Im lucky enough to
have gotten through to the final round of the Wildlife Photog-
Dave Williams

rapher of the Year and of the Times Travel Photographer of the

Year recently. Its no win, but its a win for me! Im always game
for a challenge, and this just sets a bar for me to go forward and
beat myself and realize some dreams.

So, youre going to Photoshop World this year.

What do you hope to gain from the conference?
Ive never been; it just kept being one of those things on the
bucket list, until this year. Peter and I are seriously looking for-
ward to it, and of course Ive planned a whole photography mis-
sion around it whereby Ill be flying into Vancouver and heading
down the west coast through Seattle, San Francisco, and driving
into Vegas to hit the show before a hop over to New York City
How and when were you introduced to KelbyOne?
to unwind until I head back home. I cant wait to meet a whole
Ive been into photography since I was 14 and my parents got me
bunch of people; I think thats what Im looking forward to the
a Nikon F40 for my birthday. Back in the day, it was difficult to
most. Second to that, you can watch a class online and learn a
practice because you never knew what had happened until the
lot, but theres no substitute for being there in front of a teacher
prints came back, and by then it was often too late to remem-
telling it like it is.
ber what youd done right and wrong. With the evolution of the
digital age I stepped up with a Sony a200 and was using Scott
What would we be surprised to know about you?
Kelbys Digital Photography Books. In the UK, there isnt much
Tough one. How about this? When Im not behind the lens (or
of a KelbyOne presence, but I stumbled on it a few years ago and
in front of a Mac), I spend time developing kids into tomorrows
its such a wealth of inspiration and information that I maintain its
adults. Im a Royal Air Force Air Cadets Sergeant. Im the training
incredible worth and tell my photog friends about it all the time.
officer at a Squadron in Hampstead, London, where I teach a
variety of skills and lessons, including History of Flight, Principles
How has KelbyOne helped you grow in your
creative endeavors? of Flight, Pilot Navigation, and First Aid. Im a range officer so
My main focus in photography is travel, but I run Hybrid Photog- I take them shooting with full-bore small arms. How about that?
raphy in partnership with my best friend Peter Treadway (Hybrid Its my inner geek really.
Peter). Together, were always striving to up our portrait game,
and KelbyOne is a massive source of knowledge in that respect. Who are your greatest professional inspirations?
Youre literally learning from the best in the businessthat makes To be nonspecific, anyone who shoots regularly for the likes of
it an invaluable resource. Lonely Planet. Thats where I want to be, and thats where I often
seek inspiration. To be a bit of a suck up, its Scott. The man is a
k e l byo n e . c o m

Tell us about a favorite course that youve legend, lets be honest. To be in a place where you can profit from
watched recently. doing what you love and helping others is inspirational, and if I was
Im a big fan of any of Scotts courses. He has such an incred- there, Id be a very happy man.
ible bank of knowledge, but for its sheer fun factor I have to say
Kaylee Greer! The dog portraits she gets are stunning. Having To see more of Daves work, visit Facebook.com/hybrid.dave
said that, Im a big Glyn Dewis fan and Ive learned a lot from and hybriddave.com.
015
Exp sed: Industry News
The latest news about photography gear, software, and services
By Chris Main

The New EOS 80D

and other Products from Canon
Canon U.S.A., Inc., recently announced the new Canon EOS
80D Digital SLR. Features in the 80D include: a new 45-point
all cross-type AF system; an intelligent Viewfinder with
approximately 100% viewfinder coverage; a newly developed
24.2-megapixel (APS-C) CMOS sensor; a DIGIC 6 image pro-
cessor; improved Dual Pixel CMOS AF for smooth, fast, and
accurate autofocus with video and stills; built-in Wi-Fi and
NFC; 1080/60p full HD video; and a vari-angle touch screen
3.0" Clear View LCD II monitor that enables flexible position-
ing and clear viewing.
Canon also announced a new lens, the EF-S 1835mm Canon also announced the Canon Directional Stereo
f/3.55.6 IS USM, which will serve as a kit lens for the new Microphone DM-E1. This is the first Canon-branded external
80D. This the first Canon lens equipped with Nano USM, a microphone for the EOS system. The new microphone can be
new type of focusing motor that combines the benefits of rotated up and down from 90120. And finally, Canon also
a ring USM (ultrasonic motor) for high-speed AF during still launched two new compact cameras: the PowerShot G7 X
Mark II and the PowerShot SX720 HS.
Just as we were wrapping up this issue, Canon also
announced the EOS Rebel T6, their newest entry-level DSLR.
The T6 features an 18-megapixel CMOS (APS-C) image sen-
sor, a DIGIC 4+ image processor, an ISO range of 1006400
(expandable to H: 12800), a 9-point AF system (including one

photo shooting and lead-screw type STM (stepping motor) for

smooth and quiet movie AF, and a faster driving speed of the
focusing lens than the previous model.
To make it even easier to shoot movies with a Canon
DSLR or Cinema EOS cameras, Canon also introduced the
Power Zoom Adapter PZ-E1. Specifically constructed to be
compatible with the new Canon 18135mm lens, the PZ-E1 is
the worlds first detachable zoom adapter that provides silent center cross-type AF point) and AI Servo AF for impressive
and smooth zoom and can be adjusted incrementally to 10 and accurate results, and built-in Wi-Fi and NFC. For informa-
different levels of zoom speed. Additionally, the PZ-E1 can be tion on each of these new products from Canon, click on
p h ot o s h o p u s e r m a r c h 2 0 1 6

controlled remotely using the Canon Camera Connect app. the blue product names above or visit www.usa.canon.com.

Topaz Announces
DeNoise 6
Topaz Labs recently announced the availability of DeNoise 6, their application for
eliminating noise in digital images. The latest version can now run as a standalone
application, but it still works as a plug-in for both Photoshop and Lightroom. It
includes dozens of new camera-specific presets based on various camera profiles,
with multiple ISO presets for each camera. These presets can help remove noise in
just one click. DeNoise 6 now also supports High-DPI monitors, and batch process-
ing is available in the standalone edition. For more information, click on the blue
016 product name above or visit www.topazlabs.com.
e x p o s e d: i n d u st ry n e w s

Sigma Introduces
New Cameras, Lenses, and Off-Camera Flash
In February, Sigma announced two new mirrorless cameras, two new lenses, and a
new off-camera flash. Starting with the two cameras, the new Sigma sd Quattro
features an APS-C sized Foveon sensor, while the Sigma sd Quattro H has a larger
APS-H sized sensor for even better image quality. Both cameras are designed to take
full advantage of all Sigma Global Vision lenses, and they use a two-mode autofocus
detection system that combines Phase Detection for focus speed and Contrast Detec-
tion for focus accuracy.
The two new APS-C format lenses include the Sigma 50100mm F1.8 DC HSM
Art Lens and the Sigma 30mm F1.4 DC DN Contemporary Lens. The 50100mm
is based on the same engineering as the Sigma 1835mm F1.8 DC HSM Art Lens
but has a new Hyper Sonic Motor thats 30% slimmer and provides fast and accurate
AF. According to Sigma, the new 30mm Contemporary Lens is the first affordable
f/1.4 lens for the mirrorless market and is a versatile enough for both photo and video
applications. The 50100mm lens will be available in Canon, Nikon, and Sigma mounts,
while the 30mm will be available in Sony E-Mount and Micro Four Thirds mount.
And finally, the new Sigma EF-630 Electronic Flash is a multifunctional off-
camera flash designed to work with current DSLR cameras. It features TTL exposure
control, high-speed sync, wireless flash functions, and auto-zoom, which adjusts for
focal lengths of 24200mm. For more information on each of these new products
from Sigma, click on the blue product names above or visit www.sigmaphoto.com.

Two New SP Lenses from Tamron

and the new TAP-in Console
Tamron has launched a new accessory that will allow users to update the firmware and
customize setups for selected Tamron lenses. Up until now, firmware updates for Tamron
lenses could only be performed at a Tamron Customer Service Center. Now you can attach
the new TAP-in Console to a compatible Tamron lens and then run the Tamron TAP-in
Utility software on a Mac or PC connected to the Internet. In addition, you can customize
functions such as focus and VC (vibration compensation).
The two new lenses include the SP 85mm F/1.8 Di VC USD and the SP 90mm F/2.8
Di Macro 1:1 VC USD. According to Tamron, the 85mm is the first f/1.8 lens with VC for
full-frame cameras. It uses LD (Low Dispersion) and XLD (Extra Low Dispersion) glass
elements to minimize color fringing and to capture sharp images with high color fidelity.
The Nikon mount will now employ an electromagnetic diaphragm system, which has been
standard in Canon mounts.
The 90mm lens is built on the optical performance of Tamrons previous 90mm
Macro. Image stabilization has been improved by adding XY-Shift compensation to the
VC functionality, and advancements in the USD (Ultrasonic Silent Drive) control software
have increased AF speed and accuracy. Both of the new lenses will be compatible with
k e l byo n e . c o m

the TAP-in Console. For more information, click on the blue product names above or visit
www.tamron-usa.com.

017
HOW TO

Down light bulb brush effect

&Dirty
BY COREY BARKER

Ive seen this effect done a number of different ways in Photoshop.

Tricks
In this tutorial, well re-create the effect using brushes and layer
styles. I like to do it this way because brushes and styles can be
saved so you can use them over and over again, plus its easy to
modify them for numerous configurations. And, it just looks cool!
DOWN AND DIRTY TRICKS

Adobe Stock/Beboy
Step One

Step Two

Step One: Start by opening the image of the light bulb thats
part of the exercise download. This image has good detail in the
round area of the bulb, which will make for a good brush.
[KelbyOne members may download the files used in this
tutorial at http://kelbyone.com/magazine. All files are for per-
sonal use only.]

Step Two: First, remove the color in the image by using the
Gradient Map method: Press D to set the default colors, then
go under the Image menu to Adjustments and choose Gradi-
ent Map. The black to white gradient should automatically be
selected, so just click OK.

Step Three
Step Three: Press Command-I (PC: Ctrl-I) to invert the image
to a negative. Then, choose the Elliptical Marquee tool (nested
under the Rectangular Marquee tool [M] in the Toolbox). Hold
down Option-Shift (PC: Alt-Shift), click in the center of the bulb,
and drag out a circular selection that includes just the round area
of the bulb. Once the selection is made, press Shift-Command-I
(PC: Shift-Ctrl-I) to inverse the selection. Press Command-Delete
(PC: Ctrl-Backspace) to fill the selected area with white, and then
press Command-D (PC: Ctrl-D) to deselect.

Step Four: Press Command-L (PC: Ctrl-L) to open the Levels dia-
log. Push both the white and midtone sliders to the left quite a
bit to make the background around the bulb pure white and
to boost the contrast in the bulb. Click OK. Finally, we used the
k e l b yo n e . c o m

Eraser tool (E) set to Brush in the Options Bar to remove some of
the stem near the bottom right of the bulb.

Step Four 021

DOWN AND DIRTY TRICKS

Step Five: Go under the Edit menu and choose Define Brush
Preset. Give the new brush a name when prompted and click OK.

Step Five

Step Six: Create a new document (File>New) thats 2500x1000

Adobe Stock/Zbyszek Nowak

pixels at 300 ppi. Then, open the wood texture file from the exer-
cise download. This will be the base texture for the final effect.
Switch to the Move tool (V) and click-and-drag this image over
to the new document. Press Command-T (PC: Ctrl-T) for Free
Transform, scale it to fit in the canvas area, and press Enter to
commit the transformation.

Step Six

Step Seven: Press D to set the Foreground color to black, select

the Type tool (T) in the Toolbox, and click on the canvas to set a
text layer. Type whatever word you want to dress in lights. Here,
we just typed, well, LIGHTS. Make sure you use a bold font to
contain the bulbs; were using a font called Swiss Black Extended.

Step Seven

Step Eight: Click on the wood texture layer in the Layers panel
to make it active, and make a duplicate of it by pressing Com-
mand-J (PC: Ctrl-J). Place this duplicate layer above the text layer
in the Layers panel. Press Option-Command-G (PC: Alt-Ctrl-G)
to clip the wood texture layer inside the text layer. Activate Free
Transform and then press Command-0 (PC: Ctrl-0) to expand
the window so you can see the entire bounding box. Hold down
p h ot o s h o p u s e r m a r c h 2 0 1 6

Shift and click-and-drag outside the bounding box to rotate the

wood texture 90 inside the text. Then, hold down Option (PC:
Alt), grab one of the side control points, and scale the texture out
horizontally to fill the text. Press Enter when done.

022 Step Eight

DOWN AND DIRTY TRICKS

Step Nine: Now well use a couple of layer styles to add more
dimension to this text. Click on the type layer in the Layers panel
to make it active, then click the Add a Layer Style icon (x) at
the bottom of the Layers panel and choose Bevel & Emboss. Use
the settings shown here to get a nice sharp edge. To change
the Gloss Contour, click on the down-facing arrow next to the
preview thumbnail and choose the Cone Inverted preset from
the Contour Picker. Dont click OK yet.

Step Ten: Next, activate Drop Shadow in the list of Styles on the
left. The settings shown here work well on the wood texture.
Notice the color we chose for the shadow is a dark burgundy Step Nine
color we sampled from the wood itself. (Note: To sample a color
from the wood, click on the color swatch to the right of the
Blend Mode drop-down menu, click on a color in the image that
you want to use, then click OK to close the Color Picker.) Click
OK to close the Layer Style dialog. Finally, drop the Opacity of the
clipped wood layer to 50%.

Step Eleven: Select the Brush tool (B) in the Toolbox, click on
Step Ten
the brush preview thumbnail in the Options Bar, and locate the
bulb brush that we created at the beginning of this tutorial; it
should be at the very bottom of the Brush Preset Picker. Open
the Brush panel (Window>Brush), and in the Brush Tip Shape
section, set the brush Size to around 45 px and then set the Spac-
ing to around 160%.

Step Twelve: Activate Shape Dynamics on the left side of the

Brush panel, set the Size Jitter to 3% and the Angle Jitter to
50%. The preview at the bottom of the Brush panel will give you
a good idea of how the brush will work.

Step Thirteen: Click on the Create a New Layer icon at the

bottom of the Layers panel to create a new layer at the top of Step Eleven Step Twelve
the layer stack. Go into the Add a Layer Style menu at the bot-
tom of the Layers panel and choose Outer Glow. Set the color
to a bright yellow and then use the other settings shown here.
Dont click OK yet.

Step Fourteen: Next, activate Drop Shadow. Well use this to

enhance the glow. Choose another yellow color that has a bit
more orange in it. Then use the other settings shown here. Be
k e l b yo n e . c o m

sure to experiment with sizes and even Blend Modes to get differ-
ent looks. Now, click OK to close the dialog.

Step Fourteen
Step Thirteen 023
DOWN AND DIRTY TRICKS

Step Fifteen

Step Sixteen Step Seventeen

Step Fifteen: Press D then X to set the Foreground color to white,

and then just paint the bulbs in the area of the letters as you see
here. The layer style will give the effect of the bulbs emitting light.
Again, you can adjust the intensity of the layer styles at any time by
simply double-clicking on their names in the Layers panel.

Step Sixteen: Once you have the lights done, load the flare
brush thats also provided in the download files, or you can use
your own custom brush. To load the brush, simply double-click
the Flare Brush.abr file in the Finder (PC: Windows Explorer).
Once loaded, youll find it at the bottom of the Brush Preset
Picker. Just dab the flares on a few random bulbs on the same
Step Eighteen
layer. This will add a little variance to the lights.

Step Seventeen: Click on the original background wood layer

in the Layers panel to make it active, and press Command-L (PC:
Ctrl-L) to open the Levels dialog. Push the highlight Output Levels
slider near the bottom to the left to darken the overall texture,
and click OK.

Step Eighteen: Next, add a Gradient Overlay layer style to

enhance the lighting. Click on the Gradient preview; select the
Black, White preset; click OK to close the Gradient Editor; check on
the Reverse box; and set the Style drop-down menu to Reflected.
You can use the other settings shown here or experiment to get
different looks. Click-and-drag directly in the document to posi-
tion the brightest part of the gradient over the letters. Click OK
when done.
p h ot o s h o p u s e r m a r c h 2 0 1 6

Step Nineteen: Create a new blank layer and place it between

the clipped wood layer and the bulb layer. Set the layer blend
mode near the top left of the Layers panel to Hard Light and the
Opacity to 75%. Next, grab the Gradient tool (G) in the Toolbox.
In the Options Bar, click the Radial Gradient icon, then click on the
gradient preview thumbnail, choose the Foreground to Transpar-
ent preset, and click OK to close the Gradient Editor. Click on the
Foreground color swatch near the bottom of the Toolbox, choose
an orange color like the one shown here, and click OK.

024
Step Nineteen
DOWN AND DIRTY TRICKS

Step Twenty

Step Twenty: Now just draw a few gradients starting in the

Adobe Stock/Vidady
bright areas where you added the flares and dragging out a little
ways. This puts an enhanced glow around the text as if its com-
ing from the bulbs.

Step Twenty-One: At this point you could call the effect done,
but why stop here? Here we have an image of sparks (in the
download files) that would look cool if they were added to the
bulbs as if there were some kind of power overload. Since the
sparks are on a black background, theyll be easy to extract. Just
open the Channels panel (Window>Channels) and Command-
click (PC: Ctrl-click) on the Red channel thumbnail to load the
bright areas as a selection. Then, press Command-J (PC: Ctrl-J)
to copy the selected area to a new layer.

Step Twenty-Two: Go under the Layer menu to Matting and

choose Remove Black Matte to clear the dark edge around
the sparks. Step Twenty-One

Step Twenty-Three: Using the Move tool (V) click-and-drag the

sparks into the bulb image. Then, use Free Transform to scale
and rotate them around one of the bulbs as you see here. Now
you have an old wood lighted sign with a bad short.
Step Twenty-Two

k e l b yo n e . c o m

025
Final
HOW TO

Down nesting heads

&Dirty
BY PETE COLLINS

This type of imagery has been around for a while and it always

Tricks
reminds me of Monty Python. Its a unique look that conveys

complexity, depth, mystery, or just being mental. Some folks

may find it a bit creepy; I find it a lot of fun.

DOWN AND DIRTY TRICKS

Step One: This technique can be used with just about anyones

Adobe Stock/noel moore

head, but if you want to make your job easier, use a head thats
a bit follicly challenged. This will make selecting and nesting
easier. This image was found on Adobe Stock.
[KelbyOne members may download the file used in this tuto-
rial at http://kelbyone.com/magazine. All files are for personal
use only.]

Step Two: First, we need to select the head. Whether you have
a head with hair or not, one of the best tools to use for this is
the Quick Selection tool (W). Click-and-drag your cursor around
the inside edge of the head and it should do a pretty good job
of making a selection. Hair will require a little more patience and
maybe youll need to hold down the Option (PC: Alt) key to sub-
tract any areas that you accidentally selected.

Step Two

Step Three: Once you have the head selected, and before you
do anything else, go up to the Options Bar and click on the
Refine Edge button. The Refine Edge dialog will open and youll
probably have an image that looks something like this. You can
change the look of the background in the View drop-down
menu. I find that when working with lighter images, a black
background shows up the best, so choose On Black (B).

Step Three

Step Four: Youll see the selection is pretty good but a little
jagged in places. Check on the Smart Radius box and drag the
Radius slider to around 2.7 px. Now, use the Refine Radius
tool (E) to paint around the edge of the head to help refine the
selection. You may also want to drag the Smooth slider a bit
to help smooth out any bumps. Set the Output To drop-down
menu near the bottom to Selection, and Click OK to close the
Refine Edge dialog. Press Command-J (PC: Ctrl-J) to copy just the
selected head onto its own layer.
k e l b yo n e . c o m

029
Step Four
DOWN AND DIRTY TRICKS

Step Five: Now grab the Elliptical Marquee tool (nested under
the Rectangular Marquee tool [M] in the Toolbox) and drag across
the forehead where you would like to make the cut. This will give
you a clean cut, so if you want a more organic look, you could
freehand it with the Lasso tool (L). The ellipse you drag out will
probably be too small to cover the entire top section of the head,
so hold the Shift key and drag out a second ellipse to include
everything above the cutline. Command-X (PC: Ctrl-X) will now
cut off that part of the head, and Command-V (PC: Ctrl-V)
will paste the cut section on a new layer.

Step Five

Step Six: Youll want to use the cutoff section as the back area
of the head. To better see what youre doing, click the Eye icon
next to the original Background layer to hide it, click the Create
a New Layer icon at the bottom of the Layers panel, drag this
new layer above the Background layer, press D then X to set the
Foreground color to white, and then press Option-Delete (PC:
Alt-Backspace) to fill the layer with the Foreground color.
Now, simply drag that cutout (or skull) layer below the head
layer in the Layers panel, press Command-T (PC: Ctrl-T) for Free
Transform, Right-click inside the bounding box, and choose
Rotate 180. Youll want to rotate it instead of flipping so that the
shadowing matches up (the light from the right causes shadows
on the left side of the face and vice versa for the inside of the
head). Now drag the skull layer into place so that it matches the
edges of the front scalp. Press Enter to commit the transformation.
p h ot o s h o p u s e r m a r c h 2 0 1 6

030 Step Six

DOWN AND DIRTY TRICKS

Step Seven: Because the skull section is the same lightness as

the rest of the head, it will look more believable if you darken it
using a Brightness/Contrast adjustment layer. Click on the Create
New Adjustment Layer icon at the bottom of the Layers panel (it
looks like a flat yin-yang symbol), and youll have a list of adjust-
ments. Choose Brightness/Contrast and then click the bottom
icon in the Properties panel that looks like a square with a 90
arrow. This will attach the adjustment to the layer thats directly
below so it doesnt affect the whole document. Now drag the
Brightness slider to the left to darken the inside of the head.
Press Command-E (PC: Ctrl-E) to merge the adjustment layer
with the skull layer. Once youre done, click on the head layer to
make it active, Shift-click the skull layer to select both layers, and
then click the Link Layers icon (chain) at the bottom of the Layers
panel to link them together so they will move as one.

Step Seven
Step Eight: Using Free Transform, resize and position the head
near the bottom of the image. Make sure that both layers are still
selected and then press Command-J (PC: Ctrl-J) three times to
make three more copies of the head and skull. In the Layers panel,
select the second set of copies from the top, and use the Move
tool (V) to drag the head and skull straight up. Using Free Trans-
form, hold Shift-Option (PC: Shift-Alt) and transform this second
head so it looks like it will fit inside the bottom head. Now, work
your way down the Layers panel and do the same for the third
and fourth group. Youll now have all of the heads stacked, but
they wont look like theyre nesting inside one another.
k e l b yo n e . c o m

Step Eight 031

DOWN AND DIRTY TRICKS

Step Nine: Once all four sets of

heads are in place, click through
the layers in the Layers panel, and
click the Link Layers icon for each
linked layer to unlink the heads
from the skulls. Drag each skull
layer down below all the head
layers in the stack of layers so
they appear behind the heads.
Now grab the Brush tool (B), set
it to a soft round brush, press D
to set it to black, and set the
Opacity to 20% in the Options
Bar. Create a new layer below
each of the head layers, except
for the layer that contains the
smallest head at the very top. On
each blank layer, paint so it looks
like the head in front is casting
a shadow on the head nested
inside it. Do that for each head so
they look like theyre interacting
with each other. When youre
done, the layers should look
something like this.
Step Nine

Step Ten: Now youll want to add a background that fits with

Fotolia/csp_Alkestida
what youre trying to convey. Since this image is pretty surreal,
well give a little nod to Salvador Dali with this desert image. The
sign was taken out in the final image. You can use any image
youd like for the background.
p h ot o s h o p u s e r m a r c h 2 0 1 6

032
Step Ten
DOWN AND DIRTY TRICKS

Step Eleven: Once we had this background in place, the heads

seemed to be a little too blue. So, we selected all the layers that
made up the nested heads and pressed Command-G (PC: Ctrl-G)
to place them into a single layer group. From the adjustment
layer icon menu, we chose Photo Filter. The default Warming
filter did just fine after adjusting the Density to around 18%. This
affected the entire scene, so we clicked on the square with the
90 arrow to clip the adjustment to only the layer group. And
there you have it!
Step Eleven

Once you have this simple technique down, you can add more
stuff like plants, tentacles, or anything you can think of coming
out of the top heador even all of the heads. This can be espe-
cially fun when you find a picture of that girl in high school who
broke your heart and you create your own totem of her that will
make you feel just a little bit better. Enjoy!

k e l b yo n e . c o m

033
p h ot o s h o p u s e r M a r c h 2 0 1 6

OKAY, DRUMROLL PLEASE (WAIT FOR IT, WAIT FOR IT)the 2016 Photoshop World Conference
(in Las Vegas, July 1921, 2016, at the Mandalay Bay Resort & Casino) is on! And, official registration
is now open! Thats right, were back in Vegas, baby! Awwwww, yeah!
Now that I have that out of my system, welcome to this quick look at Photoshop World. Since we have
so many new KelbyOne members out there (whoo-hoo!), I wanted to put this together so youd know
what its all about it, and most importantly, that youre invited!
Photoshop World is the worlds largest Photoshop training event (but its more than just Photoshop)
and members come from all over the world to learn from an extraordinary roster of instructors (but

034
its also way more than just education). Everybodys herefrom beginners to seasoned pros, from
students to educators, from amateurs to wizardsand we all come together to share, connect,
and engage.
I guess if theres any one thing Id want all of you awesome new members to know its this: this is your
k e l b yo n e . c o m

conference. It was created for KelbyOne members to have a place to come together once a year to
learn all the latest stuff; make new friends and connections; meet the instructors; get inspired, faster,
better, and more efficient; and just have the best time ever doing it all. If youre a KelbyOne member,
we really want you to be therewe built this for you.

035
LAS VEGAS
PHOTOSHOP WORLD
CONFERENCE 2016

WHO COMES TO PHOTOSHOP WORLD?

Photoshop users, photographers, graphic designers, social media marketing folks, and Light-
room fanatics are all there. Its creative professionals, soccer moms, artists, educators and
students, hobbyists, creative directors, bloggers, video creators, wedding photographers, and
folks who use Adobes amazing tools to create, excite, inspire, and communicate. Its beginners,
intermediate-level users, and advanced users. Its ad agencies, print shops, and mom-and-pop
shops. Its tattoo artists, brain surgeons, painters, and pilots. Its a bunch of really cool, fun,
creative peoplelike you.

REALLY QUICK, HERE ARE THE NUTS & BOLTS

Ill keep this short, because this is just the nuts-and-bolts stuff youll need to know: We have more
than 80 class sessions over three days (well, you can come a day early and take some in-depth work-
shops, but I wasnt counting those). To make it easy, we put them into tracks, like the Photoshop track,
the Creative Cloud track, the Lightroom track, the Lighting track and stuff like that. Were even working
with Adobe (the official Photoshop World sponsor) to create an entire 3-day track dedicated to learning
Adobes new mobile apps, such as Photoshop Fix, Photoshop Sketch, Adobe Comp, Adobe Capture, and
p h ot o s h o p u s e r m a r c h 2 0 1 6

Photoshop Mix, among others. Youll find the full schedule on the Photoshopworld.com site.

One more thing about the sessions that I think is particularly cool is that you create your own custom
training experience. We dont make you register for your sessions in advanceyou can attend any class,
or any track, at any time, and change classes whenever you like. You just show up at the class you want to
take so you can focus on exactly the topics that interest you most.

036
OKAY, HERES MORE OF A PLAY-BY-PLAY
OF THE EVENT
The conference kicks off with a really exciting, high-energy opening keynote, and each year we
pick a fun theme to build our look and feel around. Our themes have run the gamut from Top
Gun to Star Trek, from auto racing to rock n roll, and there are always lots of laughs and surprises.
We do this to set the tone for the entire conference. Yes, were here to learn, and were all going
to learn so much our heads will hurt, but this opening keynote lets you know that were going to
have a lot of fun doing it.

Of course, when Adobe takes the stage, it gets really interesting because they often use this
opening keynote to give us a sneak peek at new technology, new software, and sometimes they
even launch new products. So, its a really fun way to kick off the conference (and you dont want
to miss it).

THEN WERE OFF TO CLASSES

After the keynote, its time to head to class. We have a free downloadable app for your smart-
phones that makes picking your classes easy (available soon). It has the full conference schedule,
as well as lots of info on times and places for events, so youll know right where to go (luckily, the
classes are all in the same area this year). Also, we have these giant 8 high boards with the full
class schedule, if you want to go old school. The class sessions are 1 hour each (that keeps your
head from exploding with too much info), and we take a 30-minute break in between sessions.

WE OFFER ONE-ON-ONE PORTFOLIO REVIEWS

Imagine getting your portfolio reviewed by some of the industrys best-known names. Theyre
k e l b yo n e . c o m

there to help you tweak your presentation, advance your career, and help you stand out from
the crowd (and this is one thing we do year after year because our attendees have told us this
was a life-changing, career-changing experience).

037
LAS VEGAS
PHOTOSHOP WORLD
CONFERENCE 2016

WHAT TO DO DURING THE BREAKS?

CHECK OUT COOL NEW GEAR!
Just outside the classrooms we have our Partner Pavilion, where you can meet the developers and
companies that make everything from plug-ins to printers to cameras and more. Lots of exhibits
from the best-known names in the business, and best of all, Adobe is there, so you can meet the
folks that make it all happen and talk directly with Adobes own Photoshop team. Theres lots to
see and do here, and since we add a few breaks during the day (including an extended lunch
break), you can meet up with the exhibitors and check out all their latest stuff. Plus, this year,
theyll be right outside the classrooms so theres no long walk to an expo hall (and everything that
entails). Youll dig it.

WE WORK HARD; WE PLAY HARD

We know that if youre having fun, youll learn more, youll get more engaged, and youll be more
open to new ideas and learning new things, so we put a lot of emphasis on having fun and meeting
new people. We all need Photoshop friends, so we have a bunch of different events planned that
get people together in a casual and fun atmosphere for networking and just recharging our brains
after being in classes all day. We have after-hours events, parties, get-togetherswe do lots of
things, so you dont wind up at the blackjack table. (Wait! Who said that?)
p h ot o s h o p u s e r m a r c h 2 0 1 6

One of my favorite events is one weve been doing for yearsits called Dinner with a Stranger,
and its about getting people who come to Photoshop World by themselves to meet up with other
people just like them over dinner. Heres how it works: Weve picked eight yummy restaurants.
You sign up for the type of dinner youd like (Italian, Chinese, burgers, etc.), and then get a red button
that says, Im a Stranger. You head to the restaurant and look for other people wearing the Im
a Stranger button. You then all get one big table, share a meal, some stories, a few laughs and
whammo!its the first night of the conference, and youve already met like 11 new people.

038
MIDNIGHT MADNESS
This has been a tradition at Photoshop World for about 16 years and our attendees love it, because
this is where we let our hair down, play a bunch of silly games, give away a bunch of cool prizes,
and well, you just have to experience it for yourself (though, seating is limited, and you have to get
a special free ticket in advance). The first few years we did it, it literally started at midnight. Then,
over the years, we moved it back to 11 p.m. Now, it starts at 10 p.m. If this keeps up, soon well be
starting at 5:30 p.m., and well call it Early Bird Dinner Madness.

Anyway, theres lots of other fun stuff, all throughout the conference, from our famous Meet Up
the night before the conference at the Eyecandy Sound Lounge to our Evening Inspiration session
with Gregory Heisler (its going to be a very special night) to our attendee party thats always
loads of fun.

HOW BOUT A PUB CRAWL?

Okay, lets do it! Its new this year, and the plan is to go to some of the best bars in Mandalay
Bay and the Shops at Mandalay Bay (yes, it has its very own mall), and youre invited to come
along, have a fine lager, and meet some new people.
LAS VEGAS
PHOTOSHOP WORLD
CONFERENCE 2016

CONNECTING WITH INSTRUCTORS

One of the things that we hear again and again from our past attendees is that theyre amazed at
the access they have to the instructors, and how helpful, gracious, and just plain nice they are. I
really take that as a compliment because my job at Photoshop World (besides teaching sessions) is
to choose the instructor roster each year. I work really hard to ensure that not only are the instruc-
tors at Photoshop World the very best in the industry, but I choose those who are in it for the right
reasonsinstructors who really care about the success of their students and who are genuinely
there to help and make a difference. Our instructors make themselves very available the entire
conference, and youll see them at the parties and after-hour events, or just chatting with attend-
ees in the halls. Its really refreshing, fun, and its something that definitely helps make Photoshop
World something very special.

ITS TIME TO GET YOUR WORK RECOGNIZED

We wrap up the conference with the presentation of the prestigious Photoshop World Guru Awards.
This competition is open to any full-conference attendee (in fact, its only open to our attendees
only people at the conference can enter), and you can submit images in all sorts of categories from
p h ot o s h o p u s e r m a r c h 2 0 1 6

retouching to photography, from illustration to compositing, among others. Our panel of judges
picks the winners who then come onstage to accept their Guru Award trophy. So many careers have
been launched from winning a Guru awardthe stories we hear are just amazing, and we want you
to enter. Hey, ya never know.

040
DID I MENTION YOU SAVE $100
One of the things weve always done is to keep the event really affordable. As a KelbyOne
member, you get $100 off the registration price, and if you register now (before June 11, 2016),
you can use the Early Bird Discount and save another $100. So, you can attend the entire three-
day conference, including all the classes, and get the massive workbook for just $599, which
is just an incredible value. Youll see conferences of this scale with registration fees around the
$2,000 range all day long, but we want Photoshop World to be accessible to everyone.

COME A DAY EARLY AND DIG IN DEEP!

If you want to come a day early, we offer a series of optional in-depth workshops, where you can
really dig in to a particular topic, or go on location with your instructor for a live shoot. These are
k e l b yo n e . c o m

hugely popular with our attendees and most of these pre-conference workshops sell out way in
advance. (These optional workshops are the day before and have a separate registration fee.) To
see a listing of this years workshops, as well as the full conference schedule, just turn the page. >>
041
CREATE YOUR OWN
CUSTOM LEARNING EXPERIENCE
One of the best things about Photoshop World is that you can build a custom training experience
thats just right for you, choosing from nearly 100 sessions in seven different training tracks
theyre all open to you with a full conference pass. You choose your own schedule, and even
change tracks or sessions any time you want. This allows you to maximize your experience
and focus just on the topics you really want to master.

PRE CONFERENCE DAY (07.18.16): SCHEDULE

The day prior to the kick-off of the conference our in-depth workshops are held. These work-
shops provide a deep dive into the topics you want to learn most with small class sizes, live
shoots and hands-on training. Separate registration fee required.

Red Rock Landscape Shoot Dog Photography: Sit, Stay, Snap

Moose Peterson | In-Depth Workshop Kaylee Greer | In-Depth Workshop
p h ot o s h o p u s e r m a r c h 2 0 1 6

A Photographic Project From Concept to Fashion Photography

Execution | Julieanne Kost | In-Depth Workshop Frank Doorhof | In-Depth Workshop

Wow-Worthy Creative Studio Lighting The Art of Inspired Business

Lindsay Adler | In-Depth Workshop Tim Wallace | In-Depth Workshop

Hands-On Portfolio Prep Lightpainting the Town

Daniel Gregory | In-Depth Workshop Dave Black | In-Depth Workshop

First Time Attendee Orientation | Larry Becker

044
How to Take Advantage of Adobes Creative Terry White
Cloud | Creative Cloud Track

Creating Beautiful Photo Books in Lightroom Scott Kelby

The Photoshop Playbook Bryan ONeil

Photoshop Track Hughes

How to Get Your Model to Work It! Frank Doorhof

Inspiration Track

045
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Illustrator Tips & Tricks TBA

Creative Cloud Track

Live Car Shoot Tim Wallace

Lighting Track

Triple Exposure in LightroomPanoramics, HDR, Richard

& Time Lapse Post Processing Tips | Lightroom Track Harrington
9:00 am -
10:00 am Invite the Landscape Into The Photograph
Moose Peterson
Photography Track

Small, Medium, Large

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Photoshop Track

Add Sizzle: 3 Ways to Make Your TBA

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Mobile Apps: Adobe Slate, Capture, Post, Julieanne Kost

& Photoshop Mix | Creative Cloud Track

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& Dramatic Effect | Lighting Track

Printing in Lightroom CC
TBA
Lightroom Track
10:30am -
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Photography Track Valenzuela

How to Bring Portraits to Life with Photoshop Glyn Dewis

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Lightroom Track
1:00pm -
p h ot o s h o p u s e r m a r c h 2 0 1 6

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Seamlessly Together | Photography Track Valenzuela

Printing in Photoshop CC TBA

Photoshop Track

Get Started with Premiere Pro Richard

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k e l b yo n e . c o m

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and so can you. See you in Vegas this summer!
Photography courtesy of Kevin Newsome Brad Moore, Kathy Porupski and Jeff Liembach 047
HOW TO

Beginners' Workshop LESA SNIDER

how to smooth skin realistically
If your subject has an uneven complexion, acne scarring, wrinkling, or excessive freckling, then that can
be the first thing you notice in a portrait. Sure you could use the healing tools in Photoshop to remove
problematic areas, but that takes time and may result in unnatural-looking skin. In this column, youll learn
how to quickly smooth skin while retaining texture.

Step One: If your document consists of a

Adobe Stock/dubova
single layer, press Command-J (PC: Ctrl-J)
to duplicate it. If it consists of many lay-
ers, say that you used adjustment layers
to correct the image as weve done here,
activate the topmost layer and then press
Shift-Option-Command-E (PC: Shift-Alt-
Ctrl-E) to create a new stamped layer
that contains the content of all the other
layers that have their layer visibility turned
on. Either way, double-click the new lay-
ers name and enter skin smooth.
[KelbyOne members may download the
file used in this tutorial at http://kelbyone Step One
.com/magazine. All files are for personal
use only.]

Step Two: Using the drop-down menu

near the top of the Layers panel, change
the blend mode of the skin smooth layer
to Overlay. This mode boosts contrast by
making dark areas darker and light areas
lighter. Now lets invert the information
on that layer by pressing Command-I
p h ot o s h o p u s e r m a r c h 2 0 1 6

(PC: Ctrl-I).

Step Two

048
BEGINNERS' WORKSHOP

Step Three: Just like a high pass filter in the audio world can
be used to remove high frequencies (the treble) in an audio track,
the High Pass filter in Photoshop can be used to remove high
frequencies (fine, small, and sharp details) in an image, which
produces a blurring (smoothing) effect. Choose Filter>Other>
High Pass, and in the resulting dialog, enter 10 pixels into the
Radius field, and click OK.

Step Three

Step Four: Choose Filter>Blur>Gaussian Blur and in the result-

ing dialog, drag the Radius slider all the way to the left and then
slowly drag it rightward until youre happy with the way the skin
looks (3 pixels was used here, but if youre using the practice file,
try 1.5 pixels).

Step Four

Step Five: Now lets use a layer mask to hide the blurring
(smoothing) from everywhere except the skin. Since we want to
hide the blur from the majority of the image, Option-click (PC:
Alt-click) the circle-within-a-square icon at the bottom of your
Layers panel to add a layer mask filled with black. Photoshop
hides the blurring from the imageremember, in the realm of
the layer mask, black conceals and white reveals.
k e l b yo n e . c o m

Step Five

049
BEGINNERS' WORKSHOP

Step Six: Press B to grab the Brush tool

and then take a peek at the color chips at
the bottom of the Toolbox. If necessary,
press D to set them to the default values of
black and white, and then press X to flip-
flop them so white is on top (because you
want to reveal the skin smoothing). Trot
up to the Options Bar, click the brush pre-
view thumbnail (circled) to open the Brush
Preset Picker, and choose a soft-edged
brush. Make sure the Mode is set to Nor-
mal and that Opacity is 100%.

Step Seven: Mouse over to your image

and brush across the skin. As you go, use
the Left and Right Bracket keys ([,]) on
your keyboard to decrease and increase Step Six Step Seven
brush size, respectively. Use a larger brush
for the forehead and cheek areas, and a
smaller brush for other areas. Avoid blur-
ring the nostrils and eyebrows. If you mess
up and reveal smoothing on an area you
didnt mean to, press X to flip-flop your
color chips so that black is on top, and
then brush back across that area.
Tip: Since this skin smoothing tech-
nique can be subtle, it may be helpful to
turn the mask into a red overlay so you can
more easily see what youre doing. To do
that, press the Backslash key (\). To turn off
the overlay, tap the same key again.

Step Eight: Last but not least, use the

Opacity setting at the top of the Layers
panel to adjust the strength of the effect
(85% was used here). Heres a before and
after version:

As you can see, this technique really

p h ot o s h o p u s e r m a r c h 2 0 1 6

helped tone down the acne in this portrait

yet the skin texture itself is preserved. Until
next time, may the creative force be with
you all!

Step Eight

050
HOW TO

Dynamic Range GLYN DEWIS

portraits with depth & dimension
In this tutorial, I want to take you through the retouching steps that I currently use to give my
portraits added depth and dimension, almost as if the face of the person is coming forward
from the screen or page.

As photographers and retouchers, we know that there are away from the viewer. Areas that contain more contrast also
three main elements to a picture that draw the viewers atten- draw the viewers attention, as do areas of sharpness.
tion: light, contrast, and sharpness. When it comes to the light, So throughout these retouching steps, youll see how
which is much like dodging and burning in Photoshop, the light, contrast, and sharpness can be used in combination to
brighter areas of a picture appear to come forward toward the boost the depth and dimension in a portrait and give a very
viewer, whereas the darker areas give the feeling of pulling distinctive look.

Before
p h ot o s h o p u s e r m a r c h 2 0 1 6

052
After
DYNAMIC RANGE

Step One: RAW Conversion

Starting off in Lightroom, well change the white balance, Sharpening to around 55, and then restricting the sharpening
as the out-of-camera shot is a little on the warm side. With to the face by increasing the Masking slider to around 80.
the White Balance Selector (W), click on an area of the back-
ground to the right of the mans head; then reduce the
magenta by adding in some green in the Tint slider: around
22 should be enough. With the Spot Removal tool (Q) in the
Heal mode, remove some of the blemishes and the hot spot
on the mans nose.
[KelbyOne members may download the file used in this
tutorial at http://kelbyone.com/magazine. All files are for
personal use only.]

Step One

Step Two: Eyes plus Sharpening

What I love these days about Lightroom, or indeed Camera
Raw, is what used to take several steps in Photoshop can be
completed in a fraction of the time using the Adjustment
Brush (K). So zoom into the eyes and select the Adjustment
Brush. Reset all the sliders by double-clicking on the word
Effect near the top of the Adjustment Brush panel, and
increase the Exposure a small amount. Tick the Show Selected
Mask Overlay checkbox below the image preview so you can Step Two

see exactly where youre painting and, consequently, what

areas are going to be adjusted. Use the Bracket keys on your
keyboard to quickly change the size of your brush, and then Step Three: Dodge & Burn
k e l b yo n e . c o m

paint over the eyes to select them. Turn off the overlay and This is where we start to give our portrait that almost 3D
then increase the Exposure to around 1.25. Also, add in some kind of feel rather than being flat and two dimensional.
Clarity and Sharpness to add punch to the eyes. Press K to Well use dodging and burning, contrast, etc. to add depth
deactivate the Adjustment Brush. Finally, zoom out and add and dimension. So, go to Photo>Edit In>Edit in Adobe
some overall sharpening by going to the Detail tab, increasing Photoshop to export the image to Photoshop and then go
053
DYNAMIC RANGE

to Layer>New>Layer. In the New Layer dialog, name the layer Step Four: Contrast and Sharpening
D&B. In the Mode drop-down menu, choose Soft Light, tick Add a merged/stamped layer to the top of the layer stack by
the Fill with Soft-Light-Neutral Color (50% Gray) checkbox, pressing Shift-Command-Option-E (PC: Shift-Ctrl-Alt-E). Dou-
and click OK. Choose the Dodge tool (O) from the Toolbox, ble-click the name of this new layer, and rename it C&S
and in the Options Bar at the top of the screen, set the Range for contrast and sharpening. Then, go to Filter>Camera Raw
to Highlights and Exposure to between 5 and 10%. With the Filter and choose the Adjustment Brush. Click on the plus
Dodge tool, work around the image brightening highlight icon to the right of Clarity to set it to +25 and to reset all the
areas and any other areas you wish to appear closer to the other adjustment sliders to zero. Activate the Mask near the
viewer. With the Burn tool (nested under the Dodge tool in bottom of the panel, then paint over the center part of the
the Toolbox), darken the midtone and shadow areas. In the face. Turn off the Mask overlay, increase the Sharpness to
image shown here, Ive turned off the Background layer so around +10, and Click OK.
you can better see the areas I dodged and burned.

Step Four
p h ot o s h o p u s e r m a r c h 2 0 1 6

Step Three

054
DYNAMIC RANGE

Step Five: Desaturate Step Six: Fake Depth of Field

Press D to set the Foreground and Background colors to their Of course theres nothing that beats photographing a shal-
defaults of black and white, respectively, and then click the Cre- low depth of field in camera, but we can do a pretty good
ate New Adjustment Layer icon (half-white, half-black circle) at job faking it using blur in Photoshop. To add to this depth
the bottom of the Layers panel to add a Gradient Map adjust- and dimension, add another merged/stamped layer to the
ment layer. Within the Properties panel, click on the gradient top of the layer stack and rename it IRIS BLUR. Then, go
ramp to open the Gradient Editor. Drag the white color stop to Filter>Blur Gallery>Iris Blur and position the oval so that
in toward the center. Youll see a midtone point appear (small it fills the main face area and extends just beyond the chin.
diamond) after you drag the white color stop. Drag that mid- Click on the small dots on the outer circle to rotate the oval,
tone point to the left a small amount until you get the desired and click-and-drag the white line to resize the oval. Adjust
black-and-white conversion. Click OK then reduce the Opacity the transition points (the four larger dots inside the oval)
of this adjustment layer to 30% in the Layers panel. individually by holding down the Option (PC: Alt) key and
clicking-and-dragging them to ensure that none of the areas
you want to be in focus have any blur over them. Increase the
Blur amount to around 16 px in the Blur Tools panel and click
OK in the Options Bar.

Step Six

Step Seven: Adding Texture

Now create two copies of the uppermost layer in the layer
stack by holding down the Command (PC: Ctrl) key and
k e l b yo n e . c o m

pressing J twice. Rename the first copy Texture and the

second copy (the uppermost layer) Sharpness. Click on
the Eye icon for the Sharpness layer to turn it off, and with
the Texture layer active, go to Filter>Noise>Reduce Noise.
Step Five Increase the Strength to 10, decrease all of the other sliders

055
DYNAMIC RANGE

to 0, and click OK. Then, turn on the Sharpness layer, and Step Eight: Adjusting the Light
with it active, go to Filter>Other>High Pass. Add in a Radius Add one final merged/stamped layer to the top of the layer
of 1 Pixel, click OK, and change the blend mode of the Sharp- stack and rename it Lighting. Then, go to Filter>Camera
ness layer to Overlay. Hold down the Shift key and click on Raw Filter and choose the Radial Filter (J). Ensure that the
the Texture layer to make both the Texture and Sharpness Outside option is selected and then draw out an oval in the
layers active, then go to Layer>New>Group from Layers and general position and size that you want it. Click-and-drag
click OK. Click on the Add Layer Mask icon (circle in a square) inside the oval to position it so that it encircles the main part
at the bottom of the Layers panel, and with the Brush tool (B) of the face. Click-and-drag outside of the oval to rotate it
set to a black soft-edged brush, paint over the eyes to remove slightly and then adjust the Exposure slider to darken areas
the texture effect. outside of the Radial Filter. An amount of around 0.15 is
enough to make the face the brightest part of the picture,
giving it the added appearance of coming toward the viewer.
Make sure the other sliders are set to 0 and click OK.

Step Eight

Step Nine: Faking a Smile (Optional)

Photoshop is an incredibly useful tool that enables us to make
more of our images and not necessarily by layer upon layer
of retouching. From time to time I come across images where
I really like the lighting and pose of the model but wish their
expression was slightly different. Adding in a slight smile can
make a huge difference to the feel of an image and is some-
thing I do occasionally. This is incredibly easy with a subtle use
of the Liquify filter (Filter>Liquify).
p h ot o s h o p u s e r m a r c h 2 0 1 6

056 Step Seven Step Eight

DYNAMIC RANGE

Before/After

Tip/Technique: Aperture and Shutter Speed

Ive always been one for trying to get as many different looks
as I can when using the same lighting setup. This can often
be achieved by a simple control of the shutter speed. When
were using off-camera flash, its the shutter speed that
controls how much ambient light is in our picture, and the
aperture that controls the power of the light coming from
the flash. Therefore, if we slow the shutter speed down
(commonly referred to as dragging the shutter), we can
increase the amount of ambient light in our pictures with-
out affecting the exposure from the flash. In this example,
I wanted more of the background to show through to give
greater separation.
k e l b yo n e . c o m

If you have any questions or comments please dont hesitate to drop me a line at [email protected]. To check out more
of my work, visit my blog over at www.glyndewis.com which I update up to five times each week with lots of behind-the-
scenes information. Theres also my YouTube channel over at www.youtube.com/glyndewis.
057
ALL IMAGES BY GLYN DEWIS
HOW TO

Photoshop Proving Ground

layers, part 2: blend modes and adjustment layers
SCOTT VALENTINE

Last issue, we got into some technical details about layers and how Photoshop passes information through
the layer stack from bottom to top. We also introduced Opacity, Blend If, and masks as alpha channels. Whew!

Step Three: Now, change the blending mode of Layer 2 to

Subtract using the drop-down menu near the top left of the
Layers panel. The pattern should not be symmetric. In my
case, I ended up with a black zigzag pattern.

Now lets put blending modes and adjustment layers in the

mix. A major theme from the previous article is order mat-
ters, so I want you to build a little experiment.

Step One: Start with two blank layers in a new, square docu-
p h ot o s h o p u s e r m a r c h 2 0 1 6

ment. Grab your Gradient tool (G) and choose a Spectrum Step Four: Press Shift-Command-Option-E (PC: Shift-Ctrl-
style of gradient from the Gradient Picker in the Options Alt-E) to stamp a copy of the results to a new layer, then
Bar. Also make sure that you have the Linear Gradient icon click its Eye icon to turn it off (I named it A in my example).
selected in the Options Bar. Finally, set Layer 2s blending mode back to Normal.

Step Two: On the bottom layer (name it Layer 1), drag from Step Five: Drag Layer 1 above Layer 2, and now set it to Sub
the upper-left corner down to the lower right (hold Shift once tract blending. You should get essentially a mirror image of
you start dragging to constrain it to 45). On the top layer the previous result!
(name it Layer 2), do the same thing from the upper right to
the lower left.
060
PHOTOSHOP PROVING GROUND

Step Six: Repeat the stamp copy shortcut to capture the Blend Modes on Adjustment Layers
results, and name the new layer B. Toggle the visibility of A So how do you use this in real life? To be honest, this
on and off to see the difference. is mostly a Photoshop party trick when used by itself. The
reason you should know it, however, is because it can play
Remember that Photoshop is actually doing math. Blend- a part in more advanced techniques that use lots of adjust-
ing modes are functions that take in values from the lower ment layers and composited elements. You may recall that
layer, combine them with the values on the current layer adjustment layers can have blending modes applied. If you
according to some math, and show you a result on the can- make use of this ability, knowing that some blend modes
vas. Subtract does just what it implies: It subtracts the current behave differently can help you troubleshoot or focus in on
layers value from the lower layers value. When two values very specific changes.
are similar, the result is black, or at least very dark. The order of your adjustment layers depends on what you
If you remember basic subtraction, order matters because want to achieve, and how you use the adjustments. Remem-
10025=75 (in this example, 100 is a value on the lower layer, bering that the output of one layer is the input to the next,
and 25 is a value on the blended layer). But 25100= 75, you can easily clip or oversaturate your image even when
which is what you get if you reverse the order of the layers. making small changes to sliders. Or, you may remove the
Now a pixel value of, say, 75 is dark, but not black; how- function of an adjustment layer altogether. Lets say you add
ever, 75 is tricky. Photoshop doesnt know how to display a Black & White adjustment layer to your image. Putting a
negative color values, so anything less than zero becomes Hue/Saturation adjustment layer above that wont have any
black: 0, 75, or 255 all show up as black on the canvas. effect except with the Lightness slider. The Black & White
Not all of the blending modes behave this way, though. adjustment has removed the color input for the Hue and
One way to tell which ones dont care about order is to Saturation sliders.
look at their names. Multiply is a good example. Both But if you swap them, putting the Hue/Saturation layer
10*20 and 20*10 give you 200. But you can prove this first, it absolutely controls how the Black & White adjustment
in Photoshop itself. Repeat the above experiment with the behaves. In fact, it gives you much more control over your
Multiply blend mode. What do you notice right away? Now final output. Alternatively, one of my favorite black-and-
try Hard Mix. white conversion techniques involves using Black & White
adjustment layers set to Luminosity blending mode, which
brings me to my final point.
When you change the blending mode of an adjustment
layer, youre getting a twofer! As I mentioned above, you
get the control of the adjustment along with the math of the
blending mode. And you do it on a single layer!
I can hear you thinking now, But, Scott! Which happens
firstthe blend mode or the adjustment layer? Excellent
question, you sly dog.
It turns out that the blend mode is applied first. The results
of the blend are sent to the adjustment. You cant change
this, but you can add multiple adjustment layers.
k e l b yo n e . c o m

You should get a symmetrical pattern. If you swap layers, Contrast and Color
you get the same result. Of course not every image will give In this example layer stack (see next page), I have two Curves
you a pattern like this. The gradients are set up specifically adjustments. The one in the middle (Curves 1) is meant to bring
to demonstrate the difference between blending modes that out detail in the sky. Notice that theres a Color Balance layer
care about layer order and those that dont. above it, and a Black & White adjustment below it. Both the
061
PHOTOSHOP PROVING GROUND

Curves 1 and Black & White 1 layers are set to Luminosity blend adjustment. Since Curves can shift colors around, I wanted to
mode. (Note: Luminosity blend mode allows the adjustment minimize the number of color changes to deal with, so that
layer to ignore color information and only look at brightness.) layer is also set to Luminosity.
Once I had the contrast set up mostly the way I wanted it,
Color Balance let me remove a yellow cast from the original
image. The Curves adjustment at the top is masked to affect
only the sky, and its set to Color Burn blending mode, with
65% Opacity.
Moving these layers around would give me a very different
look, and require different settings in order to get the result I
wanted; however, if you like to work with color before con-
trast, your layer order would be different than mine, and youd
probably have more color controls than I used (see below).
And thats perfectly fine! As with most things in Photo-
shop, theres no right way; theres only the way that gets you
the results you want along the path you know.

To wrap things up, layers are the foundation of Photo-

shops power. They have some special properties that let
The reason for this is that I prefer to work by adjusting you control how they interact with each other, so its vital
contrast before color. The Black & White layer set to Luminos- to understand that theyre more than little pixel buckets.
ity allows me to adjust the relative values of each color range Think of them as another kind of control, a physical way to
without actually shifting the color. That feeds into the Curves work on your images.
p h ot o s h o p u s e r m a r c h 2 0 1 6

062
ALL IMAGES BY SCOTT VALENTINE
D E PA R T M E N T

Photoshop Tips COLIN SMITH

boost your productivity and creativity

In this issue Im going to focus on doing something once but

getting bulk results. This is called massive timesavings, or more
technically, batch processing. With all the extra time you save,
you can read the rest of the magazinenow thats a great deal!

Batch Rename Layers as Files

Have you ever had to rename a bunch of files? Maybe DSC34565 What if you want to do the opposite of the previous tip? For
.CRW isnt a descriptive enough name? Or maybe you want to example, youve stacked all these images into a single Photoshop
rearrange the files and give them a sequential filename to keep file and applied a treatment, maybe added text or a logo, or
them in order, or even build a time-lapse sequence. Whatever made thumbnails. Now you have the daunting task of export-
reason you may have, its easy! Open Bridge and select all the ing each one of these to a new file and naming them. Its easy:
files that you want to rename. Right-click and choose Batch File>Export>Layers to Files. But wait, before you do, name the
Rename. Youll see a dialog with lots of options, including the layers because the filenames will be the same as the layer names
option to add sequential numbers. preceded by a sequential number. You dont have to get fancy,
though, because you can combine this with the first tip and use
Files as Stacks Batch Rename to do all the hard work for you.
Did you ever find yourself with a whole heap (not that digital files
can actually be heaped) of images that you wanted to load into
Photoshop in the same document? Maybe you wanted to make
a grid or a collage. You could open them all into Photoshop and
drag them onto a new canvas one at a time. Or you could try
this: File>Scripts>Load Files into Stack, and Photoshop will do it
all for you, putting each image on its own layer.
p h ot o s h o p u s e r m a r c h 2 0 1 6

Multiple Images in ACR

Theres a RAW processor built into Photoshop called Adobe
Camera Raw, ACR for short. Whenever you open a RAW file in
Photoshop, it will open in ACR. What a lot of people dont real-
ize is that you can open multiple images in ACR at the same
time and theyll appear in the Filmstrip on the left side of the
dialog. You can either adjust them all at the same time, or you
can adjust one image and then synchronize the settings across
all the other images. Okay, I hear you ask, Im convinced,
but how do I do it? Its really easy. Simply select all the images
064
PHOTOSHOP TIPS

in Bridge that you want to open (RAW, JPEG, TIFF, PNG, or a blocks one at a time? Bad typesetter, bad typesetter! You can
combination of any of these file formats), Right-click on one of change all the blocks of type at the same time. Select all the type
the selected images, and choose Open in Camera RAW. At the layers in the Layers panel, then change the font, the size, or any
top of the Filmstrip in ACR theres a flyout menu where you can property, such as color, and youll see that all the text changes at
choose Select All so all the images will change together in real the same time. Thats not only handy, thats fast!
time. You can also adjust one of the images to your liking and
then, from the same flyout menu, choose Select All, followed by Double RAW Processing
Sync Settings. You can also click on any of the thumbnails on the Have you ever applied an adjustment in Camera Raw and
Filmstrip to make it the active image. wished the slider went further? For example, youre recovering
highlights with the High-
lights slider, but its all the
way to the left, and you
know theres more detail
that you just cant get
to. Heres a sneaky way
around that: Make your
adjustment, then create a
Radial Filter (J) adjustment,
and make the oval large
enough to cover the entire
image. Now you have a
whole array of sliders all
ready for you to push the
boundaries. Call it turbo
processing if you like.
ALL IMAGES BY COLIN SMITH

Apply Settings in Bridge Duplicating Multiple Layers at Once

What if I told you that theres a way to apply ACR presets to You may already be aware that you can duplicate a layer right
images without even launching Photoshop or Lightroom? Would onscreen by activating the Move tool (V), holding down the
you think Im nuts? Quick, before you answer that, let me show Option (PC: Alt) key, and dragging out a duplicate. What you
you how. Open your image in Bridge and Right-click on it. Do may not have known is this: You can duplicate multiple layers
you see the Develop Settings option in the contextual menu? at one time. Let me explain. Go to the Layers panel, hold down
If you hover over Develop Settings, youll see a list of all the pre- the Command (PC: Ctrl) key, and click on different layers to
sets currently loaded into ACR. Click one to apply it to the image. select them. With multiple layers selected, hold down Option
You can select multiple images and apply the preset to all of (PC: Alt) and drag on the page. All the selected layers will now
them at once just as easily as a single image, all without launch- be duplicated.
ing Photoshop.
k e l byo n e . c o m

Change All Fonts

Have you ever worked on a document that had multiple blocks
of type in it? If youve worked with type, the answer is probably
yes. Second question: Have you ever changed the font in all the
065
>>LIGHT IT

FILM NOIR:
A CLASSIC STYLE WITH
A MODERN TWIST
OKAY, ILL ADMIT I WASNT EVEN BORN WHEN FILM NOIR WAS IN
ITS HEYDAY; BUT AFTER WATCHING CURRENT FILMS INFLUENCED
BY FILM NOIR SUCH AS NIGHTCRAWLER, THE DARK NIGHT, AND
SIN CITY, I WAS HOOKED. THERES SOMETHING ABOUT THAT By
BLACK-AND-WHITE CINEMATIC STYLE OF THE 1940S AND 50S THAT Tom Bol
INSPIRES BOTH FILMMAKERS AND PHOTOGRAPHERS. DONT GET
ME WRONG; I LOVE SHOOTING IN COLOR. BUT ONCE IN A WHILE ITS GOOD TO GO
BACK TO YOUR ROOTS TO GET PERSPECTIVE ON YOUR FUTURE. MY ROOTS ARE
IN BLACK-AND-WHITE PHOTOGRAPHY, AND FILM NOIR WAS BASED IN GRITTY,
HARD-EDGED BLACK-AND-WHITE IMAGERY.
LIGHT IT

W
hat is film noir? French for black film, film noir STEP ONE: FIND THE GRITTY ALLEY
is a cinematic style characterized by stark shadows, Integral to film noir is a gritty urban backdrop, and more often
gloomy urban scenes, alleys, femme fatales, cig- than not, an ominous alley is the scene setter. You cant say
arettes, and lurking figuresall shot at night. Storylines often enough about how important a gritty urban scene is to creating
revolved around doomed romance and crime drama. Women a successful film noir shot. I live in a city that has an old-town
wore elegant dresses and heavy lipstick. Men were often in district where many aged brick buildings still stand, and find-
trench coats and fedoras. With all these elements and moods at ing a dark alley isnt too hard. One important tip for scouting
play, photographing a film noir scene takes a little preparation film noir scenes is to scout them at night. During the day, this
and planning. But the results are worth it. alley looked great; but when I went back at night, it looked
I wanted to create photographs inspired by film noir, but even better. Overhead streetlights illuminated the alley. I could
with a modern twist. Rather than shoot strictly in black and easily overpower these lights with my strobes, but also let them
white, I planned to photograph in color, convert to black and render in the final image to add some ambience to the scene.
white, and then bring back subtle color tones to the images. I loved the depth of this alley; it would create a tunnel effect
This is more along the lines of neo-noir: films that were shot in and leading lines in the final image.
color but inspired by classic black-and-white film noir.

k e l b yo n e . c o m

067
LIGHT IT

STEP TWO: TAKE THE FIRST SHOT To illuminate the lurking gangster in the background,
On just about every shoot I do, nothing seems right until I take I placed another ELB 400 to his side and attached a 20 grid
the first shot. But once I take that image, then the photo shoot onto a Quadra Action flash head. Once again, I only wanted
flows smoothly. I decided the best packs for this shoot were light on the model, and not all over the alley walls. The over-
Elinchrom ELB 400s. These compact battery-powered packs head streetlight added a warm glow to the scene. This image
have more than 424Ws of power, are lightweight, and can be was looking good (see next page), but the models were far
easily controlled at the camera using the EL-Skyport Plus HS. apart, so we moved to the second location I had scouted.
This transmitter shows each unit on the LCD, allowing intuitive
power control of multiple packs.

Another important thing to consider when shooting at

night is the minimum power output of your strobes. I took a
test shot of the alley and realized I needed an exposure of f/4,
1/30, at ISO 800. To get the correct amount of light out of my
flash, I needed a very low power setting. The ELB 400s can go
p h ot o s h o p u s e r m a r c h 2 0 1 6

all the way down to 7Ws, plenty low enough to shoot at night
with a high ISO setting.
To start things off, I positioned my femme fatale model, Lily,
close to the camera and had my male gangster model in the
back of the alley. Another characteristic of film noir is the use
of wide-angle lenses and low angles, both of which I planned
to use with this image. I used my Nikon D810 and a NIKKOR
2470mm F2.8 the entire shoot. My main light on Lily was a
14x35" Elinchrom Rotalux Strip Softbox with a Lighttools 40
egg crate grid. The grid kept the light from spilling onto the
alley walls, and gave the light strong direction and shadow.
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LIGHT IT

Cree Bol

STEP THREE: GET THE MODELS

CLOSER TOGETHER
During my scout of the alley, I became very excited about finding
a corner staircase adjacent to the alley. This location offered more
angles than shooting straight down the alley, and had a small light
k e l b yo n e . c o m

illuminating the corner.

By placing the gangster under this light, I could have Lily
standing on the staircase only a few feet away. I started this shot
by using the same gridded stripbank I used earlier, and chose a
shutter speed that would allow the alley light to illuminate the
gangster. To get the right perspective of Lily, I used a small ladder
069
LIGHT IT

to get a higher angle. This shot already looked great, but

I wanted to bring out a little more detail on the brick wall in
the background, so we set up another ELB 400. We placed a
20 grid on the flash head, and used a deep-blue gel on the
light. The blue light would add some color to the wall, but not
take the focus away from the models.

STEP FOUR: TWEAK THE GREAT SHOT

I often get so excited on shoots that I have to tell myself to settle
down. To keep things in perspective, I like to sit down a moment
and scrutinize the images I have in the camera. Are they the best
I can do, or am I missing a subtle lighting tweak? Looking at Lily
p h ot o s h o p u s e r m a r c h 2 0 1 6

on the stairs, I found one thing I could do better: My gangster

didnt have any light on his face; his fedora blocked the light
from above. I decided to add a touch of warm light to his face.
To accomplish this, we set up a third pack and flash head with a
20 grid, and placed an orange gel over the grid.
The grid helped narrow the light, but not enough. To add
light to his face, and only his face, we placed strips of black
gaffer tape over the grid leaving only a small part uncovered.
This narrowed the light to illuminate just his head and face. Lily
took off her coat and looked dangerous and demure at the
Cree Bol

same time. Perfect! I knew we had a great shot.

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STEP FIVE: EXPECT THE UNEXPECTED

If you asked me what one of the most important things is about
shooting on location, Id tell you to roll with the punches. Photo
shoots are fluid, and sometimes the best shots are unscripted
moments and unexpected locations. The temperature was in
the teens, so everyone was getting cold and ready to head to
the local pub. But just as we were wrapping up, I noticed an
amazing side alley Id missed earlier. What was so appealing
about this alley were the tall brick walls, which would be perfect
for projecting a menacing shadow in the background.
Working quickly, we set up the same main light (gridded
stripbox) and placed it close to Lily. To create the shadow, we
placed a 20 gridded light off to the side and aimed it at the
gangster standing about 10' away. This hard-edged light pro-
duced a nice ominous shadow on the wall behind Lily. This
was a bonus shot for the night. I loved the shadow element
classic film noir.
k e l b yo n e . c o m
Cree Bol

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LIGHT IT

STEP SIX: SPICE IT UP IN POST

I knew from the beginning I wanted muted color, not full black
and white for the images. There are numerous ways to convert
color images to black and white in Photoshop and Lightroom,
but for this shoot I converted the images using ON1 Effects 10.
Their black-and-white conversions include Bogart Cool and Ingrid
Warm, subtle references to the stars of some classic film noir
movies. I used Bogart Neutral to convert the images to black and
p h ot o s h o p u s e r m a r c h 2 0 1 6

white, and then reduced the Opacity to 60% to bring a touch of

color back into the image. Film noir meets neo-noir.

ALL IMAGES BY TOM BOL, EXCEPT WHERE NOTED

072
LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE
MAGAZINE

ISSUE 19

UNDER
THE LOUPE
DO YOU HAVE THOUSANDS OF OLDER, LESS-
THAN-STELLAR FAMILY PHOTOS SITTING IN
YOUR LIGHTROOM CATALOG? WELL SHOW
YOU HOW TO CORRECT SOME OF THE MOST
COMMON PROBLEMS FOUND IN THESE
TYPES OF PHOTOS. p80

LIGHTROOM WORKSHOP MAXIMUM WORKFLOW

Learn how to quickly retouch portraits using the powerful Portraiture from Imagenomic can help you quickly smooth
Adjustment Brush & Spot Removal tool in Lightroom. p75 & enhance the skin in all of your portraits in Lightroom. p86
PHOTO BY SCOTT KELBY
75 80 86 92 94
Sen Duggan

Tips Tricks & BY SEN DUGGAN

Rob Sylvan

Questions Answers
BY SCOTT KELBY &
Maximum Workflow
imagenomic portraiture
BY SEAN McCORMACK
Sean McCormack
Under the Loupe
fixing family photos in lightroom
B Y R O B S Y LVA N

lightroom magazine contents

Rob Sylvan
Lightroom Workshop
retouching portraits
BY SCOTT KELBY
Scott Kelby
lightroom magazine

Lightroom retouching portraits

Workshop
BY SCOTT KELBY

When it comes to detailed retouching, I generally

jump over to Adobe Photoshop, but if you just

need to do a quick retouch, its amazing how

many things you can do right in Lightroom

using the Adjustment Brush and the Spot Re-

moval tool, with its healing power. Heres a quick

retouch using just those two tools.

Excerpted from The Adobe Photoshop
Lightroom CC Book for Digital Photographers
lightroom magazine

step one:

SCOTT KELBY
Here are the things were going to retouch
in this image: (1) remove any major blem-
ishes and wrinkles, (2) soften her skin, (3)
brighten the whites of her eyes, (4) add
contrast to her eyes and sharpen them,
and (5) add some highlights to her hair.
Although were seeing the full image here,
for retouching, its best to zoom in quite
a bit. So, go ahead and zoom in nice and
tight to start the next step. By the way,
I thought her skin looked a little too warm
in the original image, so here I reduced
the Vibrance to 21 (just so you know).
p h ot o s h o p u s e r m a r c h 2 0 1 6

step two:
Here, Ive zoomed in to a 1:2 view, so we can really see what ish youre going to remove. Move your brush cursor over the
were doing (just select this zoom ratio from the pop-up menu blemish and then just click once. A second circle will appear
at the top right of the Navigator panel, at the top of the left showing you from where it sampled a clean skin texture. Of
side Panels area). Click on the Spot Removal tool (in the tool- course, its not always 100% right, and if for some reason
box near the top of the right side Panels area or just press it chose a bad area of skin to sample from, just click on that
the letter Q). This tool works with just a single click, but you second circle, drag it to a clean patch, and it will update your
dont want to retouch any more than is necessary, so make blemish removal. Go ahead and remove any blemishes now
076 the brush Size of the tool just a little bit larger than the blem- using this tool (as shown here).
lightroom magazine

step three:
Now, lets remove some wrinkles under
her eyes. Zoom in tighter (this is a 1:1
view), then take the same Spot Removal
tool weve been using (make sure its set
to Heal) and paint a stroke over the wrin-
kles under her eye on the right (as shown
here). The area youve painted over turns
white (as seen here), so you can see the
area youre affecting.

step four:
Lightroom analyzes the area and picks
a spot somewhere else in the image to
use to repair those wrinkles. It usually
picks something nearby, but in this case
it chose an area across the bridge of her
nose, which, of course, created a bad
retouch. Luckily, if you dont like where
Lightroom chose to sample from, you can
simply have it sample somewhere else by
clicking on that second outline (the thin-
ner one of the two) and dragging it some-
where on her face where you think the
texture and tone will match better (here, I
moved it right up under the original area
where the wrinkles used to be, as shown
in the bottom image). Also, dont forget
to remove the wrinkles from beneath the
other eye (its easier to forget than youd
think). Note: If your subject is at an age
where fully removing the wrinkles would
be unrealistic, we would instead need
to reduce the wrinkles, so we would
decrease the Opacity slider to lower the
strength of the removal, bringing back
some of the original wrinkles.
k e l b yo n e . c o m

077
lightroom magazine

step five:
Now that the blemishes and wrinkles are
removed, lets do some skin softening.
Switch to the Adjustment Brush (also in
the toolbox near the top of the right side
Panels area, or just press the letter K),
then choose Soften Skin from the Effect
pop-up menu. Now paint over her face,
but be careful to avoid any areas that you
dont want softened, like her eyelashes,
eyebrows, lips, nostrils, hair, the edges of
her face, and so on. This softens the skin
by giving you a negative Clarity setting
(its set at 100). Here, Ive only painted
over the right si de of her face, so you can
see the difference. This is quite a lot of
softening, so once youre done, back off
the Clarity amount so you can still see skin
detail (I raised my amount to 55).

step six:
Next, lets work on her eyes, and well
start by making the whites brighter. First,
click the New button in the top right of
the panel, then double-click on the word
Effect to reset all the sliders to zero.
Now, drag the Exposure slider to the right
a little bit (here, I dragged it over to +1.04)
and paint over the whites of her eyes. If
you accidentally paint outside the whites,
just press-and-hold the Option (PC: Alt)
key to switch to the Erase tool and erase
away any spillover. Do the same for the
other eye and, when youre done, adjust
the Exposure slider, as needed, to where
p h ot o s h o p u s e r m a r c h 2 0 1 6

the whitening looks natural. Next, lets

brighten her irises. Click the New but-
ton, and increase the Exposure amount to
+1.36 and paint over both irises. Then, to
add some contrast, increase the Contrast
slider to +33. Lastly, to make those eyes
really nice and sharp, increase the Sharp-
ness slider to +22, so the irises get brighter,
more contrasty, and sharper all at the
same time.
078
lightroom magazine

step seven:
Now, click the New button once again,
and lets brighten the highlights in her
hair. Start by resetting your sliders to zero,
then drag the Exposure slider to the right
a little bit (I dragged mine to +0.35), and
then paint over the highlight areas to bring
them out. Lastly, one of the retouches
I get asked the most to do by subjects is
to slim them up a bit. I dont think our
subject here needs it at all, but if youre
asked, heres how its done: Go to the
Lens Corrections panel; click on Manual
(at the top right of the panel), then drag
the Aspect slider to the right (as seen
in the overlay here). As you do, it com-
presses (narrows) the photo, giving you
an instant slimming effect. The farther
to the right you drag, the more your sub-
ject gets slimmed (here, I dragged to +28).
A before/after is shown below.

tip: keep from seeing too

many pins
To see just the currently selected Edit Pin,
choose Selected from the Show Edit Pins
pop-up menu in the Preview area toolbar.

k e l b yo n e . c o m

The After photo has clearer and smoother skin (plus its desaturated a little bit), the eyes are brighter, have
more contrast, and are sharper, weve enhanced the highlights in her hair, and weve slimmed her face a bit
079
Under fixing family photos in Lightroom

the
B Y R O B S Y LVA N

The objects were most likely to grab on the way out of a burning

Loupe
building are our family photos. Here are some tips to help you get
the most out of Lightroom when trying to make corrections to the
most common issues youll encounter with older digital photos.
lightroom magazine

Our favorite and most cherished photos may not be the best
ones weve ever taken, but rather those where the moment
or the people captured within them are more important than
camera settings. As I look back through thousands of my fam-
ily photos, I see so many examples of bad lighting, on-camera
pop-up flash, incorrect white balance, horrible framing choic-
es, red eyes, and other problems that can diminish the impact
of these photos. The obvious solution for many of these pho-
tos may be to simply delete them. But, if a certain photo is too
sentimental to send to the trash, then lets look to Lightroom
to see what can be done to improve or outright fix the most
common problems plaguing our family photos.

process version
If youve been using Lightroom for awhile, then you may have
some photos that were originally imported into a much older
Lightroom catalog, and that catalog may have since been
upgraded to the latest version. For example, I have photos that
were originally imported into Lightroom 1, and that catalog
has been upgraded to each subsequent new version since.
However, while the catalog itself is upgraded to the new
version, Lightroom doesnt change the processing applied to
these older photos. So, photos imported and processed (or
not processed) into a Lightroom 1 catalog would have the
original Process Version used at the time.
The reason this is important to know is that as Lightroom
has evolved, so has the Process Version. When Process Version
2010 was introduced, it brought improved sharpening and
noise reduction algorithms. With Process Version 2012 (the cur-
rent default), we saw some old adjustments evolve (Brightness,
Recovery, Fill Light) into new ones (Highlights, Shadows, Blacks,
and Whites). To get the most out of Lightrooms current suite
of tools, you want to be using the latest Process Version when
you tackle these old photos. Newer adjustments, like Dehaze,
wont even work with the older process versions.
Looking at the right side Panels, you can see a few clues as
to the Process Version applied to a given photo. First, look in
the Histogram panel. If you see a lightning bolt icon, Lightroom
k e l b yo n e . c o m

is telling you this photo is using an older Process Version. If you

look in the Basic panel and see the old adjustment sliders, thats
another clue. The same would be true if the local adjustment
tools were only showing old adjustment sliders, or if Dehaze
(in the Effects panel) was grayed out.
081
lightroom magazine

You can upgrade that photo to the new Pro-

cess Version by clicking on the lightning bolt icon,
which will open the Update Process Version dialog.
Here, you can update the selected photo, or even
all photos in the Filmstrip. Its recommended to only
update one photo at a time to get a feel for how
this can change a photo, but if youre dealing with
a lot of previously unprocessed photos, then you
may just elect to update all of them at once.
Alternatively, clicking the Reset button (at the
bottom of the right side Panel area) will reset the
photo to the current default settings, which does
include the current default Process Version. You
can also change the Process Version using the Pro-
cess pop-up menu in the Camera Calibration panel.

camera calibration
On the topic of the Camera Calibration panel, you
may also want to consider the Camera Profile being
used, as that can have a big impact on the color and
contrast of the initial rendering of the photo. That
said, a great many of my oldest family photos are
in JPEG format. If you expand the Camera Calibra-
tion panel and see Embedded selected in the Profile
pop-up menu, it means you have a non-RAW photo
selected. As such, you cant change the camera pro-
file. Theres still plenty Lightroom can do to adjust a
JPEG, but youll not have the same latitude for adjust-
ing white balance, recovering highlights, or dealing
with noise as you would with a RAW original.
If you do have a RAW photo selected, then you
should see some other Profile choices, such as Adobe
Standard, Camera Standard, Camera Landscape,
Camera Portrait, and so on. If you have a RAW photo
from an older camera, you may also see some names
p h ot o s h o p u s e r m a r c h 2 0 1 6

like ACR 4.6, Camera D2X Mode 1, or something

else, but dont be confused by this. At one point in
the past, the naming conventions for camera pro-
files werent as standardized as they are now, but
the important thing to know is that Lightroom will
only show the correct Profiles for the selected photo
and no others (you may have fewer or more profiles
than what is shown here). So, any profile listed is fair
game for that photo, and you should give each a try
082 to get a feel for how it affects the photo.
lightroom magazine

cropping
With your Process Version updated, and potentially
a better camera profile, I often find that a lot of older
photos are vastly improved with a good crop. Crop-
ping can remove distracting elements around the
edges, can be used to straighten lopsided photos,
or maybe you just need to change the aspect ratio
to fit the print size you want to make. Its also worth
noting that the histogram reflects the area within
the crop, so cropping out an area with blown-out
highlights will change the histogram accordingly.
For example, heres a photo of me and my son gaz-
ing at each other. The photo is totally crooked, full
of noise, poorly exposed, and has blown-out high-
lights, but I love it. This was taken back in 2001 on
our first digital camera (a 3MP Kodak), so the file
size is small and the noise is high even though its
only ISO 400. I dont care about the noise, but lets
see what a little cropping can do.
Pressing the R key is the fastest way to jump to
the Crop Overlay tool, but you can also click its icon
under the Histogram panel. Because this photo is
so crooked, my first move is to click the Auto but-
ton in the Crop & Straighten options to see if Light-
room can automatically straighten it out, which will
also crop the photo as part of the process. With
one click I straightened the photo and cropped out
the blown-out highlights in the upper-right corner,
which resulted in a tighter composition on the most
important elements in the scene.
Another good use for cropping is when you find
a photo with a dead-center subject in a landscape-
oriented photo and feel it would work better as
a tight portrait-oriented photo, instead. With the
Crop Overlay tool selected, press the X key to swap
the orientation of the aspect ratio (this works for
cropping a horizontal out of a portrait, too).
k e l b yo n e . c o m

083
lightroom magazine

rotating
These days, digital cameras have a built-in means
to determine which orientation the camera was held
when the photo was taken. The information is writ-
ten into the photos metadata so that programs like
Lightroom can automatically rotate the photo to
display it correctly; however, this was not true of
early digital cameras. If you scan through Grid view
in the Library module, and come across photos lying
on their sides, you can easily rotate them all together.
Just select all of the photos that need to be rotated
the same amount in the same direction while in
Grid view (press-and-hold the Command [PC: Ctrl]
key to select non-contiguous photos, or press-and-
hold the Shift key to select the first and last photo in
a continuous row). Then, click the correct rotational
arrow that appears on the thumbnail, or choose
the desired option from the Photo menu, to quickly
rotate them all at once.

red eye reduction

The only time I seem to reach for the Red Eye Correc
tion tool is with those old family photos taken
during parties and holidays when the camera just
gets passed around to family members. Over time,
these can be some of the most fun photos you
have. Lightrooms Red Eye Correction tool doesnt
have a keyboard shortcut, so youll have to click its
icon under the Histogram panel to enable it. Once
enabled, click-and-drag from the center of the red
eye, and then release your mouse once you get
outside the eye. Lightroom automatically attempts
to detect the red and apply a correction. You can
then use the Pupil Size and Darken sliders to refine
the adjustment. Once Ive done the first eye, I usu-
p h ot o s h o p u s e r m a r c h 2 0 1 6

ally just click on the second eye to use the same

size circle I created previously.

084
lightroom magazine

Our pets are people, too, so dont let a demonic

dog or cat ruin an otherwise memorable keepsake.
With the Red Eye Correction tool enabled, click
the Pet Eye tab in the tool options to switch over
to the new feature added in Lightroom CC. The
original Red Eye Correction tool doesnt work on
the yellow/green eyes we see in our dogs and cats,
but this new addition can improve the situation.
It isnt perfect, so dont expect miracles, but it can
tone down a laser yellow eye to save the photo. The
Pet Eye option will only let you adjust the Pupil Size
after the correction is made, so you cant darken
it any further; however, it does have the option
to add a catchlight, which can give life to what
otherwise may look like a dead black hole after
the correction.

k e l b yo n e . c o m

085
ALL IMAGES BY ROB SYLVAN
Maximum imagenomic portraiture

Workflow
BY SEAN McCORMACK

While Photoshop is definitely the king of high-end

retouching, its possible to do quite a lot of beauty
retouching in Lightroom and get a professional
result. It does take a lot of time and care, though.
Often, you may need to get photos out quickly, or
process a lot of images, be it for a client, or even
for friends and family, so you dont have the time.
This is where a product such as Portraiture from
Imagenomic excels.
lightroom magazine

As well as offering a lot of control over

the amount of smoothing of skin, Portrai-
ture provides an effective masking system,
meaning only the skin itself is being worked
on, leaving the rest of the image alone.
Portraiture is available for both Photoshop
and Lightroom. The main difference with
the Photoshop version is that it allows the
plug-in results to be saved to a layer with a
transparency mask, something not possible
with Lightroom because Lightroom doesnt
handle layers directly. With a little care, this
isnt an issue; it just means refining the
mask more inside the plug-in.

installation
Portraiture has a straightforward installa-
tion process. You begin with Lightroom
closed (this is so the Export presets and
Edit In plug-ins are active when Lightroom
is launched). Run the installer, select the
installation location, and off you go.
When you launch Lightroom, Portraiture
now appears as an option in the Photo>Edit
In menu, as well as in the Export To drop-
down menu in the Export dialog. Using the
Edit In menu is best for automatically return-
ing to Lightroom and stacking the edited
image with the original. Portraiture will
work with TIFFs or JPEGs, as well as 16-bit
or 8-bit files (note that JPEG is always 8 bit).

getting started
with portraiture
Portraiture is great for skin smoothing and
provides a fast way of improving portraits.
What its not is a magic bullet. Before going
to Portraiture, you need to do general
k e l b yo n e . c o m

cleanup on the skin in Lightroomremove

major blemishes and do any basic correc-
tions to the image, like Exposure and Con-
trast, giving Portraiture the best file possible
to work with.
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lightroom magazine

layout
As with most plug-ins, Portraiture has a central
image area surrounded by panels. The left panel
area is where the settings and presets reside, while
the right panel area shows the mask preview,
images in a batch process, and the Navigator panel.
Use the Navigator panel to move around the image
once zoomed in. At the top, there are Preview con-
trols (which well cover later) and, at the bottom,
theres a Zoom slider and a drop-down menu with
fixed zoom levels. Use these to zoom into the image.

presets
At the top of the left panel area, under Settings,
is the Preset drop-down menu. From here, you can
choose from a range of predefined settings based
on their descriptions. Default or Smoothing: Normal
make for a good start when youre getting familiar
with the plug-in. To create your own preset (which
will appear in the Preset menu, under Custom Pre-
sets), click Save (above the menu).
Click on the Presets button (to the right of
Save) to open the Preset Manager. Here, you can
delete, rename, add notes, or even import and
export presets.

detail smoothing
In this panel, you decide how the skin is processed.
There are three sliders that split the skin into dif-
ferent ranges: Fine, Medium, and Large. Fine
controls pores and skin detail, Large controls the
low frequency detailthe general skin tone and
evennessand Medium controls the features in
the middle. Threshold controls the strength of the
p h ot o s h o p u s e r m a r c h 2 0 1 6

effect0 does nothing, while 40 applies the most.

You can reset each to 0 by double-clicking on the
slider name. You can also use the Portrait Size drop-
down menu to change the strength of the effect.
Different output sizes have different requirements.
What looks good for a large print might be far too
smooth at a smaller size.
If you want to retain good skin detail, use the
Default preset, but bring the Fine slider back to
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lightroom magazine

around 6 to 8 so its not as strong on pores. The best way Mask Preview panel on the right, as you hover the eyedropper
to get a feel for each slider is to view them at minimum and over the skin to find the best selection point. You may not
maximum levels (which can be done with Preview Bracketing, be able to get the entire skin range, but thats okay. You can
which well look at later). add more tones to the selection by choosing the Expand Mask
Color eyedropper (the second eyedropper). Avoid getting hair
skin tones mask or the eyes in the selection, if possible.
The plug-in applies adjustments to the whole image, but uses You can also use the sliders at the bottom of the panel to
a mask to prevent areas from being affected. By and large, refine the colors further. Saturation refines by intensity of color,
you only want Portraiture to work on just the subjects skin. Luminance by the brightness (so it can be used to exclude dark
Click the On button (at the top of the panel) to activate the hair), while Latitude controls the size of the outline in the box.
mask. Auto (to the left of the On button) is used by default At the top of the panel, there are three other sliders: Feath-
and includes all areas that fit into the range of tones covered ering, Opacity, and Fuzziness. Feathering controls the edge of
by skin. If you look at the figure for Detail Smoothing, you can the mask. Opacity controls the mask transparencyat 0%, no
see that this can often include hair, so you may need to refine mask is applied, and the whole image is processed; at 100%,
the mask manually. the mask is used. Generally, you want this at 100%. Fuzziness
In the middle of the Skin Tones Mask panel are two gradi- controls the range of colors around the selected colors that get
ent boxes. The larger one shows the range of skin colors in the included in the mask. If youre having issues with too many
current photo, with the white outline representing the mask colors being selected, reduce Fuzziness to decrease these.
colors. The smaller box below is a slider that contains a larger Once you start to make mask changes, the menu at the top
map of skin colors from pink to yellow. You can drag this of the panel will change from Auto to Custom. Theres one
slider manually, or use the Hue slider to change it. other option in this menu, Last Used, which uses the settings
The best way to set the skin is to use the Pick Mask Color from the previously processed image. Finally, the Show Mask
eyedropper (the first eyedropper to the right of the smaller options in the middle of the panel are used to change the main
box) to select the skin. As a general rule, the area between the Preview area to a black or white mask. Personally, I use neither
eyebrows is a good representation of the face color. Watch the and rely on the visual feedback in the Mask Preview panel.

k e l b yo n e . c o m

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lightroom magazine

enhancements
The final panel on the left is Enhancements. You
apply these only to the skin by turning on the Use
Mask checkbox. Sharpness and Softness are global
and ignore the mask. Sharpness sharpens the
whole image; Softness adds a glow to the image,
not unlike the old tights-in-front-of-the-lens trick.
This look isnt as popular as it once was, though.
Warmth will warm, or cool, the skin tone. Tint adds
magenta to the left, or green to the right to coun-
teract the opposite color in the skin. For pink skin,
adding a slight green tint can help it. Brightness will
lighten or darken the skin, and Contrast will define
the skin edges more or flatten out the tones.

previews and bracketing

At the top center, there are Preview options. From
here, you can choose a single after view, a top/
bottom before/after view, or a left/right before/
after view. Thats not all, though. By clicking Add
Preview, you can add a new preview tab based on
the current settings. You can then change these
settings and compare it to the first preview, which
will have retained its settings. This is great if youre
not sure about a particular settingyou can create
a new preview, change the settings, and then com-
pare them. Use the arrow buttons to move between
previews, or click on the down-facing arrow to see
the settings that are changed between the current
preview and the others. You can have up to 100
previews at a time.
Bracketing is a variation on this. Click on Brack-
eting to bring up the Parameter Bracketing dialog.
Here, select a parameter you want to see in different
setting amounts, select the number of previews you
p h ot o s h o p u s e r m a r c h 2 0 1 6

want, and the step gap between each one (i.e., the
amount of the Parameter setting you want changed
with each preview). The final options here are Fast
Preview or Accurate. Fast Preview is good enough
for general use.

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lightroom magazine

saving
To save the edit back to Lightroom, click OK near
the top right. To cancel the job, click Cancel (note
that youll still have an unedited TIFF file in Light-
room if you cancel, as this has to be generated for
the plug-in to save it).

batch editing
One feature thats handy in Portraiture is the ability
to edit a range of images at once. In Lightrooms Grid
view (G), select the images to edit, choose Edit In>
Imagenomic Portraiture from the Photo menu, and
the images will load into Portraiture. To navigate
between images, use the arrow buttons, or select a
filename from the drop-down menu right above the
Mask Preview panel.
If the filenames arent helpful, you can change to
a thumbnail preview instead. The settings will apply
to all the images initially, but you can go in and edit
any image without affecting the others. This means
you can get a general edit done, and then tweak
individual photos as needed before saving back
to Lightroom.

final comments
Imagenomic Portraiture is probably one of my
favorite skin smoothing plug-ins, which is great
when youre in a hurry and dont need a high-end
retouch. When used with Lightroom, you have to
nail the skin mask, because theres no way to erase
or mask out a layer like you can in Photoshop. So,
that just means doing a good job with your selec-
tion and refining. Remember to always prepare the
best file possible before going to the Portraiture
plug-in, as well.
k e l b yo n e . c o m

Before/After 091
ALL IMAGES BY SEAN McCORMACK
lightroom magazine

Questions Answers &

SCOTT KELBY

I have a long list of collections in my Collections that stuff to Lightroom 6, but they never said they would. In
panel, but I use the same few collections most fact, they said from the start that the only way to have all the
of the time. Is there a way to have easier access new features is to subscribe, and you get new features as soon
to them without scrolling through a long list, or as theyre released. Thats the whole advantage of the Creative
changing their names to put them at the top of Cloud. Not to mention that the $10 a month isnt just for Light-
the list? roomyou the get full, most-current version of Photoshop, too.
You can mark your most-used collections as Favorites, and then Thats no small thing.
you can jump directly to them from the pop-up menu at the top
left of the Filmstrip. You add them in the same placeclick on If I convert an image to black and white, and
the collection you want to set as a favorite, and then click on then make some edits to it, when I do a before/
that menu and choose Add to Favorites. Now that collection will after, the Before image returns to the color
appear in this pop-up menu, in the Favorite Sources section, so image instead of the black and white. So, its
its always just one click away. hard for me to compare my black-and-white
edits to the original black-and-white conversion.
Is there a way around this?
There sure is. Go to the History panel, Right-click on the Convert
to Black & White state and, from the pop-up menu that appears,
choose Copy History Step Settings to Before. Now, your original
black-and-white conversion becomes the Before image.

I know you can easily see a before/after of all

your changes to an image, but is there a way
to see a before/after of just a particular set of
changes? Like if I use the Adjustment Brush, is
there a way I can see what the image looked like
before I used it?
ALL IMAGES BY SCOTT KELBY
You bet. When you have the Adjustment Brush active, scroll
down to the very bottom of the panel, and youll see a little
Im thinking of switching from Elements to toggle switch on the left. Its in the up (on) position. Click on it
Lightroom, but I did the math and it makes to toggle it off, and it only turns off the visibility of the changes
more sense for me to buy Lightroom 6, you made with the Adjustment Brusheverything else you did
instead of subscribing to Lightroom for $10 a up until that point will still be visible, just the Adjustment Brush
month, right? edits will all be hidden. When youre done, click it again to toggle
p h ot o s h o p u s e r m a r c h 2 0 1 6

Well, that depends on whats important to you. I personally the visibility back on.
wouldnt recommend that you buy Lightroom 6 because its
already pretty outdated software (missing all the latest features), Is there a way to see my image full screen with-
and after you get a little bit into it, youll start asking things like, out having to hide all the panels manually?
Wheres the Dehaze feature, or Why cant I sync my images Yes, there is. Just press the letter F on your keyboard and Light-
to LR mobile, or Wheres the Pano Boundary Wrap feature? room will hide all of the panels for you and take your image full
People get pretty upset that Adobe doesnt go back and add screen. Press F, again, to return back to normal.

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lightroom magazine

How can I find the images in my Library that In the Print module, Im working on some pages
dont have my copyright info embedded into for a wedding album, and I want to backscreen
them and, once I do, how would I add it now an image so I can put some text over it. I know
after the fact? theres a way it can be done in Photoshop
Its a simple two-step process: (1) In the Library module, first go (everything can be done in Photoshop, right?),
to the Catalog panel and click on All Photographs, so youre but is there a way to do that in Lightroom?
searching your entire photo catalog. Then, hit the \ (Backslash) Absolutely, and its easier than youd think. First, Id recommend
key on your keyboard, so the Filter Bar appears at the top of the making a virtual copy of the image you want to backscreen
thumbnail grid. Click on Metadata, and then click directly on the (press Command- [apostrophe; PC: Ctrl-]) so the original is
title at the top of the first column (it probably says Date) to separate. Then, go to the Develop module, to the Tone Curve
bring up a pop-up menu of choices. Choose Copyright Status
from this pop-up menu, and now in that first column it displays
how many images you have, how many are copyrighted, and
how many are unknown. Click on Unknown to have just your
images that dont have copyright embedded into them visible.
Next, (2) press Command-A (PC: Ctrl-A) to Select All the images,
then go to the Metadata panel and, from the Preset pop-up
menu, choose your copyright. Instantly, all those selected images
now have your copyright info embedded right into them.

panel, and click on the little icon in the bottom-right corner until
you no longer see the three triangles under the curve grid. Now,
click on the bottom left of the curve and drag straight upward
(as shown here) and it backscreens the image. The higher you
drag, the lighter the backscreen becomes. Now you can take
that backscreened image over to the Print module and add text
over it there.
k e l b yo n e . c o m

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lightroom magazine

TipsTricks &
The metadata associated with our images can be a powerful
SEN DUGGAN

tool for working with our image archive. Although camera-

generated metadata can provide interesting ways to search
your image catalog, its the metadata that you add to your
images that has the most meaning in terms of the value that
you attach to images (i.e., star ratings and flags), as well as
how they might be useful for future projects (keywords and
collections). Keywords can be some of the most important on the card. Then, once the images are imported into your cata-
user-added metadata and this issue, well take a look at some log, you can add additional keywords to further identify specific
essential keyword strategy and functionality in Lightroom. locations and events.

in the beginning: basic keywords post-import keywording

At the most basic level, keywords can help you find images, so Once images have been imported, you can then apply more
you should think about what words or terms come to mind for image-specific keywords. Lets say you have a card full of
an image or group of photos and use those as a starting point. At images taken at several locations in California. The basic loca-
a minimum, you should add keywords for the location where an tion keyword of California would have been applied on
image was made, the event it portrays, or, if youre photograph- import. Now you can apply more specific location keywords to
ing people, the name of the subjects. You might also consider the rest of the images. Start broad, with keywords that can be
tagging files with the client name or job number if that makes added at the same time to larger groups of images, and then
sense for your business. narrow the focus, working with progressively smaller groups of
The number of keywords, and what type of keywords, you images. The idea here is to apply a keyword to as many images
apply to your photos depends on how you use your images. as you can before moving on to the next group of images and
Wedding and portrait photographers might only need the the next keyword.
names of the clients, or the location of the event venue.
Stock photographers, or those who supply photos for edito- batch apply keywords in grid view
rial purposes, or use their images for illustrations, may find In Grid view, select all the thumbnails that are from the same
that more detailed keywords add more value to their image place, such as San Francisco, for example, and then use the short-
catalog. This value can be measured in personal terms (i.e., cut Command-K (PC: Ctrl-K) to activate the keyword field in the
keywords make it much easier to find the images you want), Library modules Keywording panel. Type in a relevant keyword,
as well as potential future financial value (a keyworded image and that single keyword will be applied to all the selected images.
is more likely to be found in the future if youre searching for Then, move on to the next batch of images taken at a different
a specific type of shot for an assignment). location. For some locations, you may be able to enter several
keywords at once to both identify the location and describe some
apply keywords on import of its primary characteristics (i.e., Golden Gate Bridge, landmark).
p h ot o s h o p u s e r m a r c h 2 0 1 6

Good keywording practices can be implemented at the very Once the different locations have been keyworded, you can apply
beginning of the Lightroom workflow by applying keywords in any other relevant keywords that might help you both identify
the Apply During Import panel on the right side of the Import and find the images in the future (i.e., San Francisco Bay, ocean,
dialog. There are likely to be only a few keywords that will work shipping, transportation, etc.).
for all of the images youre importing from a single card, such
as those that reference a general location or an event, but any keywords for future use
information applied here can be useful in locating photos down As previously mentioned, how you use and search for your
the road. Even if there are several locations or shooting days on images (or how potential clients might search for them) should
the card, you might be able to apply a couple of very general be something to keep in mind when it comes to how detailed to
location keywords (i.e., city, state) that work for all the images get with your keywording. If you photograph for stock, or just
094
lightroom magazine

want to be able to find an image based on the content or activ- working with the keyword list
ity pictured in the scene (i.e., hiking, skateboarding), then youll Below the Keywording panel is the Keyword List panel. This
likely want to get much more specific with your keywords. displays an alphabetical list of all the keywords used in your
catalog, as well as a count of how many images are tagged
the while im in here with a specific keyword. But, its not just a list, its also a way to
keywording strategy apply keywords, and at the top of the list you can filter them by
Whenever I find myself working in a folder of images that have searching for a specific term.
not been keyworded, or that have only minimal keywords, if You can also filter images by keyword by clicking on the
the time allows, Ill take a few minutes and add more detailed number to the right of a keyword. This will display all the
keywords to those images. Sometimes, this inspires me to add images with that keyword (even if youre not currently work-
keywords to images in some of the nearby folders. And it feels ing in the folder where those images are). To add or remove
so good once its done! a keyword in the list to or from selected thumbnails, simply
turn on or off the checkbox to the left of a keyword (use Grid
take advantage of the without view when you want to apply changes to multiple images).
keywords smart collection Right-click on a keyword and youll get a drop-down menu
Lightroom provides a handful of smart collections to get you with additional keyword options.
started with a very useful way of automatically organizing
images (smart collections are populated when certain metadata
criteria are met). One option is for images that do not have any
keywords. If you have some extra time, and want to spend it by
showing some keyword love to your image archive, this is a great
place to start!

use keyword sets for

common keywords
Keywords Sets are a great way to create a set of nine frequently
used keywords. To get you started, Lightroom already has
three sets for outdoor, portrait, and wedding photography in
the Keyword Set drop-down menu in the Keywording panel. If
create your own keyword groups
you press-and-hold the Option (PC: Alt) key, youll see numbers
Try to think of how keywords can be arranged in logical, nested
appear next to the keywords in the active set. These numbers
groups that make sense. To create a nested keyword group,
reference the keyboard shortcut that can be used with the
simply Right-click on a keyword and choose Create Keyword Tag
Option (PC: Alt) key to apply the keywords. To create a new set,
Inside Keyword. The most common way that many people
chose to implement nested keyword groups is for locations.
As with other keywording approaches, the start broad and
then narrow the focus strategy works here. For instance,
my keyword group for Oregon locations is arranged like this:
North America>USA>Oregon>Place Name>More Detailed Place
Name. For an image taken in the Japanese Garden in Portland,
the nested keyword group looks like this: North America>USA>
Oregon>Portland>Japanese Garden.

choose one of the existing sets, and then choose Edit Set from
the drop-down menu. In the Edit Keyword Set dialog, enter new
k e l b yo n e . c o m

keywords, as needed, and then choose Save Current Settings as

New Preset from the Preset drop-down menu. Now, select an
image(s), and then click on a keyword in the Keyword Set section
or use the shortcut of Option-19 (PC: Alt-19) to apply it to the
selected photo(s).
ALL IMAGES BY SAN DUGGAN 095
Product Reviews

SC Labs
D
ChromaMatch Pro
Color Reference Charts Provide High Dynamic
Range and Easy Viewing on a Vectorscope
Review by Erik Vlietinck

DSC Labs ChromaDuMonde color charts are the industry stan-

dard for color reference charts in the video and movie industry.
The company has a new range of less expensive and easy-to-
use ChromaMatch Pro and ChromaMatch Lt charts. Instead of
a rectangular ordering of the color chips, the patches on these
charts have an outward radiating arrangement and come with a
digital reference PNG image file. Even if you have no experience
with color calibration for video, ChromaMatch charts are quite the color patches precisely in the corresponding boxes of a stan-
intuitive to use. I had a chance to try a ChromaMatch Pro Handy dard vectorscope, saving a lot of time.
size chart ($560). Shooting the chart proved to be challenging at first, because
The ChromaDuMonde charts fulfill videographers most the gloss creates reflections that may hinder the correct record-
stringent needs for quality and durability, and the ChromaMatch ing of the colors. By closely following the guidelines of the
charts are made to the same specifications (calibrated to Rec. included data sheet and experimenting a bit, I managed to get a
709) and with the same color pigments. In contrast with other perfect shot when using video lights. In daylight, youd need to
reference chart brands, the larger models of these charts have find the right angle for the chart to face the camera in order to
an aluminum frame where the color patches sit behind a glossy avoid most reflections.
laminated layer, while the smaller charts are made of black DSC Labs also makes white balance and focus charts, as well as
acrylic. The glossy laminate is not there just for show: glossy colors smaller charts, such as the acrylic ChromaSelfie ($95) to calibrate
have a bigger dynamic range and color gamut. still cameras and smartphones. This pocket-sized chart has a color
The ChromaMatch Pro has more colors and is made to tighter side thats specifically tuned for skin tones, and on the flip side, a
tolerances than the ChromaMatch Lt. Just like their ChromaDu- so-called Fiddlehead Focus that lets you focus your camera.
Monde siblings, these charts come in a large range of sizes. The Another novelty is the Print-a-Match color wheel to evaluate
Handy size I tested is about the same size as a large model X-Rite and adjust color printers. The Print-a-Match comes with a digital
ColorChecker. The acrylic ChromaMatch Pro Handy features reference file that you print, and then you visually compare the
11-step modified EIA grayscale levels, true black chips, 18 evenly printout to the reference chart. Differences can be corrected in
spaced intermediate ChromaDuMonde vector colors, four skin- the printer settings.
tone reference patches, and six wide-gamut colors. You could One problem with the latter is that the evaluation of a print-
p h ot o s h o p u s e r m a r c h 2 0 1 6

theoretically use these charts to calibrate photo cameras as well, out cant be more than approximate, because you dont know
but theyre optimized for video and film shooting. They include the expected RGB values of the reference chart. For office print-
16:9 (1.78) and 4:3 framing bow ties, and motion-picture fram- ers, thats okay; but for serious photography, Id stick with a
ing lines for 2.35, 1.85, and 90% of 1.85. spectrophotometer. Interestingly, these small charts have the
The ChromaMatch Pro comes with a digital reference color same layout as the ChromaMatch charts.
wheel, which is a PNG image of the color wheel in the center of
the actual reference chart. The image file has an alpha layer so Company: DSC Labs Price: from $320 (Pocket size)
you can display the PNG on top of a shot of the actual chart, then
Rating:
you can easily correct colors by matching the two with the help
Hot: 18 ChromaDuMonde & 6 vector colors; 4 skin-tone reference patches
of a vectorscope. Both the ChromaDuMonde and the Chroma
Not:
096 Match charts have a color arrangement that automatically places
GET THE SCOOP ON THE LATEST GEAR

ffordable Cyc
A
Wall Systems
Install a Custom Cyc Wall with Lightweight
Modular Components
Review by Michael Corsentino

What in blazes is a cyc wall and why do I even want one? Cyclo-
ramas, Cycs, Cyc Walls, and Infinity Walls are different names for
a rigid, super-smooth, curved radius that seamlessly connects a
studios walls and floor without revealing any corners, thereby
creating a sense of infinity. These are traditionally painted white system is modular, arriving in sections that can be installed easily
or green for chroma-key video work. In addition to a super- and quickly by one or two people with minimal DIY skills and tools.
smooth background, they provide considerably more width to Better still, the entire install and finishing process takes just a few
work with than rolls of seamless background paper. They can days. This system also differs from traditional wood and drywall
also be constructed in myriad shapes that incorporate coves in cyc walls in some important and significant ways. First and fore-
their corners. With a cyc wall, youre limited only by your space most, the system is as tough as it is lightweight. No one is breaking
and budget. or cracking this solid polystyrene cyc by stepping on ita big issue
Ive wanted a cyc wall in my studio for years; however, hav- with traditional cycs. Properly installed, the Affordable Cyc Wall
ing one built for me was a costly proposition and building one System can also be uninstalled at a later date to use elsewhere.
myself seemed like a gargantuan task. Without the tools, time Again, none of this is possible with traditional cycs.
and expertise, youre looking at a costly investment (for tools)
and a steep learning curve. As I learned (watching countless DIY Company: Affordable Cyc Wall Systems Price: From $2,000
videos on YouTube), theres very little room for error in a properly Rating:
constructed cyc wall.
Hot: Easy, fast install; tough & lightweight; can be removed & reused
Happily, I found a great prefab solution manufactured and
Not: May be price-prohibitive for some
offered by Affordable Cyc Wall Systems Inc. This solid polystyrene

Epson SureColor P400 Printer

Versatile Wide-Format Inkjet Printer
Review by Steve Baczewski

Epsons SureColor P400 is a 13" wide-format printer that uses

eight cartridges: five color cartridges, a matte black, a photo-
black, and a gloss optimizer cartridge to reduce gloss differential.
It uses UltraChrome HG2 inks, a different pigment ink formulation
than used in the other SureColor printers. Its ink formulation and
archival properties are similar to Epsons R2000 printer. a rear roll-paper feed and a front manual feed for heavy stock
The SureColor P400 ships with high-quality ICC paper pro- such as poster board. Because of its design using built-in paper
files, and switches from matte or photo-black ink based on your guides, rubberized paper grips, and well-devised paper paths,
paper profile selection. The results were impressive when I made I didnt experience a single paper skew. The front telescoping
test prints using a standardized reference test target. Colors are output tray is sturdy. The P400 can handle sheet paper from
vibrant, saturated, and accurate; flesh tones are subtle; gray tone 4x6" to 13x19" and rolls up to 13" wide. The P400 will also print
patches were distinct; and the P400 produced a deep black. With panoramics up to 129" long, and it has Ethernet, USB 2.0, and
a maximum print resolution of 5760x1400 and a variable droplet Wi-Fi connectivity.
size down to 1.5 picoliters, prints are full of detail, and produce Epsons SureColor P400 A3 might be entry level, but its color
k e l byo n e . c o m

smooth gradients. The P400 is designed for color, not black-and- print quality is strictly high end.
white printing. Using a single black cartridge necessitates using the
color inks to create neutral tones resulting in occasional colorcasts. Company: Epson America, Inc. Price: $599.99
The P400 has four reliable paper feeds. The top-loading Rating:
automatic sheet feed has a sturdy telescoping support and
Hot: P aper handling; print quality
holds more than 100 sheets, depending on stock. A rear single-
Not: Not for heavy production situations; no LCD
sheet feed is for thicker fine art papers up to 1.3mm. It also has 097
REVIEWS

hase One
P
100MP Digital Back
Its the Details That Count!
Review by Michael Corsentino

I recently had the opportunity to shoot Phase Ones brand-new

100MP digital back during a fashion shoot in Los Angeles. I can
tell you first-hand that the files are nothing short of stunning.
You just cant argue with 100 megapixels of detail, a full-frame
CMOS medium-format sensor, 15 stops of dynamic range, and
16-bit color. Combined with Phase Ones also recently released You might question whether 100 megapixels is overkill, but
XF Camera body (reviewed in Photoshop User, September 2015), its kind of like being too rich or too skinny. Whether you need
this system represents the pinnacle of drool-worthy gear. it or not, everybody wants it. What I do wonder is where Phase
This full-frame, CMOS-based, medium-format digital back is One goes from here? Does anyone really need more than 100
a first-of-its-kind in many respects: resolution, sensor size, and megapixels? Moreover, are the available lens optics up to snuff
ISO. One might expect that capturing and writing 100-mega- once the 100-megapixel threshold is crossed? Knowing Phase
pixel files would make for potentially sluggish performance, but One, theyve got it covered. It will certainly be interesting to see
in my experience that was anything but true. The Phase One whats next. Im hopeful in time that well see 50-, 60-, and
100MP digital back is positively zippy! I certainly never had to 80-megapixel options from Phase One to round out their full-
wait around for it to catch up with my fast-paced shooting. frame CMOS offerings.
Because the 100MP is CMOS, it enjoys all the benefits and
modern digital capture conveniences weve come to know and Company: Phase One
love with DSLRs. Except now theyre in a medium-format body Price: $48,900 (body with Schneider Kreuznach 80mm LS lens)
with a sensor nearly twice the size and the phenomenal image Rating:
quality that medium format is known for. The ISO range is an Hot: 1 00 megapixels; ISO from 5012,800
amazing 5012,800, another first for a medium-format digital
Not: Pricey tool; however, you can finance or rent
back, while capture, buffer, and write speeds are all lickety-split.

VAIO Z Canvas
Tablet Windows PC
Review by Daniel M. East

Sure, an all-in-one tablet and computer combination device may

be a great idea for some design and photo professionals who
work in the field, but to be useful, it requires a balance of the
most appropriate size, features, weight, and durability. Most
importantly, it requires an accurate and easy-to-see display to
ensure that your images look their best. Enter the VAIO Z Canvas
(formerly from Sony) that boasts a lot of power and features, but the power cable connector is large and doesnt sit well in the
with a heavier weight and a higher price tag. power port, and youll find that youll need to charge this pow-
While performance is impressive, its on par with other Intel erhouse PC more frequently than most tablets.
p h ot o s h o p u s e r m a r c h 2 0 1 6

i7-based systems running Windows 10. Its Iris Pro graphics chip At what point is the hybrid PC better than a small laptop?
stands up well to CC applications, and the display has the supe- Theyre nearly the same. If you need the full power of a PC,
rior Sony quality thats a favorite of many professionals. Unfortu- you may find that this display size, in spite of its quality, is not
nately, in spite of the wide HD 3:2 aspect ratio, the 2560x1704 adequate for professional applications. The VAIO Canvas Z is as
resolution on this 12.3" display is only that of a small laptop. The heavy as many full-size laptops and the responsiveness of the
only real difference is that, like a tablet, the keyboard is remov- touch screen isnt as good as the competition.
able and it has a touch screen.
Another stumbling point is that, in spite of having many ports Company: VAIO Corporation Price: from $2,199
(SD, HDMI, USB, etc.), the network RJ-45 port requires a flimsy Rating:
pull-down hatch that doesnt feel at all secure with the cable.
Hot: Screen clarity; performance; connectivity
The upside is impressive Wi-Fi reception from the Canvas Z. Also,
Not: Bulky; small screen for design/photo
098
GET THE SCOOP ON THE LATEST GEAR

pson PictureMate PM-400

E
Personal Photo Lab
Compact Photo Lab
Review by Steve Baczewski

The Epson PictureMate PM-400 is a compact portable printer

that delivers quality color and black-and-white photos on glossy
and plain paper. Its a little bigger than a box of cigars, weighs 4
lbs, and produces borderless 3.5x5", 4x6", and 5x7" prints. The
PM-400 uses a single four-color (CMYK) dye ink cartridge. It can
print via Wi-Fi from your computer, smartphone, or tablet, and
directly with its built-in SD card slot and USB port for a flash drive.
I downloaded Epsons iPrint app to my iPhone, took some
pictures, and within 40 seconds had my first postcard-size print.
Its mobility and spontaneity make it ideal for events like family cropping, and auto picture enhancement. Printing times varied
gatherings and holidays, and to fill family photo albums, refriger- within a range of 35 seconds to 1 minute for borderless 4x6"
ator doors, and scrapbooks. The instant gratification is seductive prints. Images from USB drives and SD cards printed faster than
but also very practical as a tool for professional photographers over Wi-Fi.
to quickly assess composition and lighting in the studio. In the Epsons PM-400 is well designed for spur-of-the-moment
1970s, professional photographers commonly shot a 4x5 Pola- printing, and it delivers beautiful prints; however, at a cost of
roid before committing to 4x5 film on a shoot. $199.99 and 40 per print, this convenience is expensive.
Sadly, the PM-400 has no carrying handle or an optional
battery pack, which would extend its mobility to make prints in Company: Epson America, Inc. Price: $199.99
the field, and it requires AC power. Two other warnings: When Rating:
printing from a flash drive or SD card, the 2.7" tiltable LCD is too Hot: C
ompact mobile printer; photo quality
small for ideal previewing of images; and the image-editing fea-
Not: Expensive; no battery option
tures in the PM-400 are limited to red-eye reduction, sharpening,

Strata Design 3D CX 8.1

Fast Render Speed & Stage Modeling Save Time
Review by Erik Vlietinck

Strata Design 3D CX 8 is focused on animation and 3D model

design. The latest version (8.1, the Winter 201516 release) has
Intels Embree Raycasting Technology to speed up rendering by
800%, and a template system based on predefined stage settings.
With Strata Design 3D CX 8, you can create beautiful 3D objects
and scenes, architecture, and even interior design; however, some
functionality that youll find in heavyweights is lacking. For exam-
ple, a script language, such as Python, isnt available. Also, there has close to 30 professionally created templates. To view your
are no sculpting or effects like particles that you can create within model in one of them, all you need to do is select a menu item,
Strata Design 3D CX 8and thats part of its appeal. Focusing choose the stage, and set two configuration options. You can
on modeling makes Strata Design 3D CX 8 incredibly fast and the tell Design 3D whether you want to have your model automati-
new Embree Raycasting Technology, which has been integrated cally scale to the template and if youd like it to rotate to face the
directly into the Strata rendering engine, provides an overall speed camera. The Stage Model includes templates for retail shelves,
increase of up to eight times that of the previous release. but you can also create your own environments for use with
k e l byo n e . c o m

The new engine is also credited with improving image quality future projects.
through better anti-aliasing. With the Winter 201516 release,
Strata was also able to refine how Design 3D anti-aliases images Company: Strata 3D Price: from $595
by going into darker and broader color areas. Rating:
My own favorite new feature is the Stage Model, which really
Hot: Speed; rendering quality; Stage Model
makes it easy to take a finished model and stage it without first
Not:
having to create a complete environment for it. The Stage Model 099
BOOK REVIEWS PETER BAUER

The Simple Guide to Great Photography:

Maximizing Profits: A Practical Guide Easy Tips & Tricks for Photographing Children,
for Portrait Photographers Family, Pets, Cars, & More!
By Lori Nordstrom By April Bryant

Nicely illustrated with many of the authors own photos, mostly of A very short, quick read, the author touches on and briefly explains
children, this book is definitely aimed at portrait photographers. most of the basics of photography. This is a great book to give to
Thats not to say that an architectural or landscape photographer someone just starting to make photographic images or someone
wont find some good common sense advice here. Much of the who has been taking images for years, but never takes the cam-
book is devoted to establishing relationships with clients and era setting off Auto. The author writes in a clear and comfortable
marketing. Repeat business as children grow depends almost voice, never making any subject seem too complicated. (Some
entirely on your relationship with the parents. On the same side subjects probably could have used an additional sentence or two,
of the coin, having a great relationship with a real estate agent but nothing is really left hanging.) The author has also included a
is critical for a real estate photographer to count on repeat busi- link to a website that includes a downloadable PDF that contains
ness from that client. The author also has some specific advice on the 36 summary points from the eight sections (I cant quite call
pricing and budgeting. This book is best for photographers just them chapters) of the book. The PDF Quick Reference Guide
starting out and for those having trouble maintaining profitabil- can be printed or loaded onto a smart phone for easy, portable
ity. (The Kindle version was read for this review. Kindle books can access to the authors advice. (The Kindle version, which I recom-
now be read on Apple iPads and computers, using an app from mend, was read for this review.)
the Apple App Store.)
p h ot o s h o p u s e r m a r c h 2 0 1 6

Publisher: Amherst Media Pages: 128 Publisher: HPP Media & Design Pages: 72
Price:
$34.95 (paperback); $13.49 (Kindle, Nook) Price:
$14.99 (paperback); $4.99 (Kindle)
Rating: Rating:
100
photoshop user MARCH 2016

POP QUIZ!
Test what you learned in this issue

Take Quiz

| fuel for creativity

COLUMN

From The Advice Desk

Answers to Photoshop and gear-related questions

BY PETER BAUER

I photograph a lot of groups, mostly kids and teens in groups of a half dozen to twenty
something. No image has every element perfectsomeones eyes are closed or another is
yawning. Any advice?Larry

To: Larry
From: KelbyOne Advice Desk
Use a tripod and set your camera to shoot in burst likely not have to scale the fix muchif at allbecause
mode, using the highest number of shots available. both shots were taken from the same distance.
And, shoot several times, as quickly as your camera If the working image has multiple flaws, you can add
can reload (save the images to the card and be ready fixes from a variety of other imagesyou dont need to
to shoot again). In one of the shots, you may have find one specific secondary image that has repairs for all
everything just right. Or, far more likely, youll find of the flaws in your working document.
the image that has the fewest things wrong and elect Keep in mind, too, that if the final destination for
to use it as your working document. Remember, that the image is a relatively small print or the Web, you
since youre using a tripod, you can work with the best might want to shoot video. If your DSLR (or even cam-
(or least bad) image, along with one or more images era phone) can shoot high-definition video, you have
that dont have the specific problems you see in the even more images to choose from than you do when
working document. shooting in burst mode. In Photoshop, you can open
You can, for example, use the Clone Stamp tool (S) the video, view it frame by frame in the Timeline panel,
to copy open eyes from another shot over closed eyes and then select a frame to use as your working docu-
in the working document. Option-click (PC: Alt-click) ment. One way to create that working document from a
on one eye in the second photo, switch to the working selected frame is to use File>New to create a new image
document, add a new layer, and then drag the Clone measuring 1280x720 pixels at 72 ppi, select the Move
Stamp tool over the closed eye. You can even copy/ tool (V), then Shift-drag the frame from the video file to
paste or clone entire heads between images. Put each the new document.
eye or other fixes on separate layers in order to manipu- Assuming you have a good camera and lens, and
late them individually. Or, assuming the pixels on the the original video is properly focused, a single HD video
new layer dont overlap, you can fine-tune the adjust- frame can be cropped as large as 8x10" at 250 ppi. Keep
ments using the Lasso tool (L) to select the element on in mind that 1280x720 natively scales to 10x5.625"
the layer that you need to tweak. or 14.222x8", so some of the image will need to be
If a head in either the working document or the cropped to create an 8x10 print. If you know youll want
image from which youre adding a fix is turned or tilted to create an 8x10 (or 4x6) print from a video, make sure
p h ot o s h o p u s e r m a r c h 2 0 1 6

slightly, use the Edit>Transform commands to properly to allow excess imagery around the subject, so that you
align the fix with the problem area. Using a tripod, youll can crop to the desired size.

The KelbyOne Member

ADVICE DESK
Are you taking advantage of the Advice Desk at the KelbyOne member website? This is the place where you can get all of your
Photoshop and Lightroom questions answered by our Advice Desk experts. Not only that, you can get photo and computer gear
help and advice, as well. What are you waiting for? Visit the Advice Desk section under My Account on the KelbyOne member
104 site today!
Photoshop User magazine is the official
publication of KelbyOne.

Each issue features in-depth Photoshop

tutorials written by the most talented
designers, photographers, and leading
authors in the industry.

As a KelbyOne member, you

automatically receive Photoshop User
delivered digitally ten times a year.

FIND KELBYONE MEMBERSHIP

DETAILS AT
www.kelbyone.com

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