Photoshop User - 0701Jan-Feb

Contents
January/February 2007
www.photoshopuser.com
Features
Columns
20
Down & Dirty Tricks

Here are three more D&D tricks: creating water droplets;
a high-contrast Scarface poster technique; and a silky
waterfall effect.Scott Kelby and Felix Nelson
47
Photoshop Mastery
Ben faces the limitations of the Actions palette and
shares his Actions Frustration Fixer (for advanced users
only).Ben Willmore
52
Photoshop Speed Clinic

The rule-of-thirds is sometimes not feasible when shooting, so heres a Photoshop technique using the Crop tool
and a grid that simulates this rule.Matt Kloskowski
54
The Fine Art of Printing

Since its invention, there have been many kinds of paper
and ways to use it. John Paul explains how substrate
dramatically affects print quality.John Paul Caponigro
56
34
48
58
60
Photoshop for Educators

Jan gives us a lesson in the basics of color management:
setting up profiles for monitors and printers and color
spaces for your color-managed workflow.Jan Kabili
To the Point
No matter how good your photographic technique,
digital images need to be sharpened. Tim shows us how
to get the most when using Unsharp Mask.Tim Grey
62
But WaitTheres More: Wherever you see the
symbol at the end of an article, it means theres additional
material for NAPP members at www.photoshopuser.com.
Deke Space
Heres a technique that Greg Vander Houwen shared
with Deke several years ago: it involves adding a unidirectional speed trail to a jet aircraft.Deke McClelland
ADIM X Set to Sail

Get set for the 10th Annual Art Directors Invitational
Master Class (ADIM X: Pirates by Design).Louis Fishauf
49
Adobe broke the mold of overtly commercial marketing by introducing students from college photography
programs to Photoshop Lightroom.Katrin Eismann
Digital Workshop on the Road

You know those fantasy camps where you leave the real
world behind and concentrate on honing your skills in
your favorite sport? Well, heres how David created a fantasy camp for wildlife photographers.David Cardinal
Creative Point of View
Beginners Workshop
You probably spend time color-correcting your digital
photos so here are two simple, no-brainer techniques to
correct them quickly.Scott Kelby
Columns
64
Digital Camera Workshop

Keeping all your digital files properly backed up and
organized is very important, especially when your client
calls and needs older files right now!Jim DiVitale
66
70
From the Editor
14
Contributing Writers
16
Photoshop News
17
NAPP Member News
76
From the Help Desk
When you need to remove large objects from an image,

the Clone Stamp tool can be time-consuming. Taz shares
his alternative cover-up technique.Taz Tally
89
Photoshop Book Reviews
90
Photoshop Design Showcase
Mastering Photoshop with Video
92
Photoshop Q&A
The WOW! Factor
Production Clinic
As scary as it may be for video professionals, working

with paths in Photoshop may prove to be one of the best
skills you can have.Glen Stephens
72
Digital Photographers Notebook

Here are some Photoshop color-correction techniques
that the old dogs use, but they may be brand-new to
photographers whove just gone digital.Kevin Ames
74
Classic Photoshop Effects

Heres an oldie-but-goodie: a realistic chrome effect written by our very own Photoshop Lad (filling in for Dave
Cross this issue).Corey Barker
96
Photoshop Quick Tips

Speed up your cloning technique, create an easy duotone, and more.Sherry London
114
About Photoshop User Magazine
10
To add richness and soften distractions in an image,

while still maintaining detail, Jack shares a technique
using Gaussian Blur and the Blend If sliders.Jack Davis
68
Departments
Photoshop Beginners Tips

When things dont happen the way you expect, youll be
happy to know that its not just you.Colin Smith
Reviews
78
HP Photosmart Pro B9180
80
OptiPaint
81
CanoScan 8600F
82
LensDoc 3
82
HVC Color Composer Pro
83
imageSynth x
84
20/20 Color MD 2
86
Fisheye-Hemi
87
magicolor 2550 DN
88
Snap 2
Cover by
Felix Nelson
about
p h ot o s h o p u s e r
Photoshop User magazine is the official publication of the
National Association of Photoshop Professionals (NAPP). It is for
members, by members, and is not available to the general public
by subscription.
As a NAPP member, you automatically receive Photoshop User
delivered right to your door eight times a year. Each issue features
in-depth Photoshop tutorials written by the most talented
designers, photographers, and leading authors in the industry.
n at i o n a l a s s o c i at i o n o f
p h ot o s h o p p r o f e s s i o n a l s
The National Association of Photoshop Professionals (NAPP) is a dynamic trade
association and the worlds leading resource for Adobe Photoshop training, news,
and education. Founded in 1998, NAPP has become the largest graphics and digital
imaging association in the world with more than 50,000 members worldwide.
NAPP is open to any individual using Photoshop in a casual or professional environment.
p h ot o s h o p u s e r j a n u a r y / f e b r u a r y 2 0 07
Theres no faster, easier, and more affordable way to get really good at Photoshop.
Join today for only $99 U.S., $129 Canada, and $149 International. NAPP also offers
special educational memberships. Go to www.photoshopuser.com to get more info.
008
NAPP Membership Benefits:

Annual subscription to Photoshop User magazine (eight issues annually)
Members-only website with time- and money-saving content, including:
Weekly Tips and Tutorials from
world-class instructors
Advice Desk to get straight,

unbiased advice on products
Vendor discounts on hardware,

software, services, plug-ins, and travel
Bookstore of latest educational

books and DVDs, plus huge discounts
NAPP Perks for complimentary images,

actions, shapes, and plug-ins
National schedule of Adobe

Photoshop training seminars
Help Desk to get your Photoshop

questions answered fast
NAPP Gallery for creating

your online portfolio
Registration discount to Photoshop World Conference & Expothe annual

NAPP convention and the largest Photoshop event in the world
Monthly e-newsletter produced just for members
NAPP membership details at www.photoshopuser.com or call 800-738-8513
MondayFriday, 8:30 a.m. to 7:00 p.m. EST.
From the Editor

A few words from our E.I.C.
Where Does Lightroom Fit In?

Adobe adds Lightroom to the Photoshop family
ne question Ive been asked a lot lately is where Lightroom fits in, especially because Adobe added
Lightroom to the Photoshop family. (Its now officially named Adobe Photoshop LightroomI still call it
Lightroom, for short.)
If youre a photographer and you havent heard about Lightroom, let me tell you that its just about the greatest thing to happen to photographers sincewellPhotoshop. Before I get carried away, though, heres a quick
Q&A that may answer some questions floating around in digital photography land.
Its just about

the greatest
thing to happen
to photographers...
Q. Does Lightroom replace Photoshop?

A. Nope. It was designed to work with Photoshop. Although Lightroom does some things better than Photoshop, it doesnt do a few critical things that Photoshop does brilliantly.
Q. So what does Lightroom do better?
A. I think Lightroom is better than Adobe Bridge for sorting and comparing images, editing a photos metadata,
adding keywordspretty much anything that Bridge does, Lightroom does better and much faster. Also, I think
the controls for processing RAW photos are far superior in Lightroom than the Adobe Camera Raw plug-in in
Photoshop. And, you can edit JPEGs and TIFFs using the same controls that you do with RAW photos.
Q. So are you saying not to use Bridge and Camera Raw?
A. You can if you want to, but Lightroom tools were designed to be faster, better, and easier for photographers to use than Bridge and Camera Raw, so why would you still use them? Adobe designed Lightroom for
photographers from the ground up and, thanks to Adobes brilliant public beta program, the application has
been refined numerous times. For the first time, we have a program that was actually designed with input from
thousands of photographers.
Q. So what does Photoshop do better?
A. For one thing, retouching: Lightroom doesnt really have retouching tools so if you need to remove a wrinkle,
make someone thinner, clone something, or any of a thousand other retouching tasks, you need Photoshop.
Also, Lightroom doesnt have layers (yikes!), so compositing still needs to be done in Photoshop. And you cant
make selections in Lightroom (double-yikes!). Lightroom doesnt have filtersnot a oneplus theres no Brush
tool or brushes in Lightroom, or professional control over type, or layer styles, or guides, or Pen tool, orI could
go on and on, but as you can see, these two programs really need each other.
Q. So will you be adding Lightroom coverage to the magazine, the NAPP member website, the works?
A. Absolutely. After all, its Photoshop Lightroom. Right?
010
If you havent tried Lightroom, go download the free beta from Adobe, and try it.
Allrighty then, back to the magazine. Weve got some fascinating features, including: To the Point, a great
article from our buddy, Tim Grey, on how and when to sharpen images; and Digital Workshop on the Road,
a special treat from photographer David Cardinal that chronicles an amazing digital adventure. Also in this
issue is the first article from the Photoshop Lad, Mr. Corey Barker, in the Classic Photoshop Effects column
on page 74. Please welcome the Laddie. (By the way, because Corey is NAPPs new guy, I made him do a special effect for the Down & Dirty Tricks on page 20.)
Of course, we have the usual complement of killer articles, tutorials, and techniques from the very best
Photoshop teachers on this planet; all there to make darn sure you kick off 2007 knowing all the latest new
stuff. Is it just me, or is this a really amazing time to be a Photoshop user?
All my best,
Scott Kelby
Editor and Publisher
Contributing Writers
Photoshops most wanted
Deke McClelland
014
is Photoshop Users first regular

contributor to be inducted into the Photoshop Hall of Fame. In
addition to writing the Adobe Photoshop CS2 One-on-One
hands-on book, Deke hosts the high-definition DVD instructional series Total Training for Adobe Photoshop CS2.
Sherry London is author of Photoshop CS2
Steve Baczewski
Colin Smith, an award-winning designer, lecturer,
Gone Wild and has written a number of other books on

Photoshop, Illustrator, and Painter. Sherry also writes tips
and product reviews for Photoshop User and Layers
magazine, as well as tutorials for Planet Photoshop.
is a freelance writer, professional

photographer, graphic designer, and consultant. He also
teaches classes in traditional and digital fine arts photography.
His company, Sore Tooth Productions, is based in Albany,
California. Steve can be reached at foxhole510@sbcglobal.net.
and writer, has authored or co-authored 12 books on Photoshop and has created a series of Photoshop training videos
available from PhotoshopCD.com. Colin is also the founder
of the online resource PhotoshopCAFE.com.
Jim DiVitale is an Atlanta-based photographer and
Katrin Eismann, author of Photoshop Restoration
instructor specializing in digital photography. His clients

include IBM, Carters, Mizuno USA, Genuine Parts Company,
Scientific-Atlanta, TEC America, and Coca-Cola. Check out his
website at www.divitalephotography.com.
& Retouching and Photoshop Masking & Compositing, is

an internationally recognized artist, author, and educator.
She was inducted into the Photoshop Hall of Fame in 2005.
Check out her websites at www.katrineismann.com.
Jan Kabili, a best-selling Photoshop author and trainer,
Ben Willmore is author of Up to Speed: Photoshop
has written several books on Photoshop, ImageReady, and

Photoshop Elements. Youll find her latest tutorial-packed
books, How to Wow: Photoshop CS2 for the Web and Photoshop CS Complete Course, at major online and retail stores.
CS2 and Photoshop CS Studio Techniques. Currently,

Ben is on tour with his hit seminar Photoshop for Photographers. Check out the free tips and tutorials at his website,
www.digitalmastery.com.
Dave Huss, with more than 25 years experience as a
Glen Stephens, developer of the Tools for Television,
photographer, has authored more than 18 books on digital

photography and photo editing. His latest book is Photoshop
Elements 4: 50 Ways to Create Cool Pictures. Dave is a popular conference speaker in the U.S. and Europe.
Photoshop Toolbox (www.toolsfortelevision.com), has more

than 10 years experience in the broadcast video industry.
His company, Pixel Post Studios, provides training and design
services for the broadcast video industry.
is the Director of the NAPP Help Desk

and a featured columnist at Planet Photoshop. As an Adobe
Certified Expert, Pete does computer graphics consulting
for a select group of corporate clients. His latest book is
Photoshop CS2 for Dummies.
Peter Bauer
Ph.D., a nationally known electronic publishing

consultant, is legendary for his entertaining teaching on a
wide range of electronic publishing topics, including scanning,
Photoshop, prepress, and digital file preparation. Hes also
author of Photoshop CS2 Before & After Makeovers.
is author of Adobe Photoshop Master Class and an internationally renowned fine artist
and authority on fine digital printing. He was recently inducted
into the Photoshop Hall of Fame. Visit www.johnpaulcaponigro
.com and receive a free subscription to his enews Insights.
John Paul Caponigro
Kevin Ames is a commercial digital photographer,
Daniel East is an author, freelance writer, presenter/
lecturer, photographer, and writer, has

authored more than 30 how-to books for photographers,
designers, and illustrators who use computers, including
the Photoshop WOW! Books (Peachpit Press). Jack is also
an instructor at Photoshop World conferences.
trainer, and consultant with more than 20 years experience in

professional photography, pro-audio, and marketing. Dan is
also founder and president of The Apple Groups Team support
network for user groups.
David Singer
is an award-winning photographer,
videographer, and freelance writer based in Massachusetts.
His creative services boutique serves clients throughout New
England, and hes been teaching traditional and digital photography and video workshops for the past 17 years.
Taz Tally,
author, and educator. His books include Photoshop CS2: The

Art of Photographing Women and Digital SLR Photography
with Adobe Photoshop CS2 All-in-One for Dummies, both
from John Wiley & Sons.
Jack Davis,
Tune In To
PeachpitTV
Point your browser to www.peachpittv.com
where your favorite authors are bringing their
best tips and tricks directly to your desktop.
Missed Photoshop World? Insist on learning from the best? PeachpitTVs newest
show, Author Tips, features your favorite authors demonstrating their top tips, tricks,
and tutorials. You wont want to miss new and upcoming episodes starring
Matt Kloskowski, Kevin Ames, Dan Margulis, Ben Willmore, Rich Harrington,
and Terry White talking about:
Truly Automatic Automations with

Adobe Photoshop
Customizing Web Galleries in Adobe Photoshop
Understanding Alpha Channels
Understanding Lab Color
LAB Color: Fixing a Color Cast
Integrating Adobe Bridge
Retouching Interiors
Retouching Portraits: Eye Enhancements
Photoshop, graphics, design, the Webyou name it
PeachpitTVs Author Tips covers everything you need to know
to be more creative and get the most from your favorite software.
podcast
Also
availa
b
on iTu le
nes
www.peachpittv.com
Photoshop News
By Daniel M. East
All the latest on Photoshop-related gear and software
e frontier
updates Poser
016
e frontier has announced the

anticipated release of their new
English edition of Poser (version
7), the 3D design and animation software first introduced
in 1995. Some key new features
include: exclusive third-party
content from RuntimeDNA,
Meshbox Designs, Netherworks,
Vanishing Point, and more; new
wildlife including an eagle and
wolf; and extensive updates to
the Poser Child figures with new
morphs, textures, and rigging as
well as new Motion Capture Data,
Light Sets, Poses, and Materials.
Poser 7 is available for Windows and is now also a Universal
binary application for Mac OS X
with native support for Intelbased Macs.
The company boasts a 300%
performance boost for this
version compared to Poser 6.
Uli Klumpp, Director of Product
Development at e frontier and
long-time Poser Product Manager
says, Compared to all previous
versions, this release is the most
significant one to date. Poser 7
will have a powerful combination
of new content, new features,
and improvements. The bottom
line is that both the Poser professional and the casual enthusiast
will have more robust and more
powerful 3D figure design and
animation software.
Poser 7 Special Edition will
be priced at $249.99 for the full
version and $129 as an upgrade.
To entice customers, e frontier
has posted 7 Reasons to Get
Poser 7 on their website (www
.e-frontier.com/bo/Posser_7),
outlining some pre-release
incentives (at press time).
Epson announces two new multimedia storage viewers

For digital photographers and design professionals who are looking for a high-quality image
viewer that also offers some storage space, Epson has introduced their new P-3000 and P-5000
handheld multimedia storage devices. These models were developed to address the specific
needs of multimedia professionals and feature Epsons exclusive four-color filter system displaying 16.7-million colors to deliver Adobe RGB color support. The devices offer 640x480 highresolution on a 4" color LCD display, with a 40-GB (P-3000) or 80-GB (P-5000) hard drive. You
can zoom in on your images with the viewers, which support most major formats, including
JPEG and RAW. Additional format support includes MPEG4, Motion JPEG, DivX, MP3, AAC, and
EXIF data.
Included is Epsons new processor
that they claim has download speeds
up to 250% faster than previous
models and the new Link2 software
that provides automatic file conversion for most music and movie formats
with the ability to build, edit, and store
music playlists. Without a doubt,
these two products set a new standard
Epson P-3000
of excellence in image quality in the
area of handheld multimedia storage
devices, says Jennifer Burl, Product Manager, Epson. The clarity, crisp details, and amazing
range of colors achieved by the P-3000 and P-5000 put them miles ahead of the competitionAnd, with faster download speeds and a larger range of file support, these lightweight,
handheld viewers offer the ultimate in portability for demanding photo enthusiasts, professionals, and consumers alike.
Theres a new interface with three viewing modes so users can organize files, create albums
and slide shows, and assign ratings to their content. Both models have a rechargeable lithium
ion battery that delivers up to three hours of power, and two built-in memory card slots for
Compact Flash I/II and Secure Digital memory cards. Epson offers their P-3000 and P-5000
multimedia storage viewers through authorized dealers, specialty photo retailers, online,
and at their online store (www.epsonstore.com). Pricing for the viewers is $499 for the P-3000
model and $699 for the P-5000 and each comes with a one-year limited warranty.
SibCode offers free Photoshop icon creator plug-in

If icon creation is something you need, the folks at SibCode are offering their Icon 2 plug-in
for Adobe Photoshop absolutely free of charge. SibCode icon-creation tools range from editors to readymade sets and a variety of graphical icon image formats for almost any application or industry.
Icon 2 enhances the ability to export and import icon files (.ico) in Photoshop and eliminates the need for intermediate files or icon editors. Icon 2 works with Adobe Photoshop, Adobe
Photoshop Elements, Adobe After Effects, Premiere, PhotoDeluxe, Corel PhotoPaint, PaintShop
Pro, Painter, and Photo applications. SibCode has included the ability to create multiformat icons,
transparency, and semi-transparency that are compatible with most platformsand specifically
the upcoming Windows Vista operating systemincluding monochrome, 16-color, 256-color,
24-bit True Color, and 32-bit True Color with semi-transparency. The Icon plug-in is compatible
with all versions of Microsoft Windows and all versions of Photoshop from 3 to CS2 and its free
from the SibCode website (www.sibcode.com). Q
NAPP Member News
By Bryce Smith
All the latest on membership and benefits
The best reason to visit Boston in spring!
Recent NAPP Discounts
Coming to Boston from April 46, 2007, is the East Coast Photoshop World Conference &
Expo (see ad on p. 41). Its your chance to network with fellow Photoshop users from
around the world and to learn and share ideas with the industrys most respected and
talented instructors. Todays professional environment has made efficiency, productivity,
and creativity resources of the utmost importance and demand and thats why Photoshop
World has become a must-attend event for art directors, professional photographers,
graphic artists, Web designers, and everybody in between, regardless of skill level.
This years event will be held at the John B. Hynes Convention Center in downtown
Beantown. For NAPP member rates, early registration, class schedules, and other info,
visit www.PhotoshopWorld.com.
AdVYHiVihAs a NAPP member,

save 50% on Load.coms Live Web
Statistics service, the LoadStats 7.0,
a Web analytics tool that enables
users to track website traffic.
After an exhaustive search, weve added Corey Barker to the NAPP in-house team of
educators. Hes already started writing tutorials for the magazine (see page 74) and for
the NAPP website and, of course, occasionally participating in Adobe Photoshop TV and
online training videos. His title is Education & Curriculum Developer but Pamela Hennessy,
the Photoshop TV Producer, came up with The Photoshop Lad, and it just stuck (and no,
he isnt Scottish).
The iPod Book is backand it just got cooler

Its only been a few years since the iPod revolutionized almost
every aspect of the music industryfrom how we listen to music
to how its sold and distributed. Now Scott Kelbys updated The
iPod Book unlocks its hidden potential. In the same signature
step-by-step style that has made him one of the worlds best-selling technology authors, Scott shows how to do the most important, most requested, most useful, and most fun things possible
with your iPod. Check it out at the NAPP member website.
Thanks for the feedback

Last October, more than 10,000 of you responded to our online NAPP member poll.
Thanks to your results, we found who you are and what you do, as well as what parts of
the magazine and website you find most useful, and what you want to see more of. Well,
youve probably begun to see some changes on photoshopuser.com and in Photoshop
User as a direct result of this poll. Watch for more member surveys in the future so we
can further improve your organization, website, and magazine.
Shortcut of shortcuts
If you want to be a speed demon when it comes to Photoshop, youre probably going
to have to master its keyboard shortcuts. And new plug-ins, programs, and applications
mean more new keyboard shortcuts. To help you save time, you can download a handy
PDF cheat sheet of Adobe Photoshop keyboard shortcuts at the NAPP website.
Visit the NAPP member site (www.photoshopuser.com) for more info on any item on this page or
any info concerning your membership.
If you have any suggestions or ideas for enhancing your NAPP membership, please send them
to the NAPP Executive Director, Larry Becker, at lbecker@photoshopuser.com.
E]didh]deHij[[KdajbZh&(
89This bundle contains all
three volumes of Photoshop Stuff
for one price on one CD containing the full collection of styles,
actions, shapes, brushes, and
templates. NAPP members get
30% off the regular price.
6@K>HA 30% discount off the
regular price is available for NAPP
members on all AKVIS software
for any license typehome or
business. Trial versions of Photoshop plug-ins, such as AKVIS
Enhancer, AKVIS Coloriage, AKVIS
Chameleon, AKVIS Stamp, AKVIS
Retoucher, and AKVIS Noise
Buster can be downloaded at the
AKVIS website.
;aj^YBVh`'This Photoshop
plug-in that takes image masking
and cutting-out to new levels is
now available to NAPP members
for $179thats $20 off the retail
price. To find out more about Fluid
Mask 2 or try a free demo, go to
www.vertustech.com.
9^\îVa;âbIddahNAPP members receive 30% off all Digital
Film Tools Photoshop plug-ins,
including 55mm, Digital Film Lab,
Light, and Ozone. These digital
optical filters simulate popular
glass camera filters, specialized
lenses, optical lab processes, film
grain, and exacting color-correction, as well as natural light and
photographic effects. Q
w w w. p h ot o s h o p u s e r . c o m
Introducing The Photoshop Lad
;dciBVgiNAPP members get a

$10 discount on the Retro Bowling
Shirt Fun-Pak, featuring three allnew, bowling-themed fonts; a
42-slice retro bowling clipart package; and the FontMart Retro Signbuilders Kit for designers to create
their own custom retro sign.
017
NAPP-Sponsored Photoshop Training

Learn the latest Photoshop techniques from the hottest Photoshop educators
Upcoming Seminars
The following conferences and seminars are sponsored or produced by the National Association of
Photoshop Professionals and provide special discounts to NAPP members. The Adobe Photoshop
Seminar Tour is accredited by ACCET to offer 0.8 CEUs to seminar attendees (unless otherwise noted).
Photoshop CS2 Power Tour

featuring Dave Cross or Scott Kelby
Ready to make the leap to the big leagues?
Heres your chance to learn the next level
of skills that separates the average pixel
jockey from the industry leaders. Scott
Kelby, best-selling author and Editor-inChief of Photoshop User, designed this
seminar from the ground up for people who
are proficient in Photoshop and want to
supercharge their skills with one powerpacked day of in-depth trainingthe best
Photoshop seminar youve ever attended,
at any price.
by most people but powerful enough to

make any imagined effect a reality.
Upcoming Dates:
AUSTIN, TX
January 24, 2007
Austin Convention Center
TAMPA, FL
January 26, 2007
Tampa Convention Center
Registration Info:
Regular admission is $99.
NAPP members pay $79.
Call 800-201-7323, or register online
at www.photoshopseminars.com.
Upcoming Dates:
HOUSTON, TX
January 29, 2007
George R. Brown Conv. Center
Registration Info:
018

Photoshop CS2 Creativity Tour

featuring Bert Monroy
Spend a day with the photorealist genius
of our times, Bert Monroy. While you may
not be able to draw like Bert (hes truly the
master), in this seminar youll learn the
techniques hes developed over the years
to create realistic images that boggle the
imagination. Its the perfect seminar for
Photoshop users, photographers, and
illustrators alike! Bert will show you features
that are underused and even overlooked
Instructors subject to change without notice
Photoshop CS2
for Photographers
featuring Ben Willmore
Author/trainer Ben Willmore reveals
the power of digital image editing and
the smartest Photoshop tips that will
let you perfect any image in record
time. Youll learn his favorite techniques
for retouching, restoration, and color
correction so you can produce incredible
photographic results.
Upcoming Dates:
SAN ANTONIO, TX
Photoshop World
Conference & Expo
BOSTON, MA
April 46, 2007
John B. Hynes Conv. Center
In todays market, efficiency, productivity,
and creativity are in high demand, and
thats why each year thousands of Photoshop users from around the world come
to Photoshop World. Its where youll learn
the latest cutting-edge techniques, the
fastest and most effective ways to work
in Adobe Photoshop, and the hottest
and most amazing new Photoshop tips
from a hand-picked team of the industrys
most talented and creative instructors.
There are more than 80 classes taught by
a whos who of todays best and brightest
Photoshop instructors; ten half-day, careerchanging preconference workshops;
and the opportunity to save big with
discounts at the Tech Expo from all the
big names in the business.
Registration Info:
Advance Registration
Before March 2, 2007
Advance admission is $499.
February 26, 2007

Henry B. Gonzalez Conv. Center
General Registration
After March 2, 2007
Registration Info:
General admission is $599.

Students (with ID) pay $149.


at www.photoshopworld.com. N
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Down & Dirty Tricks

The hottest new Photoshop tricks and coolest special effects
N BY SCOT T KELBY AND FELI X NELSON
Watery Droplets
Heres a variation of an old Down & Dirty technique written by our very own Photoshop young gun (and
resident Photoshop TV guy), Corey Barker. He shows us how to create water droplets using a somewhat
unconventional combination of Photoshop filters. Its a little different, but very effective...give it a shot.
ISTOCKPHOTO/SCOTT CRAMER
STEP ONE: Open the image to which you want to apply the
effect (a sparkling glass of water in our example. [NAPP
members may download the image used in this tutorial at
www.photoshopuser.com/members/magcenter/2007.php.]
020
STEP TWO: Add a new blank

layer (Layer 1) by clicking on the
Create a New Layer icon at the
bottom of the Layers palette.
Press D to set your Background
color to white. Press CommandDelete (PC: Control-Backspace)
to fill the entire layer with white.
STEP THREE: With Layer 1

active, go under Filter and
choose Render>Fibers. The
default setting should work
fine, so simply click OK in the
Fibers dialog.
STEP FOUR: Go under Filter again and choose Texture>Stained

Glass. Enter 6 for Cell Size, 10 for Border Thickness, 1 for Light
Intensity, and click OK.
STEP FIVE: Once again, go under Filter and this time, choose
Sketch>Plaster. Enter 20 for Image Balance, 8 for Smoothness,
and choose the Light direction that best suits your image (we
chose Bottom Left for our example). Click OK.
Note: The Image Balance and Smoothness sliders determine

the number of bubbles. Dont be afraid to experiment.
021
STEP SIX: Next, choose the Magic Wand (W) from the Toolbox.
In the Options Bar, set the Tolerance to 32, make sure Contiguous is checked, and then click on the black background
anywhere in your image. Now, press Delete (PC: Backspace).
Press Command-D (PC: Control-D) to deselect.
STEP SEVEN: Change Layer 1s blend mode to Overlay and

lower its Opacity to 75%. Now click on the Add Layer Mask
icon (at the bottom of the Layers palette). Choose the Brush
tool (B) from the Toolbox and with black as your Foreground
color, paint away the bubbles around the outside of the glass
and some of the bubbles on top of the glass to achieve a
more realistic effect. And were finished! Q
022
Before
After
Down & Dirty Tricks

High-Contrast Grayscale
STEP ONE: Open an image with

a person in a light-colored or
white suit (this makes it easier to
achieve the Scarface high-contrast look). [NAPP members may
download the image used in this
tutorial at www.photoshopuser
.com/members/magcenter/2007
.php.] Use the selection tool of
your choice (we used the Lasso
tool) to make a selection of just
the person in your image. Press Command-J (PC: Control-J) to
put the selection on its own layer (Layer 1). Press Command-D
(PC: Control-D) to deselect.
024
STEP TWO: Click on the Eye

icon next to the original Background layer in the Layers palette to hide it from view. Now,
click on Layer 1 to make it the
active layer. Press CommandShift-U (PC: Control-Shift-U) to
Desaturate the color (make a
grayscale) of Layer 1.
ISTOCKPHOTO/FRANK HERZOG
Say hello to a little technique that shows you how to re-create the poster for the 1983 movie Scarface. The
Scarface phenomenon is having a resurgence of sorts with a recent DVD re-release and a new video game
based on this popular movie. This high-contrast technique is easily recognizable as the Scarface look.
STEP THREE: Go under Image

and choose Adjustments>
Shadow/Highlight. Move the
Midtone Contrast slider all the
way toward the right (or enter
100) and then click OK.
STEP FOUR: Press Command-L (PC: Control-L) to bring up the

Levels dialog. Move the Highlight Output slider (the white one
at far right) toward the left to remove the gray areas in the suit
without blowing out the highlights on the face and hands.
Click OK.
STEP FIVE: Press D then X to set the Foreground color to white.

Choose the Brush tool (B) from the Toolbox. Using a large,
hard-edged brush, simply paint away any leftover gray areas of
the white suit. We want a completely white suit, revealing only
the neckline, hands, and cellphone (as shown here).
025
STEP SIX: Duplicate Layer 1 (Layer 1 copy) by dragging it onto

the Create a New Layer icon at the bottom of the Layers palette. Change this copy layers blend mode to Color Burn and
lower the Opacity to 75% to intensify the high-contrast effect.
STEP SEVEN: Create another new

layer (Layer 2) by clicking on the
Create a New Layer icon at the
bottom of the Layers palette. Drag
Layer 2 below Layer 1 in the Layers
palette. Choose the Rectangular
Marquee tool (M) from the Toolbox
and make a selection of the entire
right side (as shown). Press OptionDelete (PC: Alt-Backspace) to fill
the selection with white, then
press Command-Shift-I (PC: Control-Shift-I) to invert the selection.
Now, press Command-Delete (PC:
Control-Backspace) to fill with black. Deselect by pressing
Command-D (PC: Control-D).
STEP EIGHT: Add some text to complete the effect. Q
026
Before
After
Swift River Goldpan 2006 Tony Sweet, www.tonysweet.com
Nature photography may seem easy just find an interesting setting and take pictures. But the reality is that
nature photography is one of the most demanding subjects when it comes to composition, or the placement of
items in the picture space. The composition of the photograph distinguishes an outstanding nature photograph
from a tourist snapshot. To illustrate this point, look at the photograph above taken by Tony Sweet. Tony is a
professional nature photographer who was recently named one of the Nikon Legends Behind the Lens. When
you see his collection of nature photographs, you clearly see how good composition grabs your attention.
One of Tonys passions is panoramic pictures that he captures on 35mm film with his Hasselblad XPan camera.
Like many photographers, Tony needs these images in digital form and he uses the Microtek ArtixScan 120tf to scan
his film. We are proud to feature Tony as one of the many professional photographers using Microtek scanners.
Microtek
ArtixScan 120tf
Film Scanner
www.microtekusa.com
Sc anMak er 10 0 0 X L Pro
Sc anMak er i8 0 0
Sc anMak er i9 0 0
3200 dpi optical resolution

12 x 17-inch scan area

8.5 x 14-inch scan area

Film scanning with E.D.I.T.
2006 Microtek, ArtixScan and ScanMaker are trademarks or registered trademarks of Microtek Lab, Inc. Legends Behind the Lens is a trademark of
Nikon, Inc. XPan is a trademark of Hasselblad. All other trademarks or registered trademarks are the property of their respective holders.
Down & Dirty Tricks

Silky Waterfall Effect
STEP ONE: Heres a waterfall photo I found on iStockphoto.com.

The shot was taken using a fast shutter speed, which freezes the
water in place, and thats what your average point-and-shoot
camera would dofreeze the motion. And thats why the water
looks so average. [NAPP members may download this image at
www.photoshopuser.com/members/magcenter/2007.php.]
Note: If youre not yet a NAPP member, you may download
this waterfalls.jpg file at www.photoshopuser.com, courtesy
of our friends at iStockphoto. This offer is only available until
February 20, 2007.
028
STEP TWO: The two problems we have to tackle are: Making the
water look smooth and silky; and darkening the photo so it looks
as though it wasnt taken at 2:00 p.m. in direct sunlight. Youd
never really get that silky water in that kind of light (if you used a
filter to darken the scene, the scene would be darker, right?).
Well start with the water. Get the Polygonal Lasso tool and
trace around the edges of the waterfall (this tool kind of works
like a connect-the-dots toolyou click, move the tool, click
again, and it connects the points). Your selection doesnt have
to be really precise; just dont get too far from the edge of the
water with your selection (as shown).
ISTOCKPHOTO/ROMAN SCHMID
When pro photographers take a waterfall or rushing-stream shot, theyll use a long exposure to make
the water look silky and smooth. The challenge is to shoot in low-enough light to leave the shutter
open long enough. Many pros use neutral density filters to darken the scene; but what if you dont
have one of those filters, and the only opportunity to shoot that waterfall is at 2:00 in the afternoon?
STEP THREE: We need to soften the edges of our selection, so

when we add this silky water effect, you dont see a hard edge
around the area were tweaking. So, go under the Select menu
and choose Feather. When the Feather Selection dialog appears,
enter 4 pixels if you downloaded the practice file, which is a lowresolution file, or 12 pixels on a high-resolution digital camera
file, and click OK.
STEP FOUR: Now press Command-J (PC: Control-J) to put your

selected area on its own separate layer. (I hid the Background
layer from view in the capture shown here just to show that your
selected area is on its own layer, but thats not part of the tutorial;
its for example only.)
STEP FIVE: Now go under the Filter menu, under Blur, and
choose Motion Blur. Set the Angle to 90 and drag the Distance
slider to the right until your water has a silky look (like the water
shown here), and click OK. Now, you can see that the Motion Blur
filter has created a problem: the blur extends above the top of
the waterfall. Well have to fix that in the next step.
029
STEP SIX: Go to the Layers palette and, at the bottom of the

palette, click on the Add Layer Mask icon (as shown). By using
a Layer Mask, well be able to hide that excess motion runover
without making any permanent changes to our layer that cant
be easily fixed by an undoone of the biggest advantages of
using Layer Masks.
STEP SEVEN: Set your Foreground color to black, and get

the Brush tool (B). Choose a medium-sized, soft-edged brush
tip and paint right above the top edge of the waterfall (as
shown) to erase that runover of the Motion Blur filter.
STEP EIGHT: While youve got the Brush tool, you may have to
go to the bottom of the silky water and paint over a little of the
area where the waterfall meets the waterline (as shown here).
You make the call; it depends on how the water looks to you.
030
continued on p. 32
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STEP NINE: Now that the water is silky, well work on darkening
the rest of the photo. Click on the Background layer and then
press Command-J (PC: Control-J) to duplicate the Background
layer. Next, change the blend mode of this Background copy
layer to Multiply. That makes the photo plenty darkprobably
a little too darkso lower the layers Opacity to around 70%
(as shown) so it doesnt look so dark.
STEP TEN: Another popular effect we might add to these silky

waterfalls is to cool it down, giving the water a bluish look. This
is a totally optional effect, but since its so popular, I thought Id
include it here. To get this effect, click on Layer 1, then go to the
bottom of the Layers palette, and from the Adjustment Layer
pop-up menu, choose Photo Filter. When the dialog appears,
choose one of the Cooling Filters (I chose Cooling Filter 82).
Now click OK. Unfortunately, this creates a problem of its own:
now the sky looks way too blue and oversaturated. Luckily,
this is an Adjustment layer, so we can fix that problem in 10
seconds: Just get the Brush tool again and with black as your
Foreground color, paint over the sky. As you do, it masks the
blue we added to the sky, so now the sky looks just like it did
before we added the Photo Filter.
032
STEP ELEVEN: Heres the final photo, with the silky water
effect applied, the photo darkened so it doesnt look like it
was taken under conditions that couldnt make silky water,
and we added the optional blue cooling filter to give the
water that sunrise blue look. N
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TRAINING
F](EZMH'EVHMREP
"GBOUBTZDBNQGPSXJMEMJGFQIPUPHSBQIFST
ALL BACKGROUND IMAGES ISTOCKPHOTO
Even a simple scene like this female grizzly bear grazing yields plenty
of challenges, such as freezing the action of the chewing jaw.
)BWFZPVFWFSCFFO
KFBMPVTPGBMMUIPTF
TQPSUTGBOUBTZDBNQT
where you get to leave the real world
behind and concentrate on honing your
skills in your favorite sport with the pros?
Well, we took our digital safaris to
a new level, creating a fantasy camp
One of the best things on a wildlife shoot is the clients

excitement when they can safely approach large animals.
for wildlife photographers. Participants

were able to combine world-class
animal photography with a full digital
workshop even while on location.
We decided to try and push it
to the limit for the safaris to Africa
and Alaska, taking not just a projector
Theres nothing quite as delightful as the interaction between
a mother animal and her cub.
full set of color-management tools.

That way, we could teach a complete
digital workflow on-site. In the process
we learned some valuable lessons
that wed like to share with you.
*G
youre going on a photo safari, preparation is a key

ingredient. We spend hours via email with participants,
helping them to select the correct photo equipment
and providing practice tips. (Theres nothing worse than
getting to a location without something you need.) For us,
the preparation starts at least a year in advance, scouting the
locations at the same time of year when well be going, and
then developing a plan for how to work the locations with
a group. Many locations just arent suitable.
and screen, but also a printer and a
035
I recommend reading about a destination before going.

For example, I had seen photos of the temple (shown below)
before I went, and was determined to capture my own image.
1SFQBSBUJPO FRVJQNFOU BOEMPHJTUJDT

Assembling the gear we need to create a complete digital
workshop takes some doing. While participants bring their own
cameras and laptops, we provide everything else. For these
safaris, it started with a full set of color-management hardware
and software from ColorVision, a portable printer from Canon, a
portable screen from Draper, and a portable InFocus projector.
We also brought along a box of universal power adapters and
extension cords. And all the electronics and chargers had to be
220V-ready for Africa.
The next challenge was to get all of the equipment to the
sites without damage. Pelican cases were the order of the day
for anything that had to be checked and, as always, they did a
perfect job. One of the most exciting innovations are the new
Pelican soft cases, such as the PCS183. They are sturdy enough
to protect gear under most conditions, but dont scream out
expensive gear inside the way the hard cases do. This helps
reduce the chance of theft. But we still worried about letting
anything out of our sight so we brought as much as possible
with us on the planes using sturdy carry-on products, such as
the Swiss Army Rolling Trevi briefcase, the Roadwired Roadster
Convertible for electronics, and packs from LowePro and WRP
Trading Post for camera gear. In particular, the WRP MP-3 pack
is thin enough to fit in any of the overheads we encountered
even on the smaller RegionalJets.
100 Buddhas temple in upper Burma
036
Photo groups have a lot more gear than almost any other
tourists, so we made sure that we had plenty of aircraft space on
the small charter planes we used from camp to campno lines,
no security, and as long as the weathers okay, no waiting. This
made transfers in Botswana very efficient (we didnt leave our
camp until the plane was on its way) and we were often in the
next camp with only 90 minutes of travel time.
As you plan for your camera safari, one provision you should
make sure of is that youre allowed to take the gear you need
for your style of photography, as many standard safaris allow
only point-and-shoot cameras. The same is true for vehicles; for
instance, if you show up on a crowded truck with a long lens
and tripod, youll likely be unpopular from the start. Thats why
we limited our vehicles to just a few members of our group, who
are all interested in photography.
"EBZJOUIFCVTI
Once on location, the key is to get out in the field and start
shooting (its time to stop worrying about logistics). Always use
a local guide so there wont be a learning curve in getting the
best opportunities to photograph. Time is too valuable to spend
learning what the locals already know about the location and
the animals. Fortunately, we can often use guides that weve
worked with before and already provided with basic photo
instruction. This makes it easier to work with them to get the
best photo angles without stressing the animals.
In addition, all participants receive instructions on how
to approach and behave safely around the animals well be
seeingfor both the animals safety and ours. It may sound
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Local charter flights are great because

you can load your gear quickly and easily.
obvious but one of the first lessons when youre in the field
with wild animals is just thattheyre wildtheyre not in a
zoo. Talk softly and move slowly. The animals will hang around
longer and be more cooperative. Remember that almost all
animals hear, smell, and see better than we do and theyre
very sensitive to possible threats. Learning to be calm and
move quietly even when youre witnessing the wildlife event
of a lifetime is one of the best lessons any photo safari can
teach for improving your wildlife images.
If we could only teach one thing on our trips, it would be
that photography is all about communicating. If your photos tell
a story, theyll get looked at. Sometimes the content of an image
is so compelling that you can throw all the other rules away.
For example, this family of bears (above) was patiently waiting
their turn to feed on a fish carcass. The strength of their pose
makes the image well worth capturing despite the misty conditions, lack of light, and distracting background.
Just as important is knowing when enough is enough.
Working with guides and operators who are interested in the
long-term wellbeing of the animals is essential. Be respectful
when the guide or safari leader decides its time to leave a
particular animal. (Be aware that some guides may be encouraged by bigger monetary tips to take more chances with the
animalsto the detriment of the animals and future visitors.)
The fewer people you have trying

to shoot from a vehicle, the better.
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Family of bears waits patiently to feed.
037
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038
The reward for all this preparation and patience was a

mind-blowing, wildlife experience, with hours of highquality photographic opportunities every single day in Africa
and Alaska. Most of the participants experienced a sense
of euphoria as we took frame-filling shots of the beautiful
leopards in Botswana as well as grizzly bears in Alaska.
And, of course, everyone was overwhelmed by how quickly
their flash cards were filled with images that were keepers.
Some of the participants hadnt believed us when we told them
how many cards theyd need but fortunately, we always bring
along some extras.
-FBSOJOHXIJMFEPJOH
When comparing wildlife photography to shooting a landscape,
the biggest difference is that the subject changes constantly
and opportunities come and go quickly (see Hippo on page 40).
We did any teaching primarily between sightings so that when
we came upon an animal, everyone was prepared and had a
shooting plan.
At the beginning of each game drive, we discussed what we
were likely to see. Then after each animal sighting, wed answer
questions so participants would know what they might want
to do differently next time. Much of the instruction, however,
would wait until after the drive when wed review everyones
images and provide constructive suggestions based on their
results. (See also Practical Problems on page 39.)

Not every safari is about the wildlife. In Burma, the exotic
scenes and colors, like this monk crossing the U Bein bridge
in Mandalay, can be just as challenging and rewarding as
photographing exotic animals.
One of the most difficult but rewarding skills to teach
on a photo safari is an eye for visually interesting patterns.
These wandering dunes in Namibia (on facing page) provided participants with lots of fun as they worked to create
interesting compositions.
%JHJUBMXPSLGMPX
Other than getting everyone and their gear to camp, the hardest
part about teaching digital workflow on safari is keeping the
participants attention. Who can blame anyone for rushing off
at the sight of a lion or elephant wandering past the camp?
So each day, we allowed prime time for game drives and photography and worked in the digital sessions during the slow hours
of mid-day and after dark.
Once back in camp, the safari participants realized that theyd
never had to review and file so many images before. So the
first evening was a major digital workflow boot camp. First, we
calibrated and profiled all of the systems using ColorVisions
Spyder2PRO. This step was critical as many of the laptops, even
brand-new from the factory, showed washed-out images before
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As youd expect on a safari, dust was a constant problem
requiring lots of lens changing while out on game drives,
and every couple of days, we had cleaning sessions for
sensors. Usually a simple brushing with a Sensor Brush from
VisibleDust was enough but for the worst cases, we had to
use a swab with a sensor-cleaning solution. Fortunately,
sensors are fairly sturdy (although we always hold our
breath when tinkering inside the cameras).
As inveterate Photoshop users, its also been a struggle
to have a good, portable tablet. The small Graphires arent
quite pro grade, and the larger tablets require power. But
Wacoms new Intuos 4x6 turns out to be perfect. A single
USB connection provides a widescreen-compatible tablet
and mouse thats small enough to tuck into your bag next
to your computer.
Vibration Reduction (called VR by Nikon) and Image
Stabilization (IS by Canon and others) technology proved
to be invaluable. Theres no good way to keep several people
perfectly still on a truck for an extended period of time.
Beanbags are a great help for resting lenses, but VR/IS
dramatically increased the percentage of sharp images
captured. The most popular stabilized lenses were the
100400mm USM Canonan incredible safari lens because
it has great range, is stabilized, and can be handheld
and the 200400mm f/4 Nikon, which is also awesome
but a little awkward to handhold.
they were profiled. Several participants thought something was

wrong with their cameras or their technique.
Next we demonstrated how to load, review, and file images
quickly using DigitalPro software or the individual participants
image-cataloging solution. The goals here were to cull out
inferior imagesfor example, out-of-focus or not sharpand
also file images by species and location so that everyones cards
were empty and ready for the next days shoot (and so theyd
have less work once they went home).
One of the best things about great wildlife images is that
they dont require much work in Photoshop. A little Photoshop
Levels or Curves made the subjects pop, then a touch of selective sharpening using PhotoKit Sharpener and many of the
images were ready to print on our Canon portable printer.
Comparing shots after the game drives enabled everyone to
see how even small factors can make a difference; for example,
when the photographer shoots low or stands up in the vehicle,
theres a difference in image composition and background.
Color management turned out to be the key to this portion
of the process. Once we profiled everyones display, we then
moved on to the finer points of exposure and composition.
5IFQBZPGG
When we saw the clients smiling faces as they viewed printed
images of animals theyd seen that same day, it was worth all the
effort it took to get the printer to Africa! The printer also proved
very popular with the local guides and camp managers as we
Because I was able to pan with this leopard, I got the eyes sharp even though
there was little light so that I was shooting at 1/30th of a second even at f/2.8.
Each evening wed have a constructive critique of the

participants images around the campfire.
DANA ALLEN
Dunes in Namibia
039
could give them prints of the animals for their scrapbooks or to

show future visitors.
As well as being an excellent teaching tool for our image
workflow and editing sessions, the best part of having a projector with us was viewing the participants images as a group to
discuss the strengths and weaknesses of their images. And the
highlight of the trip was definitely the participant slide show on
the last night. Using Magix PhotoStory, we combined everyones
best images with local music from CDs wed brought for a quick
pro-quality presentation.
Understanding how youll be able to complete your vision on
the computer has become an increasingly important element
of photography. We had participants photograph the scene at
right even though the low light levels meant that our cameras
captured only muted colors, and then we used the power of
Photoshop and the LAB color space to turn the image on the
computer into the one we visualized in our minds.
At the end of the safaris, everyone was amazed by how much
theyd learned and how much their photography had improved.
They all went home with many images they happily described
as images of a lifetime. N
040
ROBERT CARDINAL
We knew that once one Hippo yawned, the rest were likely to
follow suit so we were able to capture some great images.
David Cardinal is a professional nature and travel photographer who also publishes the Nikondigital.org website
(www.nikondigital.org) and DigitalPro for Windows image-management software for digital photographers
(www.proshooters.com). Check out Davids website at www.cardinalphoto.com for more of his images.
ALL IMAGES BY DAVID CARDINAL (except where noted)
ITS THE ULTIMATE THREE-DAY ADOBE

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John B. Hynes Convention Center
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Photographs courtesy of iStockPhoto, David Moser, Adam Daniels, Jim DiVitale, Robert Stolpe, Margie Rosenstein, and Classic Photography & Imaging
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Photoshop World Event

Highlights: April 3rd April 6th
0#222JQVQ5CHCTK6WGUFC[#RTKNTF
Hit the streets of Boston, capture historic scenery, and
master your camera equipment with legendary
photographers Moose Peterson, Joe McNally, and
Vincent Versace in this non-stop learning experience.
Limited to 50 participants.
%CPQP.KXG5VWFKQ6WGUFC[#RTKNTF
Experience a live model shoot and learn the to light,
pose and photograph a model with renowned
industry experts Ken Sklute and Eddie Tapp.
1P.QECVKQP9GFFKPI5JQQV6WGUFC[#RTKNTF
Join David Ziser for a real-life wedding scenario and learn
how to capture gorgeous images with a minimum amount
of equipmentand time. Limited to 30 participants.
2TG%QP9QTMUJQRU6WGUFC[#RTKNTF
Come take part in any of 11 elective workshops held
prior to the conference by industry superstars. A great
way to kick-start your Photoshop World experience!
Separate registry and fee is required.
2JQVQUJQR5QWR0WVU6WGUFC[#RTKNTF
Thomas Knoll and George Jardine take you through an
afternoon designed to entertain and enlighten, while
furthering your knowledge of Adobe Lightroom through
instruction, panel discussion and witty banter.
1RGPKPI-G[PQVG9GFPGUFC[#RTKNVJ
Always entertaining, the keynote hosted by NAPP
President Scott Kelby kicks-off the conference and sets
the mood for an exciting and enlightening experience
packed with learning and fun.
)WTW#YCTFU9GFPGUFC[#RTKNVJ
Created to celebrate creativity and push the boundaries of
digital artistic skills, the Guru Awards recognize the limitless
Photoshop talents and innovative vision of our attendees
in seven different categories.
2JQVQUJQR*CNNQH(COG9GFPGUFC[#RTKNVJ
A select few whove pushed the art and technology of
Photoshop to new levels will be nominated to receive
the honor of induction to the Photoshop Hall of Fame.
2QTVHQNKQ4GXKGYU
9GFPGUFC[#RTKNVJ
Get feedback from some of the most
respected figures in photography
at this once-in-a-lifetime opportunity.
Availability is on a first-come, first-served
basis during the first day of the Tech Expo.
2JQVQUJQR9QTNF#HVGT*QWTU2CTV[
9GFPGUFC[#RTKNVJ
Dont miss your chance to mix with fellow attendees
and meet your instructors during a now infamous night
of food, fun, and music at Jillians Boston. Tickets are limited,
$49 per-person (guests welcome).
6GEJ'ZRQ9GFPGUFC[#RTKNVJ
CPF6JWTUFC[#RTKNVJ
For two days you can check out the newest plug-ins,
digital cameras, scanners, printers, imaging software,
hardware, storage devices, and more from some
of the biggest names in the industry.
#TVQH&KIKVCN2JQVQITCRJ[6JWTUFC[#RTKNVJ
Gain inspiration and instruction from eight of
the most elite artists of today. These outstanding
photographers will reveal how and why they create their
inspiring images at this interactive panel discussion.
/KFPKIJV/CFPGUU6JWTUFC[#RTKNVJ
Thats righttime to kick back and cut loose. Join
conference attendees, instructors, and the NAPP staff
for a night of games, giveaways and goofing-off. And,
theres absolutely no educational value!
2JQVQUJQR9CTU(TKFC[#RTKNVJ
Three teams, one project, total Photoshop warfare. Watch
teams of industry gurus and conference attendees compete
in a design contest to create the best-looking project
under the tightest of deadlines!
%QPHGTGPEG9TCR7R(TKFC[#RTKNVJ
Part graduation, part farewellScott Kelby and
Larry Becker thank you for attending and
give away cool prizes from Tech Expo
exhibitors at this wrap-up of a
fantastic conference.
All classes, class materials, and instructors are subject to change without notice. For complete class description see www.photoshopworld.com.
TUESDAY, APRIL 3 PRE-CONFERENCE WORKSHOPS

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WEDNESDAY, APRIL 4 GENERAL CLASS SESSIONS

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THURSDAY, APRIL 5 CLASS SESSIONS

YOU MAY ATTEND ANY SESSION IN ANY TRACK AND MOVE BETWEEN THEM AS OFTEN AS YOU LIKE.
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2IFLDO+RVW+RWHO
The Sheraton Boston Hotel is conveniently connected to the Hynes Convention Center
in the heart of downtown Boston. For more information on special room rates for
attendees, go to the Hotel, Travel & Maps page at www.photoshopworld.com.
2IFLDO&DU5HQWDO
Avis is offering conference attendees a special rate when reserving a car in Boston. The discount
is available on a wide selection of cars, and includes the weeks prior to and after Photoshop World.
DId you Know...?

Eight bonus classes will be held right on the Tech Expo floor to round out your educational
experience and give you even more opportunities to learn from our all-star instructors
Photoshop World Alumni save an additional $50 on top of NAPP member and Early Bird
discounts. 4+year Alumni receive exclusive VIP benefits including access to the new Alumni Suite
on the opening day of the conference...the perfect place to meet others and relax.
As an attendee, you receive an 800-page conference workbook filled with all of the instructorprovided class materials for all the Photoshop World sessions, even the ones you did not attend.
The Guru Awards are a special competition just for attendees of Photoshop World. The
deadline for entries is March 12, 2007; there is no entry fee for conference attendees; only
conference attendees may enter; and you may enter up to three total pieces for judging
in any of the seven categories
4')+56'4019+65016611.#6'
0#22/'/$'4
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+PENWFGUCHWNN[GCT0#22OGODGTUJKR
ALL PHOTOSHOP WORLD ATTENDEES, INSTRUCTORS AND EXHIBITORS CONSENT TO KW MEDIA GROUP AND ITS AFFILIATES UNRESTRICTED USE
OF THEIR NAME, PORTRAIT, PHOTOGRAPH, AND OTHER LIKENESS IN ANY AND ALL COMMERCIAL, PROMOTIONAL AND ADVERTISING MATERIAL
WITHOUT ANY MONETARY COMPENSATION. INSTRUCTORS AND CLASS SCHEDULES ARE SUBJECT TO CHANGE AT ANY TIME.
ADOBE AND PHOTOSHOP ARE REGISTERED TRADEMARKS OF ADOBE SYSTEMS INCORPORATED, ALL RIGHTS RESERVED.
2TQFWEGFD[VJG0CVKQPCN#UUQEKCVKQPQH2JQVQUJQR2TQHGUUKQPCNU
Call 800-738-8513 or visit www.photoshopworld.com
Photoshop Mastery
Taking Photoshop to the next level
NBY BEN W ILLMORE
Actions Frustration Fixer

Recently, I had to create an action that should have taken about two minutes, but ended up taking three
days to get around all the limitations of the Actions palette. Heres how I got sneaky and forced actions to
do my bidding (for advanced users only).
Work around unusual behaviors

Manually applying this technique
produces a selection thats 3" wide and
as tall as the active document; however,
when I play back the action, Photoshop
creates a selection thats really 3" by
40,000" (the selection extends beyond
the documents bounds, which isnt
usually possible). Now, when I include
an action step to scale the selected
part of the image, it assumes that the
area to be scaled is 40,000" tall. But
the result is within the bounds of the
document and therefore much smaller
in height!
To get around this odd behavior,
I typed Q twice right after making the
selection to toggle Quick Mask Mode
on and off, which causes Photoshop
to clip the selection so that it doesnt
extend beyond the documents bounds.
Next, I wanted to create a selection exactly 3" wide that ended at the
documents right edge. All measurements related to the Marquee tool use
the same measurement system and of
course, I used inches. But I didnt want to
describe the selections position using
inches; otherwise, when I play back the
action, Photoshop will always assume
the width of the document in inches.
Keep a close eye on the Actions

palette because there are some
things that Photoshop ignores
when recording an action.
To get around this, I apply the same
technique used for the original selection
(on the left side of the document) and
then try to move it to the right side of
the document. But Photoshop doesnt
offer an alignment option for selections
(only for layers), so I copy the selected
area onto its own layer (Command-J
[PC: Control-J]) and its the right size to
align. Then, I select the underlying layer
(assuming its a background that fills the
entire document so I could align to its
right edge) by pressing Shift-Option-[
(PC: Shift-Alt-[).
Alternate methods
Heres where you need to keep a close
eye on the Actions palette because there
are some things that Photoshop ignores

when recording an action. I want the two
selected layers to have their right edges
in alignment. Usually, youd click on one
of the Alignment icons, which appear in
the Options Bar when the Move tool is
active; but for some reason, Photoshop
wont record that step in an action. Lets
try another method: Going under the
Layer menu and choosing Align>Align
Right does the trickthe right edges are
now aligned.
Next, I need a selection the same size
as the layer we created earlier. Hold down
the Command (PC: Control) key and click
on the layer thumbnail in the Layers palette. Because we now have the selection
we need, well drag the layer to the Trash
icon, as its no longer needed.
Think creatively
The final challenge is to move the area
that we just selected (on the right edge
of the document) to the right by 3" and
make the action work, regardless of the
document size. I couldnt use inches in a
transformation because it would record
it as the number of inches it was from
the upper-left corner of the document
and that wouldnt allow it to be applied
to any size document. To get around
that, well add 3" to the width of the
document (choose Image>Canvas Size,
and in the dialog, check the Relative
button, and choose 3 in for Width) and
then align the layer to the right edge of
the document. Done! N
Ben Willmore is the best-selling author of Adobe Photoshop CS2 Studio Techniques and Up to Speed: Photoshop CS2, as well as co-author of
How to Wow: Photoshop for Photographers. Ben spends many of his days as a digital nomad in his 40' motorcoach. Learn about his latest
adventures at www.whereisben.com.
or this action, I needed to create a

selection that was 3" wide by whatever height a document happened
to be. I thought that simply entering 3 in
in the Width field and 100% in the Height
field for a Fixed Size selection would work.
Unfortunately, the Action recorded the
size using the measurement system that
the Rulers were set to, and you cant
have different types of measurement
for Width and Height. To get around this,
I tried entering a huge number (40000 in)
in the Height field. Selections cant usually extend beyond the documents edge
so this should work.
047
ADIM X Set to Sail

A look at the upcoming Art Directors Invitational Master Class conference
NBY LOUIS F I SHAU F
Pirates by Design
Ahoy mates! Captain Russell Brown and his scurvy crew will weigh anchor for the 10th annual
Art Directors Invitational Master Class (ADIM X). The Jolly Roger will fly April 2528, 2007, at the
Dolce Hayes Mansion in San Jose, California.
oosely paraphrasing the poet Alfred

Lord Tennyson, In spring, this young
mans fancy turns to thoughts of
ADIM. To a snowbound northerner like
me, the annual ADIM event offers an early
respite from the long Canadian winter as
well as a chance to brush up on my digital
design skills, learn about all of the latest
software and hardware from Adobe and
Apple, meet and interact with like-minded
creative pros from around the world,
reconnect with old friends, and even get
a glimpse into the future. All of thisplus
a heck of a good timeis delivered by
ADIMs zany master of ceremonies, Adobe
Senior Creative Director Russell Brown.
048
Anything can happen

Russells philosophy is that learning
should never be boring. If youve ever
seen Russell at one of his many speaking engagements around the globe, you
already know what I mean. ADIM is the
setting where he completely unleashes
his imaginative
streak. Using skits,
costumes, props,
prizes, and provocative projects,
Russell and his
team of world-class
presenters and
instructors ignite
creativity that will
continue beyond
the conference into
the workplace.
As always, the ADIM conference is

theme-based. Some prior conference
themes included Shakespeare in Space,
Ancient Rome, Secret Agents, Superheroes,
and the Wild West. At ADIM Xs Pirates by
Design event, we just might share grog
with Captain Morgan, podcast with Blackbeard, or create a pirate flag with crafty
Captain Jack Sparrow. At ADIM, anything
can happenand it usually does.
Hands-on instruction
A key factor that distinguishes ADIM from
other conferences is its hands-on nature.
Instead of sitting in an audience with
several hundred people listening to a
series of presenters, each ADIM attendee
has his or her own high-end Mac loaded
with the latest software, and works on
creative projects that have been designed
to showcase the newest features in Adobe
Photoshop, Illustrator, and InDesign. If you
cant figure out how to do something, just
raise your hand, and one of the instructors
will be at your side to help you work it out.
Its also not unusual for Adobe product
managers to drop in on the conference.
Got a beef, or a special feature youd like
to see in a future version of Photoshop?
You may get the opportunity to pitch it
to someone who could actually do something about it.
and competition
Russell jolts us out of our traditional,
ink-on-paper mindset, challenging us
to explore exotic output possibilities.
In the past, weve output our digital
files to silk scarves, kites, embroidered
bowling shirts, and laser engraving on
a wood wine box. At ADIM X, participants will explore the creative possibilities of printing on a collection of media,
including pirate tattoos on transfer
materials, flags on fabric, and rum labels

on a variety of textured paper.
Dean
Markadakis
received a
free Xerox
printer for
this ADIM 9
winning
wine label
and box
project.
By hook or by crook, Russell enlists

some leading technology sponsors,
whose representatives showcase their
latest products and offer freebies or
special deals to conference attendees.
Last year, each ADIM 9 attendee received
and experimented with Logitechs newly
released NuLOOQ tooldial. At ADIM 5,
we arrived at our workstations on the
first day to find a shiny little box containing a brand-new product from Apple
that most of us had never seen before:
the first-generation iPod.
So you can see why ADIM is now permanently booked on my calendar. I return
home from every event energized and
inspired, with lots of new techniques that
I can use immediately, along with a suitcase
full of free books, CDs and, of course, the
latest version of Adobe Creative Suite. Q
Louis Fishauf, Creative Director at Fishauf
Designs Ltd., is an award-winning art
director, graphic designer, and illustrator.
He also teaches at the Ontario College of
Art & Design.
For more information and to register for
ADIM 10, visit www.adimconference.com.
by Tim Grey
GETTING SHARP WITH

UNSHARP MASK
Photographers want their images to be sharpexcept when

they dont. When were using a lack of sharpness as a creative
tool, such as with soft focus or motion blur, we generally
want to produce images that are as sharp as possible.
o matter how good your photographic technique, digital

images need to be sharpened to produce optimal output. The
digital-capture process itself introduces some softness into
your images, and the spread of ink on paper (dot gain) only
adds to the problem. An intelligent approach to sharpening
will help ensure you produce the best results possible for all
your photographic images.
Theres a variety of methods for sharpening in Photoshop, but the Unsharp
Mask filter in Photoshop CS2 is still the tool I recommend. While the recently
added Smart Sharpen filter offers some cool features, its the lack of a Threshold
control that causes me to stick with Unsharp Mask.
BACKGROUND: FOTOLIA/FREDREDHAT
RULER: FOTOLIA/LUKASZ JANICKI
TO THE
049
TO THE
Heres how to get the most out of

sharpening using Unsharp Mask:
STEP ONE: Always sharpen as the last step in
your workflow so the sharpening settings are
specific to the output size and resolution that
youre producing. I recommend saving your
final optimized image as a master file with all
of your image and adjustment layers intact.
When ready to produce output from that
master image file, create a duplicate working
copy of the image (Image>Duplicate), flatten
the layers (Layer>Flatten Image) to ensure that
all pixels on all layers are sharpened equally,
and resize (Image>Image Size) to the output
dimensions and resolution desired. Then
youre ready to sharpen.
STEP TWO: Its critical that you evaluate

sharpening settings based on a 100% view
(actual pixels) of your image; however, I
recommend sizing the actual image to fit the
screen (View>Fit on Screen). You can then use
the smaller preview window in the Unsharp
Mask dialog to evaluate sharpness (it defaults
to a 100% zoom). By having the full image
onscreen, you can click anywhere in the image
to cause the preview in the Unsharp Mask
dialog to center on that area. This enables you
to check various areas of your image quickly
and easily.
050
STEP THREE: Bring up the Unsharp Mask

dialog by selecting Filter>Sharpen>Unsharp
Mask. Just before you get started making your
adjustments, think about whether the image
youre sharpening is one that contains a lot of
fine detail or one that includes predominantly
smooth textures. The best sharpening settings
will be different for each image type.
STEP FOUR: The most important setting in

Unsharp Mask is Radius, which determines
the size of the sharpening halos that will
be created. To make it easier to evaluate an
appropriate value for the Radius setting, start
by setting the Amount to the maximum of
500% and the Threshold to the minimum
value of 0.
GETTING SHARP WITH

UNSHARP MASK
STEP FIVE: Adjust the Radius to produce a

halo size thats most appropriate to the detail
level in your image, checking various key areas
throughout the image as you adjust the setting.
For high-detail images, youll use a relatively
low Radius value around 0.41.0. For lower detail
images, the value will likely be somewhere
between 2.0 and 3.0. When in doubt, you can
compromise with values between about 1.0 and
2.0. Youre looking for a Radius size that enhances
edge contrast without creating too large a glow
around those edges.
STEP SIX: With the Radius value set to an appropriate halo size, start reducing the Amount setting
so the halos have an appropriate intensity. For
high-detail images where a low Radius was used,
a higher Amount in the range of 200300% is
probably most appropriate. For lower-detail images
that require a higher Radius value, an appropriate
setting for Amount is probably around 75125%.
STEP EIGHT: Evaluate various key areas of the image

to confirm your settings are optimal (for inkjet
prints, ever-so-slightly over-sharpened is okay). You
can click on the preview in the Unsharp Mask dialog
to see the before version without sharpening
applied, releasing the mouse to see the sharpened
version. Fine-tune the settings as needed, and then
click OK to apply your sharpening.
You can then print or save the final result, confident
that youll have a tack-sharp image. N
Tim Grey (www.timgrey.com) has authored or co-authored nine books and hundreds of magazine articles related to digital imaging
for photographers. Hes Director of the Pro Photo Community team at Microsoft, serving as an advocate for professional and advanced
amateur photographers.
ALL IMAGES BY TIM GREY
STEP SEVEN: To prevent creating a crunchy

texture in smooth areas of the image (such as sky),
youll need to increase the Threshold value, so
that areas with minimal contrast arent sharpened.
Click on an area in your image containing smooth
textures that you want to preserve so you can
preview that area in the Unsharp Mask dialog.
Slowly increase the Threshold setting to a value
that preserves these smooth textures. In most
cases, a value of about 48 will do the trick.
051
Photoshop Speed Clinic

Twice the work in half the time
NBY MAT T K LOSKOWSK I
Adding a Quick Rule-of-Thirds Grid to Your Photos

The rule of thirds can be your best friend when composing a photo in camera but sometimes its
just not feasible to compose the shot exactly. For those circumstances, heres a technique using the
Crop tool in Photoshop and a grid that simulates the rule of thirds.
f you havent heard of the rule of thirds, be advised that

it can be a photographers best friend. Essentially, the
rule of thirds is a compositional guideline that divides the
scene into three rows and three columns. The rule implies
that the photo is more interesting if the subject or focal
point is not placed smack in the center of the photo. Rather,
the subject should be placed in one of the outlying sections, preferably at a point where a horizontal line meets
a vertical line.
052
If you can do this in your cameratruly the easiest

waythen great, more power to you; however, it doesnt
always happen that way and
sometimes we need to do
some moving and cropping in
Photoshop. How can we see
where these lines are after the
fact? Well, you could create
guides to simulate this grid
and then use the Crop tool to
crop the photo in place. Better
yet, lets create an action to
make the guides for us.
STEP ONE: Open a photo to
work with. It doesnt matter
STEP TWO: Choose

Window>Actions to open
the Actions palette then
add a new action set by
clicking on the Create New
Set icon at the bottom of
the Actions palette (it looks
like a folder). An
Action Set isnt
really an action;
its just a folder to
hold your actions.
Well call ours
Speed Clinic (because thats the name of this column) and
well put the actions we create in that set (aka folder). Click OK
to close the New Set dialog.
STEP THREE: Now click the Create New Action icon at the
bottom of the Actions palette and lets give our action a
descriptive name, such as Rule of Thirds. As it will be very
helpful to give this action a keyboard shortcut, well choose
F3 in the Function Key field.
MATT KLOSKOWSKI
ISTOCKPHOTO/HENK BADENHORST
what size or orientation this photo is because the action

were about to create will work on any image. Press Command-J (PC: Control-J) to duplicate the Background layer
and keep your original intact.
[NAPP members may download the image used in this
tutorial at www.photoshopuser.com/members/magcenter/2007.php.]
PHOTOSHOP SPEED CLINIC
STEP FOUR: When

youre done setting
the action properties
click the Record button
to start recording.
Remember that everything you do from this
point on is recorded
into the action. So,
first go under the
View menu
and choose
New Guide.
In the dialog,
select the
Horizontal
button, enter
33% in the Position field,
and click OK.
Next, choose
View>New Guide
again and this time,
choose Horizontal,
enter 66% for the Position, and click OK. You
should now see two
new horizontal guides
across your image
(top left).
STEP FIVE: Now choose
View>New Guide yet
again (actually, two
more times) and select
Vertical orientation.
Add a guide at 33%
and then another one
at 66%. When youre
done, you should have
an image similar to the
image above showing
a rule-of-thirds grid.
First, evaluate
where the subject
or focal point of your
photo falls in your
rule-of-thirds grid.
In our example
(bottom left), the
focal point (the eyes)
doesnt really fall in
one of thirds. Lets
make it so.
STEP SEVEN: Select
the Crop tool (C)
from the Toolbox. If
youd like to keep the
same aspect ratio
intact, then press the Front Image button in the Options Bar to
maintain that ratio. Now crop your photo to better follow the
rule of thirds.
STEP EIGHT: One thing youll notice is that your guides no longer fit in exact thirds across your photo since youve cropped
it. If you want to see how the newly cropped photo matches
up to the rule then all you need to do is choose View>Clear
Guides and hit F3 (or whatever shortcut you gave to the action
in Step 3) to re-create the guides.
Before
After
HOMEWORK
STEP SIX: Click the
Stop Recording icon
at the bottom of the
Actions palette. At
this point, our action
is complete and were
ready to start using it.
Try creating the rule of thirds action on a separate blank

image thats smaller than your original photopreferably
your output size, if possible. Then move your photo into
the blank image and use the Free Transform mode to
resize your photo live onscreen to fit into the right grid
sections. N
Tip: If you run out of F keys to use, you can always add Shift
or Command (PC: Control) to the shortcut as well.
053
The Fine Art of Printing

Taking inkjet printing to the next level
NBY J O H N PAU L C A P O N I G R O
Theres An Art to Making Paper

Since its invention thousands of years ago, there have been many kinds of paper and ways to make
it as well as ways to use it, for example: architecture, furniture, crockery, fashion, sculpture, and of
course displaying text and images in a variety of forms.
ontemporary printmakers dont print exclusively on

paper, however. Theres also canvas, wood, metal, and
plastic. Anything you print on could be considered
a substrate.
054
Print quality
Substrate dramatically impacts print quality. The white
ISO brightnessof the substrate determines the brightest
values achievable and the quality of the highlights in a
print. Some substrates have bright, cool whites; others
have duller, warmer whites; and some are so dull, they look
antique. Short of bleaching or coating a substrate with a
brighter substance, this is something you cant change.
In addition, substrate has a dramatic impact on ink
limithow much ink can be put down before detail begins
to be lost. Droplets of ink spread when they come into
contact with paper and dry, and dot gain specifies how
much a dot spreads. For example, a dot spreads more on an
uncoated paper than it does on a coated paper and more
on a matte than on a glossy paper. Consequently, fine detail
is more precisely rendered on coated glossy surfaces. Very
smooth surfaces render subtler gradations, without interference from ink spattering or textured surfaces.
Ink limit has a dramatic impact on blackDmaxthat

is, more ink, blacker black, and higher Dmax ratings. Using
Epson UltraChrome II ink, Dmax is approximately 2.4 on
glossy papers and 1.8 on matte.
And ink limit has a dramatic impact on saturation
gamutthat is, more ink, more saturated color, and
wider gamut. Its important to understand where gamut
is extended. The Dmax and gamut on glossy papers is
greatly expanded in the shadows and minimally reduced
in highlights; or put another way, glossy papers render
significantly more saturated shadows and slightly less
saturated highlights.
While some characteristics of the impact of substrate
can be displayed in print (such as the relative strengths and
weaknesses of ISO brightness, Dmax, and gamut), other
characteristics, such as texture and reflectivity cannot.
Most inkjet substrates are coated, which involves
complex chemistry. Coatings reduce the spread of ink,
allowing less of it to sink into the base and more of it
to sit on the surface. Most coatings contain agents to
increase drying time and reduce dot gain and many
coatings contain optical brighteners to render brighter,
cooler whites and more saturated colors. Some optical
brighteners actually
fluoresce, emitting
more light than they
receive. When you
view a substrate
under a black light,
it will glow if there
are a lot of optical
brighteners. Many
optical brighteners arent stable
and prints made
with them typically
Epson Semi-Gloss versus Epson Enhanced Matte 2D diagram (left) and 3D (right)
While I dont recommend

using third-party inksets,
its good to test third-party
substrates. Because of the
enormous industrial infrastructure required to mass-produce
paper, most printer manufacturers dont make their own
substrates; instead they partner
with paper manufacturers to
produce materials to their specifications. Many fine companies
make papers specifically for inkjet printing, for example: Arches,
Cranes, Hahnemuele, Ilford,
Innova, Legion, Moab, Museo,
Image on Epson Semi-Gloss paper
Image on Epson Watercolor paper
and Pictorico, to name a few.
And new materials are being released every year, some
display reduced longevity ratings. Avoid them if print perwith unique characteristics. I recommend making test prints
manence is a significant concern.
using a representative image that contains the full spectrum
Substrate also has a dramatic impact on longevity, as
and includes a neutral step wedge with specific values to
different substrates yield different longevity ratings. If
help you determine minimum and maximum printable denlongevity is a significant concern, research the most current
sities. The only way to truly find out how the look and feel of
data (visit Wilhelm-research.com, one of the most definitive
a substrate will impact your work is to use it.
and respected resources for this information). Remember,
however, when comparing data on longevity from a variety
Aesthetics
of sources, testing conditions must be comparable for comAbove all, remember that looking is sensory and that
parisons to be valid.
aesthetics may win out over technical considerations.
For best results, you should print on the coated side of a
While its useful to identify quantitative criteria (such as
substrate. A few papers are coated on both sides but if you
ISO brightness, Dmax, gamut, ink limit, and dot gain),
cant tell from the orientation in the manufacturers packagother qualitative aspects of a substrate may be more
ing and you cant see a manufacturers logo on the back of
important. Substrates come in various weights: some so
the paper, heres a tip: Wet your lips and press the paper in
thick they dont need mounting, while others are so thin,
between them; the side that sticks most is coated. Printing
you can see through them. They have different textures,
on the uncoated side or on uncoated paper typically yields
for example: wavy or ridged; woven or cratered; fibrous or
soft, undersaturated results. You can coat your own custom
fuzzy; and some are very smooth. And some have distincsubstrates with products, such as InkAid.
tive edges, such as deckling or excess fiber. Substrates
also have different reflectivities. Some are so glossy that
An array of choices
theyre mirror-like (reflecting everything in front and
Today, theres an astonishing array of substrates availwithin them), while others are extremely matte, exhibiting
able for inkjet printers that should suit almost every need.
no surface reflections.
With a single printer, you can print on surfaces that span
The material characteristics of a substrate may carry
the gamut from matte to glossy. Youll find fiber, plastic,
specific connotations. One may look synthetic while another
and metal; uncoated, hand-coated, mechanically coated;
looks organic; one may seem commercial while another
and machine-made or handmade. Silk, canvas, foil, and
transparent Mylar dont seem exotic in comparison with the seems artistic. These qualities, in combination with one
another, may be extremely useful for enhancing the expresmost unusual substrates people have tried to feed through
sive characteristics of your prints.
their printers. Its okay to experiment but use caution in
Research your options thoroughly to help you make more
your explorations as very fibrous substrates may clog print
informed decisions before you commit your images to print.
nozzles and you may damage print-feed mechanisms with
It will be time well spent. N
very thick substrates.
John Paul Caponigro is author of Adobe Photoshop Master Class and an internationally renowned artist and authority on fine digital
printing. He was also inducted into the Photoshop Hall of Fame in 2006. Visit www.johnpaulcaponigro.com and receive a free subscription to his enews Insights.
ALL IMAGES BY JOHN PAUL CAPONIGRO
THE FINE ART OF PRINTING
055
Creative Point of View

Photoshop from the creative to the practical
NBY K ATRI N EI SMANN
Exposing Lightroom
The average American experiences thousands of advertisements every day. From the quasi information on the cereal box to the star athletes whose uniforms are crazy quilts of product names,
to the planted products in television shows and movies, its impossible to avoid mass marketing.
056
The impact of images

In each school, the event began with a presentation of Colin
Finlays well-considered images, which he quietly narrated with
carefully chosen words that addressed difficult topics of gutwrenching hunger, murderous violence, and the importance of
bearing witness. Colins presentation had a slow cadence that
drew the audience
in, allowing us to
study the images
without feeling
bombarded. Not
one person in the
New York audience left during
the presentationrare for
New Yorkers
who supposedly
have more important things to do
than whatever
theyre doing at
Fashion Institute of Technology
the moment!
Brooks Institute of Photography
JESSE NEIDER
NADIRAH ZAKARIYA
sionals and influencers of tomorrow) work with it to create

compelling images.
ALAN KIM BOLING, JR.
ith Project Photoshop Lightroom (www.projectphotoshoplightroom.com), Adobe Systems broke

the mold of overtly commercial marketing campaigns and undertook a daunting schedule to introduce
two-dozen college photography programs to Photoshop
Lightroom, Adobes dedicated photographic-workflow
and -enhancement application. From the beginning of
September 2006 to mid-December, Colin Finlay, a talented
photojournalist and commercial photographer (http://
colinfinlay.com); Lou Desiderio from Synergy Communications; and the inexhaustible Julieanne Kost, Adobes Digital
Imaging Evangelist, crisscrossed the country to expose
photography students, faculty, and local professionals to
Adobe Photoshop Lightroom.
I had the good fortune to attend three of the New Yorkbased events and, admittedly, I walked into the first event
expecting a pitch, a commercial, and a snake-oil salesman
(not really). With Project Photoshop Lightroom, however,
Adobe took a new and more valuable approach to marketing, proving that if you have a good product developed
from the ground up for your target audience, you dont need
to wrap it in over-the-top marketing hype. The approach
was to let people try it, which Adobe did with its highly successful public beta trial of Lightroom; let people learn about
it via Julieannes refreshingly unscripted presentations to
small groups of professionals; and let students (the profes-
Newhouse School of Communications
CREATIVE POINT OF VIEW
PAM AND JERRY
The next morning, Colin met with 1218 photography

students to introduce an assignment that involved the local
community: from the polo grounds in Santa Barbara, California, to exploring cultural diversity in Syracuse, New York,
to creating fashion magazine-ready images at the Fashion
Institute of Technology in New York City (see images).
Each project challenged the students to concentrate on
one subject, work under tight deadlines, be resourceful if
the weather didnt cooperate or the models didnt show up,
and most importantly produce outstanding work.
To encourage the students to take better images, rather
than keeping the shutter pressed and hoping for the best,
each student was given only one 2-GB Compact Flash card.
After the shoot, the students returned to the computer lab
where they imported the images into Photoshop Lightroom,
embedded copyright information, and selected their eight
best images from the days shoot. (This was often the most
challenging part of the day, as every photographer knows
were in love with all of our images and its hard to choose
one over the other.) Photoshop Lightroom has a wonderful
Compare feature (see below) that allows photographers to
compare similar images to identify the best shot.
Fashion Institute of Technology
After making the selections, the students were encouraged to enhance and interpret the images in Lightrooms
Develop module by enhancing exposure, color, and contrast
and applying variations of grayscale conversions and split
toning. As in every commercial photographic assignment,
the deadline was looming. Soon after the students submitted their eight best images to Julieanne, they were invited
to a casual dinner of Chinese takeout or pizzaa highly
motivating factor for college students, as I remember.
After dinner, Julieanne presented a slide show of all the
work, then one by one the students explained their work, and
the group decided which images were the strongest. Once
again, Lightroom was essential when a students eight images
were presented in Compare mode: The stronger images stood
out quickly and it was easy to take the weaker ones out of
The image is the message

As the students showed me, Adobe Photoshop Lightroom
allows the user to concentrate on the image, not the technology. These students had the briefest introduction to the
application and after the shoot, they were completely at
home moving back and forth in the Lightroom modules to
make selections, process images, and export them for the
slide show.
With Project Photoshop Lightroom, Adobe showed
the value of including higher education in their marketing
while at the same time recognizing that this media-savvy
audience doesnt need overworked sales pitches. The students and faculty will never forget this experience of creating images that inspire, excite, and communicateand
isnt that the essence of photography?
CONGRATULATIONS
Id like to congratulate Amy Stein, the first artist I featured
in this column almost two years ago in the article Guns to
Goldfish (see Photoshop User, Apr/May 2005, p. 40). Amy
recently graduated with an MFA degree from the School of
Visual Arts and is already being recognized in the contemporary art world. She was recently selected as one of ten
from more than 14,000 entries for the Saatchi/Guardian
Your Gallery competition in London (http://arts.guardian
.co.uk/features/story/0,,1925591,00.html). N
Katrin Eismann is the author of Photoshop Restoration & Retouching and Photoshop Masking & Compositing. In 2005, she was inducted
into the Photoshop Hall of Fame and in 2006 was named Chair of the MPS in Digital Photography department at the School of Visual Arts in
NYC (www.sva.edu/digitalphoto).
KATRIN EISMANN
consideration. During this editing process, Colins photographic experience and quiet yet attentive demeanor were
invaluable, as many students are reticent to talk about their
work. Colin allowed them to concentrate on the images and
in a few moments, they felt at ease, and the selections were
whittled down to what you can see in the galleries of each
schools work at www.projectphotoshoplightroom.com.
057
Deke Space
Photoshop la Deke
NBY D E KE M cCLELLAND
Creating a Unidirectional Speed Trail

Recently, I finished a comprehensive guide to Photoshop masking, and midway into the series,
I was looking for a satisfactory introduction to the subject of layer masking when I remembered a
trick that computer graphics wiz Greg Vander Houwen had shared with me about a decade earlier.
058
ISTOCKPHOTO/CHRISTOP ERMEL
eres the technique, which involves appending a

unidirectional speed trail to a fast-moving object,
such as this jet captured by iStockphoto photographer, Christop Ermel (www.istockphoto.com/kickers). Ive
enhanced the technique to make it more functional, but at
heart, its the same astoundingly simple, fetchingly dramatic,
and solidly practical technique that it was when layer masks
were first added to Photoshop 3.
Well be using the Motion Blur filter (Filter>Blur>Motion
Blur) in Photoshop and its bidirectional, which means that
any speed trail you might make with it will flow both in front
of the object and behind it. A layer mask allows us to steer the
trail in a single, more decisive direction (as shown below).
Original
Enhanced with a
unidirectional speed trail
STEP ONE: Start by finding a photograph of a plane, train,

or other speeding object. This technique works best when
the object is set against a plain (pardon the homonym)
background. Press Command-J (PC: Control-J) to jump the
image to a new layer, thus giving yourself more freedom to
manipulate the image.
STEP TWO: Choose the Measure tool (under the Eyedropper
tool flyout menu in the Toolbox). Then drag along the main axis
of the object to determine the angle of its movement. For our
example, we dragged from the nose of the jet through the
body to the tail (as shown top right). Now note the A value in the
Options Bar along the top of the screen. Ours is 46.7. Remember this number as youll use this value in just a moment.
STEP THREE: The Motion Blur filter lacks color and luminosity constraints, so that when we apply it to the jet, the filter
will smear the sky into the plane, causing the plane to appear
smaller. Thats no good. If anything, we want the speed trail
to grow larger so that it covers the sky. Therefore, we need to
enlarge the plane before we apply the filter.
Press F to switch to full-screen mode and zoom out from
the image to give yourself room to work. Then, with your
copy layer active, choose Edit>Free Transform. Drag the
handles around the bounding box to stretch the object.
Then press-and-hold the Command (PC: Control) key and
drag the top, bottom, and side handles to skew the object.
In the end, you want the enlarged version of the object to
align to the original.
Tip: To eyeball this alignment, I exploited one of the
tiny, hidden enhancements in Photoshop CS2, the ability to
change the Opacity setting in the Layers palette while working in the Free Transform mode.
DEKE SPACE
STEP FOUR: Restore the stretched layers Opacity setting to

100%, then choose Filter>Blur>Motion Blur. The default settings of 0 and 10 pixels are laughably subtle for our purposes.
Change the Angle value to the one you measured in Step Two,
rounded off to the nearest degree (for our example, it would
be 47). Increase the Distance value to 300 pixels and click OK
to produce a radical effect worthy of being called a speed trail.
STEP SIX: If you want to bring back some of the blur, press
the X key to switch the Foreground color to white and paint
as needed. For example, I reduced the size of my brush and
painted back a thin strip of the jets near cabin. Finally, I let
some of the original, unblurred jet show through by reducing the layers Opacity to 85%.
And so our brief sojourn into layer masking comes to an end.

Armed with nothing more than free transform, the Motion
Blur filter, and a layer mask, you can turn a static snapshot
into a high-speed graphic that rockets with such intensity,
it leaves a gale-force tempest in its wake. Ahhh, Photoshop.
What other application lets you serve up an effect this
impressive with so little effort? Q
STEP FIVE: Click the Add Layer Mask icon at the bottom
of the Layers palette to add a layer mask to your copy
layer then select the Brush tool (B). Use a fairly large brush
diameter and lower its Hardness to 0%. Make sure the blend
Mode and Opacity settings in the Options Bar are Normal
and 100%, respectively. Also ensure that your Foreground
color is black.
Deke McClelland is author of the full-color Adobe Photoshop
Now youre ready to paint inside the mask to erase away
CS2 One-on-One and Adobe InDesign CS2 One-on-One (Deke
portions of the layer. I painted along the front edge of the
Press/OReilly Media). His newest video series, Photoshop CS2
wings, the nose, and the near cabin to clear the blur from
Channels and Masks, examines this and dozens of other realDeke McClelland is author of the full-color Adobe Photoshop CS2 One-on-One and Adobe InDesign CS2 One-on-One (Deke Press/
the forward half of the jet (as shown top right).
world masking techniques (www.lynda.com/deke).
OReilly Media) as well as hundreds of hours of video training for Total Training. Go to iTunes and check out Dekes video podcast, dekePod.
Press Return/Enter to commit the free transform and heres

how the stretched version of the jet aligns to the original with
the layer Opacity set to 50%.
059
Photoshop for Educators

Real lessons in Photoshop for teachers and students
QBY J AN K AB I LI
Color Management in a Nutshell

Its frustrating to correct an image carefully in Photoshop, only to have the colors in the resulting
print differ from the images colors onscreen. Spare your students that frustration by teaching
the basics of color management and using color-management procedures in your lab.
here are multiple devices involved in a typical digital

imaging workflow: a digital camera or scanner for
capture, monitor for editing, and a printer for output.
Each device in the imaging chain reproduces colors in a
unique way. Color management1 is a system devised to bring
consistency to color reproduction across devices. It uses
profiles that describe the color behavior of a particular
device and a color space thats independent of all devices,
which helps translate numerical values into colors. For this
system to work, its essential to have accurate profiles of the
color behavior of the monitors and printers in your lab. 2
Monitor profiles
Profiling calibrates and characterizes a monitor. Calibrating
sets a monitors parameters to standard values while characterizing creates a monitor profile that describes the way the
monitor reproduces color. The monitor profile is a data file
that Photoshop uses when it displays an image for editing
on that monitor. Its best to profile your CRT or LCD monitor
regularly and often with a hardware sensor (for example,
X-Rites Eye-One Display 2).
060
Printer profiles
Obtain accurate profiles for each printer/ink/paper combination that your students will use in the lab. Photoshop uses
these profiles to convert RGB numbers from the editing
working space to the printer space. Printer manufacturers
make printer profiles available when you install the printer
driver or by download from their website. Manufacturers
profiles are usually sufficient for a lab setting; however, you
can make more accurate printer profiles that are specific
for the particular printer by using a spectrophotometer,
such as Color Visions Spyder2.
Choose and test color settings
Color Settings determine how Photoshop handles images in
a color-managed workflow. Choose Edit>Color Settings to
open the Color Settings dialog and choose Settings>North
America Prepress 2 if youre preparing photographs for an

inkjet printer. This sets the rest of the options in the dialog,
which you can then fine-tune individually.
The Working Space settings establish the default editing

spaces for Photoshop. Focus on the RGB working space when
youre preparing photos for inkjet printing, as it controls the
range of colors with which an RGB image can be displayed in
Photoshop. Adobe RGB (1998) is a good choice for inkjet printing because it encompasses most colors that can be reproduced on that printer type. By contrast, sRGB has a smaller
color gamut thats more appropriate for output to the Web.
Color Management Policies determine how Photoshop
will handle an image that doesnt match your working space
settings. Change the default RGB policy to Convert to Working RGB, leave the Profile Mismatches: Ask When Opening
and Missing Profiles: Ask When Opening boxes checked.
Uncheck Ask When Pasting, so that pasted source images
are automatically converted to the profile of a mismatched
destination image.
To see the consequences of the Color Settings we chose,
lets open an image that has an embedded sRGB profile.
Youre presented with an Embedded Profile Mismatch dialog
asking what you want to do. The answer depends on the
circumstances, for example:
PHOTOSHOP FOR EDUCATORS

ink and paper youre using. Choose File>Print with Preview.
In the Print dialog, if Output is showing (under the preview
window), change it to Color Management. Leave Print:
Document (Profile: Adobe RGB (1998)) selected. In the Color
Handling menu, choose Let Photoshop Determine Colors.
In the Printer Profile menu, choose the name of your printer,
paper, and ink. Then leave the other options at their defaults
and click Print.
ISTOCKPHOTO/BRIAN WATHEN
If you plan to include the mismatched image in a composite with other Adobe RGB (1998) images, or if your
digital camera always embeds an sRGB profile in your
photos, accept the default Convert Documents Colors
to the Working Space. Photoshop converts the image
to Adobe RGB (1998) as it opens.
If you obtained the image from someone who already
edited it, however, it may be better to choose Use the
Embedded Profile (Instead of the Working Space), to
respect the editors choice of the sRGB profile.
With the untagged image open, choose Edit>Assign

Profile. In the Assign Profile dialog, leave Preview checked,
select Profile, and try out some choices from the Profile dropdown menu to see which choice produces image colors that
are most accurate or pleasing.3 We chose Adobe RGB (1998)
for our example. Leave the image open for the next step.
ISTOCKPHOTO/J. BARKWAY
Now, well open an image that has no embedded profile,

such as an untagged image from a stock photo website, or
an untagged scan. In the Missing Profile dialog that opens,
choose Leave As Is (Dont Color Manage), and click OK. You
almost always want to color-manage your images, but to
assign a profile at this point would be a blind move, without
benefit of preview.
Note: In the settings for your particular printer driver, find

the option that turns off the printer drivers attempt at color
management so it doesnt conflict with your Photoshop settings. For example, in the Epson driver on a Mac, choose Color
Management from the third menu in the Print dialog and
select Off (No Color Adjustment).
NAPP members may download a PDF of this article at
www.photoshopuser.com/members/magcenter/2007.php. N
EDUCATORS NOTES
1. Color management is a complex subject that has
spawned entire books. This short article offers a simplified approach to a common lab situation: managing
color in photographs destined for inkjet printing.
Assigning a color profile affects the appearance of an

open image, but it doesnt embed the profile in the image
for future use. We need to choose File>Save As, and in the
dialog, check Embed Color Profile: Adobe RGB (1998), and
click Save.
3. Choosing Edit>Assign Profile to assign a profile to an

untagged image leaves the color numbers the same,
but can change the color appearance of the image.
By contrast, choosing Edit>Convert Profile to convert
a tagged image from one profile to another, leaves
the color appearance of the image unchanged, but
changes the underlying color numbers.
Print with Preview

The last step in this color-managed workflow is to convert
the image profile to a printer profile thats specific for the
Jan Kabili is a popular Photoshop author and educator. Her latest

book is How to Wow: Photoshop CS2 for the Web.
2. Profiling digital cameras and scanners is also possible,

although less crucial.
061
Beginners Workshop
Learning Adobe Photoshop from the ground up
NBY SCOT T K ELBY
Spend Less Time Color-Correcting Your Photos

When taking photos with a digital camera, you probably spend some time doing one of two
things: trying to color-correct your photos so the color looks like it did when you took the photo;
or youre frustrated and not sure how to fix the color.
ell, this issue (Im filling in for Dave Cross, who usually
writes this column) well try to make your Photoshop
life easier by tracking down one of the biggest
reasons why you have a color-correction problem in the first
place, and then give you two simple, totally no-brainer ways
to quickly (were talking seconds here) fix them in Photoshop.
Although todays digital cameras are pretty good at delivering photos that have decent contrast, theyre not so great
at automatically adjusting for the lighting situations that you
shoot in. If youre shooting in the middle of a bright sunny day,
they do a nice job. Step into the shade, however, and suddenly
your photos look really bluish. Step indoors to shoot and
they look yellowbig time. Now step into an office and they
can look greenish. The reason is that, by default, your digital
camera is set to Auto White Balance, which works great in that
sunny, blue-sky situation. Once you step out of that lighting,
you can wind up with photos that have a strong yellow or blue
cast, and youll have to jump through some major color-correction hoops in Photoshop.
062
In-camera fix
First, lets fix things in the camera, so when you bring your
photos into Photoshop, the color cast is already gone and
your photos look natural. To do this, simply change the
White Balance setting on your camera to match the lighting
situation under which youre shooting. When you step into
the shade, just go to your cameras menu and choose Shade
as your White Balance and your photos wont be blue anymore, so you wont have to color-correct that. Same thing
with shooting indoors: Change your cameras White Balance
setting to Tungsten. By changing your White Balance to
match the lighting youre shooting in (Cloudy, Fluorescent
in a office space, Daylight outside) your photos will look
color-balanced right out of the camera.
Shoot in RAW
Now, what if you dont like messing with your cameras
menu settings (hey, a lot of people feel more comfortable
in Photoshop than they do in their cameras menus)?

Then I recommend that you shoot in RAW format and
leave your cameras White Balance at the default Auto
setting all the time. When you shoot in RAW, you can
change the White Balance after the fact using Adobe
Camera Raw, which is a part of Photoshop CS and CS2
that appears automatically when you open a photo
shot in RAW mode.
Heres how it works: You open the RAW photo in Photoshop and the Camera Raw dialog will appear. Go to the
White Balance pop-up menu in Camera Raw (shown here)
and simply choose what youd like the White Balance to be.
Although generally youll want to choose the correct White
Balance for the lighting situation you shot in, White Balance
can also be a creative tool, so if you choose the proper
White Balance in Camera Raw and you dont like the way
your subject looks, then simply try a different selection.
For example, say youve chosen the exact white balance for the lighting (lets say that was Daylight) but now
you think the person in your photo looks too pale. Simply
choose Cloudy (the next warmer White Balance setting)
and see how that looks. If the subject still looks a little
clammy, try Shade (which is warmer yet). Do you see
where this is going? Youre changing the color of the light
in your photo using White Balance. Cool, eh?
BEGINNERS WORKSHOP
Because this photo is very yellow, we want to cool it

down (add blue to it until it looks balanced and more
natural). There are three Cooling Filters and I recommend
trying all three, one at a time (it takes about two seconds),
to see which one makes your color look more balanced. For
our example, we selected the Cooling Filter (82). Although
the photo looks better, it isnt quite blue enough to make
all the yellow go away. So, just drag the Density slider (think
of it as the amount slider) to the right
until the white areas in your photo
look white. If they start to look blue,
youve gone too far but if they still
look a little yellow, you havent gone
far enough. When youre satisfied,
click OK, and your basic color is balanced (shown below left).
To recap: Save your work in Photoshop by either:
a. Setting your White Balance correctly in the camera;
b. Shooting in RAW mode, then
changing the White Balance to
anything you want after the fact in
Adobe Camera Raw; or
I hope this makes your Photoshop

life easier. Keep an eye out for Dave
to take you to the next level in colorcorrecting your photos in future
installments of this column. N
If you have an idea for a Beginners
Workshop topic, please send it to
letters@photoshopuser.com; however,
if you have a question that youd like
answered immediately, go to the Help
Desk at www.photoshopuser.com.
c. Leaving everything as is, and fixing

the problem using the Photo Filters
in Photoshop.
KALEBRA KELBY
Photo Filter
Now, what if you didnt shoot in RAW; are you stuck?
Nope. Youre just one click away from fixing the problem.
Lets look at a shot my wife took with her Nikon D70s of
the cutest little baby in the whole wide world (our ninemonth-old daughter Kira). The cameras White Balance
was set to Auto and the shot was taken indoors, so the
photo looks very yellow.
The quick 10-second fix for this is to go the Layers palette
and duplicate your image (to keep your original intact) by
pressing Command-J (PC: Control-J). Now with the Background copy active, click on the Create New Adjustment
Layer icon and choose Photo Filter from the pop-up menu.
This brings up a dialog that lets you warm or cool your
photokind of like what the White Balance setting on your
camera does. (By the way, if you use Auto Levels to try to
correct problems like this, as I did, it does absolutely nothing
to fix this photo. When you click Image>Adjustments>Auto
Levels, it looks almost exactly the same.)
063
Digital Camera Workshop

Creative control with digital capture and Photoshop
QBY J IM DiVI TALE
Back It Up the Right Way

It starts like thisYoure enjoying your morning coffee and the phone rings. Its one of your clients:
Im at the printer on press right now with our new project and were missing some pick-up files [files
from older projects] from last year.
obody at the printer knows where the files are.

Were literally holding up the presses. These files
are more than three years old but do you think you
might still have them? We need them right now.
At this point, only two things can happen: You can save
the day if you have the missing files in the clients hands
within minutes of the call, or you can make up some excuse.
In this fast-paced digital communications age, it can make the
difference between a once-in-a-while client or a client for the
life of your career.
064
Keep files organized

Keeping all your digital files properly backed up and organized is a lot like preparing for your tax return. You can let
receipts pile up in envelopes all year and when its time to
organize them to file your return, you have to try to figure
it all outunder stress. Or, you can continually log receipts
weekly and when tax time comes along, its just like another
weeks paperwork, and then youre ready to file your taxes.
Similarly, you need to remove digital image files on a regular basis from your hard drives and store them properly. Buying more and more large hard drives to store files indefinitely
may sound like an easy way to handle your workflow, but you
may be taking a huge gamble with your files. It would be great
if hard drives had a built-in warning that tells you, Attention!
Im going to die in exactly 24 hours, please remove all data.
But, they dont; they just stop. If youve had a 100-GB drive just
crash with precious files on it, you know what Im saying.
The answer is: Rename all files and folders for automatic
keyword tagging, back up files weekly on quality DVDs and
CDs, and immediately catalog the back-up files, using filecataloging software for quick retrieval.
Filename management
Say youve gone on a photo shoot, come back to the office,
and stick the memory card into your computer. And then,
because youre excited about the images, you start playing
with your best photos before youve even downloaded all
the files. (You know youve done that.) Heres one way to
get organized:
STEP ONE: Download all of the files from all the memory
cards for your photo shoot into an appropriately named
folder. Once the files have all been downloaded, open the
folder in Adobe Bridge.
STEP TWO: Rename the folder by double-clicking its title and

typing either the name of the client or subject and the date
of the shoot. Select all the files in the folder by pressing Command-A (PC: Control-A). Then go under the Tools menu and
choose Batch Rename.
DIGITAL CAMERA WORKSHOP
In the next field, choose Sequence Number from the dropdown menu, followed by 1 in the next field, and choose the
number of digits in the next field. Its a good rule-of-thumb
to choose Three Digits if you have more than 100 files in the
folder. Click on the plus symbol again to add another line.
In this field, pick New Extension from the menu and in
the next field, type in the correct file extension name (we
chose .CR2).
You can see how the name looks in the Preview at the bottom of the dialog. Check to make sure its what you want.
If youre shooting RAW (and you should be), under Options,
click on Preserve Current Filename in XMP Metadata, and
turn on the compatibility checkboxes for the appropriate
operating systems.
Now click on Rename and all the files in this folder will be
instantly renamed to the new filename. Remember if you have
a filename (as it is out of the camera), that reads ZW7H4093
.CR2, its not going help you next year when youre looking
through thousands of files.
For my electronic file cabinet, I use Extensis Portfolio 8.1

(www.extensis.com) and Im proud to say that after more than
100,000 files, Ive never had to go back and keyword a file to
recover it in seconds.
STEP FIVE: After Ive burned a DVD or CD, I drag the discs icon
into my Master Catalog in Extensis Portfolio and the files are all
automatically cataloged. The software automatically uses all
the words in the folder name and filename as keywords. I can
then search by client name, date, or item number to locate a
file in the system. I can also search for a file based on anything
you can think of, such as Contains, Does Not Contain, Starts
With, Ends With, and so on.
When Im shooting individual products in the studio tethered

to the computer and I save the file, I name every image by its
manufacturers code. So, when a client calls looking for the
PR-087 file you shot three years ago, you can locate it in seconds, pull the disc, and send the file over the Internet to save
the day. [Illustration-5] It gives your client confidence that they
can always count on you in an emergency. And you can count
on them coming back to you for their next project. N
STEP FOUR: Create a new folder on your computer with the

next DVD number in sequence that you need to burn, and
drop this renamed folder of files in it. During the week, keep an
eye on the size of the folder. When it gets to about 4.2 GB, its
time to burn the DVD.
Electronic file cabinet
If you name your discs DVD-0001, DVD-0002, and so on,
youll never have any problem finding the disc because if
youre looking for DVD-0543, its right between DVD-0542
and DVD-0544 in your storage box. Remember, one disc
can hold several jobs, or one job can be stored over several
discs but that wont matter if you use cataloging software
to keep it in order.
Jim DiVitale is an Atlanta-based photographer and instructor

specializing in digital photography. His clients include Mizuno
USA, Carters, Genuine Parts Company, IBM, TEC America,
Scientific-Atlanta, and Coca-Cola. Check out his new website
at www.divitalephotography.com.
ALL IMAGES BY JIM DIVITALE
STEP THREE: In the Batch Rename dialog that appears, under

Destination Folder, click on the Rename in Same Folder button. In the New Filenames section, click on Text, and type the
simplest base name you can think of that describes the type
of photo shoot followed by - (as shown). Then click on the
plus symbol at the end of that field to create the next line (if
it isn't visible).
065
The WOW! Factor

Creative timesaving tips and techniques for the phenomenal Photoshop CS2
N
JAC K DAV I S
Softening the Distractions, Shaping the Form

In this issue, well show you a couple of make it better techniques to add richness and soften
distractions in an image, while still maintaining detail. In our examples, well use Gaussian Blur,
blend mode, and the Blend If sliders to achieve some different diffuse glow variation effects.
STEP ONE: Lets choose

Filter>Blur>Gaussian Blur
and use a Radius large
enough to soften the
image, but not so large
that we cant make out
image featuressettings
between 5 and 50 are
typical (we used 10 for
this 1000-pixel image).
066
STEP TWO: Just as

stories thrive on conflict,
photographs thrive on
contrast and for that reason, well use one of the
contrast blend modes
(Soft Light or Overlay).
For this image, well
go with the Soft Light
blend mode, which will
enhance the contrast
without overly saturating the photograph.
STEP THREE: In the
process of adding
contrast to the image,
we lost a little shadow
detail. To bring it back,
MODELS: GENO AND DAKOTA
or our first example, well open

this beautiful baby
shot and duplicate the
image onto its own
layer (Command-J
[PC: Control-J]).
well punch a hole in the top layer and reveal the shadow
detail in the underlying image. Click on the Add a Layer Style
icon at the bottom of the Layers palette (its the little ) and
choose Blending Options.
At the bottom of the dialog in the Blend If section, move
the left slider under the This Layer heading until you have
sufficient shadow detail. Now press Option (PC: Alt) and
drag the right edge of the slider to create a soft transition
(we used 25/100 for this image). Click OK to close the dialog.
When you use the Blend If sliders, Photoshop hides areas

of the active layer without deleting them, which means that
you can always return to the Blending Options dialog and
fine-tune the results. If youd like to see exactly what youve
hidden in the active layer, Option-click (PC: Alt-click) its Eye
icon in the Layers palette to toggle between whats currently visible and the layer by itself.
Diffuse flow variations
In the following examples, well follow the same steps, but
this time well achieve different effects by varying the blend
FINAL FILE SIZE
Each time you duplicate a layer, the file size of your image
increases significantly. You can guesstimate how large
those additional layers are making your image by choosing
Document Sizes from the pop-up menu on the bottom
edge of your image (PC: Screen). The number on the right
is an approximation of your current file size, while the
number on the left is roughly the file size of a flattened
version of the image.
THE WOW! FACTOR

mode and Blend If settings used. These techniques work
equally well on landscapes, still lifes, or product shots.
MODEL: TEAGAN
Highlight glow
Before
After
Here we wanted to add a glow only to the highlights of the

image. We experimented with the different Lighten blend
modes (Lighten, Screen, Color Dodge, and Linear Dodge),
because these modes can only brighten an image and primarily affect just the highlights of the image. Then, after choosing
Screen mode, we had to limit the brightness range being
affected. We used the Blend If sliders to hide the darkest areas
of the active layer and create a very soft fade-out as it moved
into the brighter areas of the image (we used 50/200).
After creating the

blurred layer and setting
its blend mode to Screen
(Overlay or Soft Light
mode would work too), we
created a smooth, subtle
transition into the shadow
areas by using 100/255
with the Blend If sliders.
Because those Blend If settings left only the lightest
lights of the layer visible,
we had to duplicate the
blurry layer to exaggerate
the impact of the highlight glow: With that layer active, press
Command-J (PC: Control-J) three times to end up with four
layers all set to Screen mode.
Finally, we removed all hint of color from the image by
choosing Hue/Saturation from the Adjustment Layer pop-up
menu at the bottom of the Layers palette, moving the Saturation slider all the way to the left, and clicking OK. And heres
our final image. Q
MODEL: BREEZEE REIFLER
Saturated glow
Before
After
The dramatic change in this image was created using the

same technique but to give this image its unique look, we
used the Overlay blend mode, which caused the colors to
become more saturated. And like the other examples, we
had to ensure that we maintained shadow detail, so we used
settings of 25/100 with the Blend If sliders.
After
High key glow

With this image, well use the same general technique but to
create a highly romantic effect, well use multiple blurred layers and convert the image to grayscale for more impact.
This issues The WOW! Factor was adapted from How to Wow:
Photoshop for Photography (Peachpit Press), authored by Jack
Davis and Ben Willmore.
ALL IMAGES BY JACK DAVIS
Before
067
Production Clinic
Gain expertise on scanning, prepress, Photoshop, and digital file prep
NBY TAZ TALLY
Covering Up
When removing small items from an image, the Clone Stamp tool is often the best choice, but
when larger, complex items need to be removed, the Clone Stamp tool can be time consuming,
and often results in obvious unsightly clone artifacts. Heres my alternative cover-up.
068
STEP ONE: Make a duplicate copy of the image to keep the

original unaltered and save the new, working copy as a PSD
file so you have maximum flexibility.
Choose the Rectangular Marquee tool (M), go up in the
Options Bar, and select a 5-pixel Feather to help blend the
edge of this selection with its new
surroundings. Select
a portion of the water area to the left of the trees (in your
image it might be in a different area). If you can, make the
selection long and tall enough to cover the entire tree area
youd like to replacethats not quite possible for our image.
Note: The amount of feather will depend on the linear
resolution of the image, the dimensions of your selection,
and the nature of the surrounding target area, but a 35 pixel
Feather will typically provide enough blending.
Tip: You can view the actual feathered edge by using the
Quick Mask view (Q); press Q again to return to Standard mode.
STEP TWO: Press Command-Option-J (PC: Control-Alt-J)
to place a copy of your water selection on its own layer
and name it Water.

(You can also use
Layer>New>Layer via
Copy, but then youll
have to double-click
on the layers name
to rename it.)
With your new Water
layer active, choose
Edit>Transform>Flip
Horizontal. This will flip your water selection 180 around a
vertical axis, reversing the left and right side of the selection.
TAZ TALLY
hat follows is a technique I use when removing

image elements from landscapes that contain
consistent backgrounds; for example, sky or in
this case, water. The goal is to remove the trees from
the foreground,
replacing them
with a consistent foreground
waterscape.
Cloning this
large an area
would be difficult and timeconsuming
so lets try
this instead.
STEP THREE: Select the Move tool (V) and while holding
the Shift key, drag the Water layer to the right over the trees
until the left edge of the selection is almost at the end of
the original right edge of the original selection we made.
(Adding the Shift key restricts the movement of your selection to either horizontal or vertical.) The overlap need not
be perfect, and in fact sometimes a less-than-perfect edge
match is more desirable in terms of masking/blending the
mirror image edges of the water layers.
STEP FOUR: Duplicate the Water layer by selecting

Layer>Duplicate Layer. With this Water copy layer active,
use the Shift key with the Move tool to drag this selection to
the right until the rest of the trees are covered. I recommend
PRODUCTION CLINIC
that you drag the edge of the selection past the edge of the
image to remove any potential blending challenges.
Tip: You may want to try the shortcut for this last step
instead: Hold down Command-Option (PC: Control-Alt) and
simply drag the Water layer to the right. This makes a copy
of the Water selection, places the duplicate on its own layer
(named Water copy), and moves the copied water selection
to the right as well. Rename this layer if you like.
it active, and then select the Gradient tool (G). Up in the

Options Bar, click on the Gradient Editor and choose the
Black, White gradient. Drag the gradient vertically, from top
to bottom across the boundary between the Water copy
(merged) layer and the Background layer area. This will
blend the two layers.
Notes: If necessary, you can perform a similar type of
blending between the two Water layers as well. And if you
want, you can edit the layer mask by Option-clicking (Altclicking) on it and then painting with a soft-edged Brush (B).
STEP NINE: Save this multilayered image as a Photoshop
(PSD) file for future editing. Now make a duplicate file
(Image>Duplicate) and choose Layer>Flatten Image to
flatten this copy, and then save it as a TIFF file for output. N
OPTIONAL STEP FIVE: You may want to repeat Edit>

Transform>Flip Horizontal on the Water copy layer to
help match up the ends of the two water layers.
STEP SIX: Select both Water layers by Shift-clicking them.
Now press Command-Option-E (PC: Control-Alt-E) to create
a new layer from the water layers, retaining them as well
(in case you want to return to the unmerged layers for finetuning in the future).
STEP EIGHT: With the

Water copy (merged)
layer active, click on the
Add Layer Mask icon to
place a layer mask on
this layer. Well use this
to blend the merged
layer into the Background layer.
Type D (for default)
to make your Foreground/Background
colors white/black,
respectively. Click on
the layer mask to make
Before
After
Taz Tally, Ph.D., a nationally known electronic publishing consultant, provides training on a wide range of electronic publishing topics, including scanning, Photoshop, prepress, and digital
file preparation. Hes also author of Photoshop CS2 Before &
After Makeovers.
STEP SEVEN: In the

Layers palette, click on
the Eye icons beside
the original Water layers to hide them and
drag the new merged
Layer called Water
copy (merged) so that
its directly above the
Background layer.
069
Mastering Photoshop with Video

Using Photoshop to create professional-looking videos
NBY G L E N STEPHENS
The Path to Success

When I started writing this on Halloween, I was inspired to pick a topic that frightens most video
professionals. As foreign as it may be, working with paths in Photoshop might prove to be one the
best skills you can have as a graphics professional.
070
Path basics
Paths can be stored in two different locations in Photoshop:
in the Paths palette or in a
shape layer. Paths are generally
created with the Pen tool; however, in Photoshop you can also
use Shape tools to create them.
When working with logos or
graphic elements that need to
be re-created as a path, youre
more likely to work with the
Pen. When you choose the Pen
tool (P), go up in the Options
Bar and select the Paths icon. If youre creating a shape layer
with one of the Shape tools in the Toolbox, you should select
the Shape Layers icon.
Creating a path
Think of paths as connecting the dots. Each time you click
with the Pen tool, youre creating anchor points on a line. By
clicking to create each point, youre creating corners between
lines. When you click-and-drag to create a point, youre creating curves between lines. When you click-and-drag to create a
point, you need to drag the mouse in the direction of the next
point youre going to create; otherwise, you end up with odd
loops in your shape.
The extended lines and points created when dragging an
anchor point are called direction points and direction lines, and
they dictate the size and degree of the curve between points.
When youre creating the points to outline a shape, you dont
need to be exact. Just get a rough outline of the object, and
then go back to refine the path (see next paragraph).
ISTOCKPHOTO/JAN WILL
ne of my clients emailed that he wanted to take a

design that I did for a video project and use that same
theme and elements in a 3x5' sign. Most video designers would say that the artworks in a video resolution and
wont translate well to a large-format print. But understanding
how to work with paths in Photoshop makes this possible and
makes the elements that you build more flexible. The benefit
of working with paths is that you can scale them infinitely,
which means that something you created for video can easily
be repurposed for print.
Refining the shape

After youve created all of the points that you need for your
shape, you need to click on the first point that you created
with the Pen tool to close the path. Notice that the pen icon
changes and a circle appears under it, which indicates that
this will close the path. Once youve created the basic outline
for your shape, you can use the Direct Selection tool to grab
the points and direction points to shape the path exactly.
While refining the shape of the path, you may find that you
need to add or delete points from the path. You do this using
MASTERING PHOTOSHOP WITH VIDEO

the Add or Delete Anchor Point tools (under the
Pen tool in the Toolbox). And if you discover that
you need to convert a point from a corner transition to a curve transition, then use the Convert
Point tool (of course).
If a point has direction points
or lines, when you click on it with
the Convert Point tool, it removes
the direction points and lines. If
the point doesnt have them, then when you clickand-drag with the Convert Point tool, youll add
direction points and lines to the anchor point.
Using a path
Trying to create a path from scratch on a complex shape
may seem to be a difficult task, and its tedious; however,
theres a technique that you can use to get a path started
for you and then all you have to do is go back and touch it
up to make it exact.
Paths can be created from selections in Photoshop. So, if
you can get an active selection of your object easily, then all
you have to do is click on the Make Work Path from Selection
icon (circled) at the bottom of the Paths palette.
Some options
What can you do with a path in the shape of a graphical
element? Here are some options:
Convert the path to a selection and then work with it in
Photoshop by filling it with a color or using it as a mask,
etc. The drawback here is that youre limiting yourself by
creating a rasterized version of your artwork.
If you created your path in the Paths palette, you can
copy-and-paste it into a shape layer and then add color
or gradients. To do this, create a shape layer by picking a
simple Shape tool from the Toolbox (make sure to click on
the Shape Layers icon in the Options Bar), then draw the
shape in your Photoshop document. Now use the Path
Selection tool to select the path from the simple shape and
press Delete. A message pops up asking What do you want
to delete? Choose Vector Mask Contents Only and click OK.
You can then copy a path from the paths palette and paste
it into the vector mask of the shape layer.
You can export your paths to Illustrator and then add color
and strokes to them. To export all of your paths to Illustrator, you should move any paths that are in shape layers and
move them to the Paths palette. Just select the shape layer
in the Layers palette and then go to the Paths palette where
youll see a Work Path, which is a temporary version of
your shape layers path. Double-click on the Work Path and
rename it. This permanently adds the path from the shape
layer to the Paths palette.
If you have a suggestion for a video topic that youd like us

to cover in this column, or an idea for using Photoshop with
video, please send it to letters@photoshopuser.com.Ed.
Glen Stephens, developer of the Tools for Television, Photoshop Toolbox (www.toolsfortelevision.com), has more than 10 years
experience in the broadcast video industry. His company, Pixel Post Studios, provides training and design services for the industry.
The lower the resolution of the image youre working with, the rougher the selection will be, but its a great
starting point and from there you can refine the path into
something thats perfect. You can also use the Path Selection tool to move an entire path or use the Free Transform
feature (Edit>Transform Path) on paths to resize or perform
any other transformations on them.
This has been only a quick look at how to use paths in Photoshop, but the more you get comfortable with how they work,
and the more you use them to create graphic elements, the
more portable your images will be when working between
video and higher-resolution formats. Take some time, play
with the Pen tool, and master how it works. N
071
Digital Photographers Notebook

Practical tips for professional photographers
NBY KE VIN AMES
New Dogs, Old Tricks

This issue, well look at some Photoshop color-correction techniques that the old dogs have
been using for so long that the processes are second nature to us. But theyre brand-new to
photographers who have recently gone digitalsome old tricks for the new dogs in town.
072
ont fool yourself into looking at the monitor and

judging colorthe human brain simply wont let
you. What color is snow on a bright sunny day? Its
not white: It has a blue cast thats a reflection of the sky.
How about a white coat in open shade? Its blue because
shade is blue. What colors a white tablecloth in a room lit
by incandescent light bulbs? Your eyes say its white, but
take a photograph with a daylight color balance and its
yellow. Although our brains do white-balancing color corrections on the fly, it makes us lousy color correctors. The
only accurate way is by the numbers.
Start by setting the correct White Balance on your cameraespecially if youre choosing JPEG format; RAW format
files can be corrected in postproduction. Either way, its still
an approximation of the correct color. In its most basic form,
color correction is making known neutralswhite, gray, and
blackneutral. Equal RGB numbers are free of color cast. Heres
a two-part technique that tweaks color for original JPEGs and
converted RAW files to make the neutrals neutral and the rest
of the colors fall into line. The first part I learned from Eddie
Tapp and the second from Ben Willmore. Thanks guys.
[NAPP members may download the files used in this tutorial
at www.photoshopuser.com/members/magcenter/2007.php.]
STEP ONE: Open your image (or download the Colorcast.tif

file). Click-and-hold the Eyedropper icon in the Toolbox and
choose the Color Sampler tool. Change the tools sample size
to 5 by 5 Average in the Options Bar.
STEP TWO: Click on the white patch to place sampler #1, then
on the black patch to place sampler #2, and finally on the gray
patch to place sampler #3. Press F8 to show the Info palette.
Readings in the palette correspond to the patch samplers. The
Info palette shows that the overall color of our photograph is
orange: In the #1 sampler, the Red channel (R) reads 249, the
Green (G) 235, and the Blue (B) is 224.
STEP THREE: Click on the Create New Adjustment Layer icon

at the bottom of the Layers palette and choose Levels. This
new adjustment layer handles the first part of the correction:
neutralizing the highlights and the shadows.
When correcting highlights, we increase the channels
with the lowest values until they equal the brightest channel.
Red is the brightest channel at 249 in sampler #1, so press
Command-2 (PC: Control-2) to choose the Green channel.
Drag the highlight slider (the white one at the lower-right
edge of the histogram) to the left until the G in the #1
sampler reads 249. (Tip: Use the Up and Down Arrow keys to
fine-tune the readings.) Press Command-3 (PC: Control-3) to
choose the Blue channel and drag the highlight slider to the
left until B also reads 249 in the #1 sampler. Youll see (at the
top of the next page) that under each sampler, there are now
two columns of numbers separated by a slash: The left column holds the original color values and the right the change
made by the adjustment. Dont click OK yet.
DIGITAL PHOTOGRAPHERS NOTEBOOK
STEP FOUR: Lets start the second part of the correction with a
little math. Average the values in the midtones by adding them
together to get 426. Divide by the number of channels (3) to
get the average, which is 142.
Create a new Curves adjustment layer and press Command-1
(PC: Control-1) to select the Red channel. If your dialog has a
4x4 grid, hold down the Option (PC: Alt) key and click in the
grid to make it 10x10.
Now, it would be a pain to do this for every photograph shot

under the same lighting conditions; however, its simple to fix
using the adjustment layers we already made in Colorcast.tif.
STEP SIX: Now open another image that you want to correct
(or the download Joanna.tif file). In the Colorcast.tif file, Command-click (PC: Control-click) the Curves 1 and Levels 1 layers
to select them, choose the Move tool (V), and click-and-drag
the selected layers from Colorcast.tif to Joanna.tif.
Thats it! The corrections are made and your photographs
are ready for delivery. Hide and reveal Curves 1 and Levels 1 to
see what a difference these old tricks really make. Until next
time, keep shooting! Q
Before
After
STEP FIVE: Count down one grid box from the top-right corner,
then one to the left, and click at the intersection to place a point.
Count one box up from the lower-left corner, then one to the
right, and click to make another point. These points isolate the
highlights at the top and the shadows at the bottom from the
midtone corrections were going to make. Finally, click somewhere in the center of the diagonal line (as shown above right).
Kevin Ames, a commercial digital photographer, is author of Adobe Photoshop CS2: The Art of Photographing Women, Digital SLR
Photography with Adobe Photoshop CS2 All-in-One for Dummies, and the soon-to-be-released Digital Photographers Notebook:
Practical Tips for Professional Photoshop Users. You can email him at Kevin@amesphoto.com.
ALL IMAGES BY KEVIN AMES
Shadow correction is similar except the higher values are

lowered (darkened) until they match the lowest one. Under #2
sampler, R is 49, G is 49, and B is 47, so Blue is the lowest. (The
Blue channel started out at 42, but when its highlights were
matched to the Red, the Blue shadow reading changed to 47.)
Press Command-1 (PC: Control-1) to choose the Red channel.
Drag the shadow slider (the black one at the far left) to the
right until R reads 47. Now press Command-2 (PC: Control-2)
to choose the Green channel and drag its shadow slider to
the right until G reads 47. Click OK to close the dialog and
now the highlights and shadows are neutral.
The midtones show an almost yellow color cast with
readings of R:147, G:145, and B:134. It would be great to fix this
using the gamma slider in Levels, but it simply wont work.
Type 147 in the Input

field and the color shifts.
Press the Tab key and
enter 142 (the average) in
the Output field. Fortunately, the Green channel
in our example is already
142. If yours isnt, press
Command-2 (PC: Control-2)
and repeat the process we
did for the Red channel.
Finally, change the Blue channels numbers (Command-3
[PC: Control-3]). Click OK.
When finished, the numbers in the right column under the
#3 sampler will read R:142, G:142, and B:142, which neutralizes
the midtones without changing the highlights or shadows.
Click the Eye icon beside the Curves 1 layer to see what a
difference this subtle correction makes. The photograph
looks a lot better when the midtones are neutral. (Note: If you
experience color shifts when printing, a midtone color cast
just might be to blame.)
073
Classic Photoshop Effects

The oldies but goodies that never seem to go out of style
Q B Y C O R E Y B A R K E R
Classic Chrome
This time, were going to show an oldie-but-goodie: a realistic chrome effect that Scott Kelby described
in his Down & Dirty Tricks some time ago. [Corey Barker, NAPP Education and Curriculum Developer, is
filling in for Dave Cross this issue so we welcome Corey to the magazine, with thanks.Ed.]
STEP ONE: Start by opening a new blank document in whatever size youd like (ours is 7x6" at 100 dpi), then add a shape
(or text) on its own layer. For our example, we used the Type
tool (T) to set some text (Impact font, 210 pt) and rasterized it
(Layer>Rasterize>Type). We framed it using the Rectangular
Marquee tool (M) then applied a 40-pixel stroke (Edit>Stroke).
(We renamed this Layer 1 in our example.)
Note: If youre applying this effect to text, its best use a bold
font; smaller, thinner fonts wont convey the effect as well.
074
STEP TWO: Press Command-click (PC: Control-click) on this

layers thumbnail to load it as a selection. Then go under the
Select menu and choose Save Selection to make the selection an alpha channel (we named it Alpha 1). Click OK to close
the dialog and then deselect by pressing Command-D (PC:
Control-D).
Next, go to the Channels palette (Window>Channels) and
click on the Alpha 1 channel. Youll see a white-on-black version
of your image (as shown).
STEP THREE: With this channel active, go under Filter and

choose Blur>Gaussian Blur. In the dialog that appears, well
choose a blur setting that will determine the intensity of our
chrome effectwe set our Radius at 5 pixels. Click OK.
STEP FOUR: Now add a new

layer by clicking on the Create a New Layer icon (at the
bottom of the Layers palette).
Go under the Edit menu and
choose Fill. In the dialog that
appears, choose 50% Gray
for Use and click OK to fill this
layer (Layer 2) with gray.
STEP FIVE: With Layer 2 active, go under the Filter menu and
this time, choose Render>Lighting Effects. At the bottom of the
dialog, click on the pull-down menu beside Texture Channel
and select the Alpha 1 channel (where we applied the blur). In
the preview window, grab the points on the light-direction
handles and move them to turn the light source to your desired
effect. We set it to the upper left (shown at right). Click OK to
close the dialog.
STEP SIX: Next, select
Image>Adjustments>
Curves. Manipulate
the curve handles as
shown. (Note: You can
also select the Pencil
tool in this dialog to
manually draw the
curve within the grid.)
Now youll see the
chrome look start to
take shape. Click OK.
STEP SEVEN: But we need to isolate the chrome to the area of our
original graphic. To do this, well use the original layer as a Clipping
Group, which basically means that the pixels on the original layer
will be used to mask out the pixels of the layer above.
Place your cursor between the two layers, hold down the
Option (PC: Alt) key, and youll see two small overlapping circles.
STEP NINE: To finish the chrome effect, well add a drop shadow
to the original layer (Layer 1): Click on the Add a Layer Style icon
(at the bottom of the Layers palette), choose Drop Shadow from
the drop-down list, and click OK. To add a blue background (as we
did), just click on the Background layer, click on your Foreground
color swatch, choose blue, and click OK. Then press Option-Delete
(PC: Alt-Backspace). And heres our finished chrome effect. N
STEP EIGHT: When you click with your mouse, the area is masked
out and the layer above now has a small arrow indicating that
its part of a clipping group. Note: To undo, just Option-click (PC:
Alt-click) between the layers again.
075
From the Help Desk

An in-depth look at common Help Desk questions
NBY PE T ER BAU ER
076
To: Uriel
From: NAPP Help Desk
Photoshop includes four different tools
for adding text: Horizontal Type, Vertical
Type, Horizontal Type Mask, and Vertical
Type Mask tools. Typically, youll use the
Horizontal Type tool (simply referred to
as the Type tool) to add text to an image.
You can use the Vertical Type tool to add
vertical texttext with each character
stacked in a column. The type mask tools
are designed to create selections in the
shape of text and you might use these
tools to create a mask or to cut out the
shape of specific letters or words from an
image or other piece of artwork.
The Horizontal Type and Vertical Type
tools create type layers in the Layers
palette. You can always edit the text in
a type layer by making the layer active
in the Layers palette and then clicking
or dragging within the text in the image
window to select it. (The type mask tools
dont create type layers, so that text isnt
editable. Rather than using the type mask
tools, create a type layer: Just Commandclick [PC: Control-click] the layer thumbnail
to load the shape of the text as a selection,
then hide the type layer, maintaining the
text in an editable form for future use.) To
access the four type tools, click-and-hold
on the Type tool icon in the Toolbox.
After selecting the appropriate type
tool, choose such options as typeface
(font and style), size, anti-aliasing (edge
smoothing for nonvector output), alignment, and color in the Options Bar or in
the Character palette. You can access
the Character and Paragraph palettes by
clicking on the icon at the far right in the
Options Bar or choose Window>Character
from the menu bar.
Click in the image to add point type
or click-and-drag to create a rectangular
ISTOCKPHOTO/JEREMY EDWARDS
To: NAPP Help Desk

From: Uriel
Is there any way to add text to my artwork
in Photoshop?
type container for paragraph type. Point

type is similar to a headline in a newspaperone or more individual lines of text.
When working with point type, press the
Return or Enter key to move to the next
line. Paragraph type is comparable to the
body of a newspaper articlea continuous flow of text. When adding paragraph
type, the text will automatically flow from
line to line as it reaches the right margin.
When youre finished adding type, you
can click the Commit checkmark at the
right of the Options Bar, click on another
tool in the Toolbox, or press CommandReturn (PC: Control-Enter) to end the editing session. To cancel adding or editing
text, simply press the Escape key.
You can also use paths created with
the Pen tool or the shape tools as type
containers. This enables you to create
irregularly shaped columns of text rather
than the simple rectangular type containers created with the type tools.
In addition to shaping text with
type containers, Photoshop provides
you with rather sophisticated, yet easyto-use tools for bending and shaping
lines of text. With a type layer selected
and the Type tool active, click the icon
second from the right in the Options
Bar to open the Warp Text dialog, then
you can select from 15 preset warps, each
of which can be customized to fit your
needs. Generally, youll use the Warp
Text effects with point type rather than
paragraph type.
Photoshop also gives you the option

of placing text along a path. The path can
be a simple curve, a circle, a square, or
even one of Photoshops custom shapes.
Create your path, then select the Type
tool and position the cursor over the path.
The cursor changes to an I-beam with a
slash through it. Click on the path and
enter your type. Note: You cannot create
paragraph type along a path.
And remember that you can dress up

your text by adding layer styles to type
layers. Drop shadows, strokes, bevels, and
glows are all great effects to help your large
text stand out from the background. N
Peter Bauer is Director of the NAPP Help Desk and a featured columnist at PlanetPhotoshop.com. His latest book is Photoshop CS2 for Dummies.
PRODUCT REVIEWS
reviews
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Note: Product prices are as of press date. Please check manufacturers website for current pricing.
reviews
Get the inside scoop on all the latest Photoshop gear
HP Photosmart Pro B9180
Review by
Dave Huss
Heavy-duty photo printer with Vivera inks
some of these
new technologies
are pretty exciting.
PRICE:
FOR:
FROM:
$699.99
Mac and Windows
RATING:
078
On the off chance that a nozzle

should clog during a print job,
the print head detects it and
substitutes another nozzle
to finish the job, saving the
loss of print. One last thing
about these new inks is that
theyre rated for 200 years,
which means the prints will
last longer than any of your
clients or even their relatives.
Pigment replaces dye

Typically, HP printers use
dye-based inks because they
produce vivid colors, but the
Photosmart Pro B9180 is the
first b-size printer that HP
has released that wont use
dye-based inks. Theyve found
a way to make their pigmentbased Vivera inks just as stunning and vibrant as dye-based
inks. The printer uses eight
large stationary ink cartridges
to feed four user-replaceable
print heads. Pigment inks
have historically clogged print
head nozzles but HPs new
ink formulation allows the ink
droplets to dry ridiculously
fast after theyre sprayed on
paper and also prevents the
print heads from clogging up.
New papers and paths

To go with this ink-delivery
system, HP has expanded its
media selection with several
new fine-art papers that include
Aquarella Art Paper, Artist Matte
Canvas Paper, Hahnemuhle
Smooth Fine Art Paper, and
Hahnemuhle Watercolor Paper.
More important than the new
paper is the addition of a frontloading specialty media tray
thats designed for thick, rigid
media. Paper from this tray is fed
straight through the printer
no bends. It would have been
nice to have a paper-roll holder,
but maybe in next years model.
One more thing about this
paper is that when used with
the B9180, the ink on the prints
dries immediately so youll no
longer need to spread out your
prints to finish drying.
Hewlett-Packard Development Co.
PHONE:
WEB:
Hewlett-Packards Photosmart
Pro B9180 printer is targeted
at professional photographers.
Providing fast, accurate color at
sizes up to 13x9" (borderless),
this printer represents a change
in the traditional approach that
HP has taken with previous
photo printers, and some of
these new technologies are
pretty exciting.
www.hp.com
XXXXX
Color and Photoshop

Anyone who works with
photo printers has spent a lot
of time achieving the optimum colors on the printer.
The HP Photosmart Pro
B9180 features a closedloop, color-calibration
system using an integral
densitometer. It prints a target

page containing individual
color blocks, then the page is
drawn back into the printer,
and the densitometer reads
the printed targets. The first
time I installed the printer,
the calibration process took
almost 20 minutes. The printer
performs color calibration
during printer setup and when
new ink cartridges are installed
or replaced. In addition, sensors
detect the presence of media
in the paper tray(s) and the
width of the media, and then
automatically adjust for skew
if media is not properly loaded
in the tray. The result, when
combined with my calibrated
monitor, is very accurate colors
on the printed images.
One of the features included
with this printer is the HP
Photosmart plug-in for Adobe
Photoshop, which allows the
user to combine all of the
printer controls necessary to
control all aspects of the print
job from a single dialog. I ran
some comparison prints using
Photoshop with Print Preview
against those made with the
Photosmart Pro print plug-in
and was surprised to find that
the prints made with the plug-in
looked slightly better than was
achieved with Photoshop alone.
Physically, the HP Photosmart Pro B9180 is heavy (more
than 38 lbs) and looks like a
1950s kitchen appliance. Its
designed for heavy-duty and
speed printing, both desirable qualities for a commercial
printer, and its available now. N
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reviews
OptiPaint
Review by
Sherry London
Use real brushes to paint into the computer
You can even

finger-paint on
this device!
PRICE:
FOR:
Light Strokes
PHONE:
415-272-7506
RATING:
Windows
FROM:
WEB:
080
$2,495
www.optipaint.com
XXXX
Ive never had as much fun on

the computer as when I used
the new Light Strokes OptiPaint
system. I could fulfill my fantasy
about block printing and watercolor work without the lengthy
cleanup and mess. And, oh yes,
you get to play in water too!
You can use sponges, string,
almost anything you can think
of that you can wet and that
wont scratch the surface of the
plexiglass input area. You can
even finger-paint on this device!
Theres a camera inside that
takes pictures of the wet areas
left by objects and brushes as
you paint. And if you dont like
your painting, you can rub the
Undo control back and forth
until you find the place to which
you want to revert.
OptiPaint, invented and
produced by Richard Greene
of Light Strokes, works by
being able to capture any
white or light-colored wet
object that makes contact with
its surface. If you can picture
your Wacom tablet turned into
clear plexiglass and housed in
a container thats a bit bigger
than a consumer model flatbed
scanner but about twice as
high, you have a bit of an idea
about this unit.
Brushes, sponges, tissues,
and string
It took a while to get used
to this system as I found it
very hard to predict where I
was going to paint; but it got
easier as I gained experience.
I discovered that I could place
something on the painting area
and see a video overlay of the
location onscreen while the
unit wasnt painting. That way,

I could first place the objects
while the unit wasnt recording
and then press Start. The device
would record the sponge locations until I pressed Stop. Then
I removed the sponges and
wiped down the unit.
The best thing is being able
to use real brushes and other
physical objects with OptiPaint.
I tried shaped sponges, then a
cut-up kitchen sponge, then
I twisted a tissue into a circular
roll and tried that. I also used
some string and fine yarns
all dipped in waterand was
able to make creative drips and
splatters. And at a low opacity,
the brushstrokes created a
very natural watercolor wash.
I really had a blast!
Important facts
The OptiPaint software is a plugin to most Photoshop filter-compatible hosts. You can paint in
Solid, Texture, or Blur mode. But
the unit isnt all fun and games:
Its expensive$2,495 + $95
shipping and handlingand
it takes up a lot of desk space
13.25" (W) x 23" (L) x 7.6" (H).

The device can only work with
an 800x600-pixel area at a
time and the software currently
works in Windows only and
only accepts 8-bit color images.
My main complaint is that
although you can change
colors in the plug-in, you cant
choose a color from the image
or a preset palette. You need to
pick the color in the Color Picker
every time.
The unit and the plugin worked beautifully and I
received a very fast fix to the
one bug that I found. Should
you go right out and get one?
I cant really answer that. If
moneys no object, my answer
would probably be yes; however, it takes a lot to justify this
type of investment unless youre
painting (and selling) watercolors or background images.
Id love to see OptiPaint
eventually operate the way that
the Wacom tablet doesas a
regular input device rather than
as a plug-in. The technology
is fascinating and I cant wait
to see how it develops. N
reviews
CanoScan 8600F
Review by
Daniel M. East
Flatbed scanner for photos and film

As flatbed scanners continue
to improve with more features,
capabilities, and smaller physical
dimensions, the quality of the
output has also improved. Once
you incorporate those elements
with a price point under $200,
you have yourself a terrific value
offering really fine quality results.
The CanoScan 8600F is truly
a full-featured scanner for the
advanced consumer looking for a
good everyday workhorse. Using
the one-button interface on the
hood of the device, its incredibly simple to make scans with
4800x9600-dpi resolution, 48-bit
color, or 16-bit grayscale. Or,
you can use CanoScan 5 toolbox
that features the usual standard
modes of operation. The warmup time is minimal compared

to products similar in type and
performance, and the scanner
is swift and quiet. The scans are
surprisingly sharp and magnify
to 250% with little distortion or
visual artifacts; however, with
portraiture as the original, I found
some scans in full-auto mode to
be underexposed and slightly
warmer than Id prefer. A simple
adjustment in the advanced
controls took care of that.
Canon also provides
ScanGear CS 11.1, ArcSoft
PhotoStudio, Presto! PageManager, ScanSoft OmniPage
SE and, yes, Adobe Photoshop
Elements 4 with this scanner,
giving the user all of the

basics to get good quality
output. The aesthetics of
the 8600F are modern,
slick, and user-friendly:
a smaller size and recessed
controls that use simple icons
to identify each function as
well as text.
The CanoScan 8600F is a
good, quality scanner with
everything you might need
right out of the boxfrom
original photos to OCR, to
basic film scanning up to
19,200 color dpiat a price
that might even let you save
up for that Canon D5 digital
SLR camera you really want
(okay, that would be me). Q
PRICE:
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RATING:
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Mac and Windows
Canon USA
800-652-2666
http://consumer.usa.canon.com
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reviews
LensDoc 3
Review by
Dave Huss
Photoshop plug-in to correct lens distortion
PRICE:
FOR:
FROM:
$98 (Upgrade $29.95)

Mac and Windows
Adromeda Software, Inc.
PHONE:
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A universal problem with most

digital photos is lens distortion. Were all familiar with the
problem: Photograph a painting
and the frame edges bow out;
or take a close-up shot of a
person and their facial features
appear larger than normal.
The most common distortion,
known as barrel distortion, is
produced by a digital cameras
wide-angle lens. Andromeda
Software has updated their solution to these lens distortions: a
Photoshop-compatible plug-in
called LensDoc (short for Lens
doctor) that corrects barreling
and pin-cushioning distortions
in photos and also allows you
to make simple perspective and
rotational adjustments.
The latest version of LensDoc offers support for 16-bit

images, which provides the
best possible results for those
photographers who shoot
RAW images, because all distortion corrections require
re-sampling the original
pixels in the image. The other
new feature in version 3, Get
Rectangle, provides a quick
way to rotate and correct the
perspective of rectangularshaped areas on a photo.
This third-generation
plug-in works the same way
as previous versions. After
the lens distortion is corrected,
the pixels in the image look
pretty good for being resampled. Most of the filters
HVC Color Composer Pro
tools can be used in the

Novice mode, which is good
because the Expert mode is
pretty complicated. The user
interface needs an update,
as it looks like something
Id expect from a shareware
product. The Quick Start
guide offers images and a
step-by-step tutorial for fixing images.
Andromeda claims that it
works only with Photoshop
(Mac and Windows) but my
testing showed it also worked
on Photoshop Elements.
Andromeda offers a demo
version but it only lets you
open the dialog and doesnt
allow you see the results
in Photoshop. Q
Review by
Steve Baczewski
Digital color Photoshop plug-in
082
PRICE:
$129.95
FOR:
Mac and Windows
FROM:
Master Colors, LLC
PHONE:
WEB:
RATING:
310-663-2870
www.master-colors.com
XXXXX
Master Colors HVC Color

Composer is a designers dream
toola Photoshop plug-in that
adds a fifth, more instinctive
color space to Adobes existing
Color Picker, based on Hue,
Value, and Chroma. This simple
addition is broad in scope and
develops confidence in understanding, controlling, and generating palettes with harmonious
color combinations. As Ansel
Adams acknowledged that the
Zone System was derived from
a harmonic progression found
in music, HVC Composer creates
a mathematical progression
of colors based on contrast.
The amount of contrast distance between neighboring
color swatches is controlled by
three algorithms that let you

create and save color palettes
for use within Photoshops
swatches window.
After installation, select
HVC as your picker from Photoshops General Preferences.
The HVC interface has the same
layout as the Adobe picker with
the standard color spaces
HSB, RGB, Lab, CMYKplus it
adds three buttons for Hue,
Value, and Chroma. Clicking
on these buttons generates a
specific corresponding color
preview window. Hue displays
the basic colors, Value displays
all colors in the same lightness,
and Chroma displays all colors
in the same intensity. Its a very
natural process based on how
we perceive color. You then

specify the contrast parameters using your target color(s)
as a reference point. There
are three algorithms: Autorange defaults to generating
a color palette with four levels
of contrast; Range lets you
produce a palette of colors
with just one contrast value
between colors; and Proportion is based on two target
colors, where you select a
ratio to create a palette of
colors with the same contrast
ratio from the target colors.
HVC shines at quickly generating combinations of colors
that work well together that
would otherwise be very difficult to create. Q
reviews
imageSynth
Review by
Bruce Bicknell
Create tiling images/textures with this Photoshop plug-in

As animators, architects, graphic
artists, or game developers,
weve all been asked to create
seamless textures, images, or
backgrounds for our projects
not an easy task. Not only do
you have to get the images to
line up evenly, you also have
to ensure that they tile seamlessly. With the Luxology imageSynth plug-in for Photoshop
CS and CS2, you can now quickly
generate seamless textures,
synthetic images, backgrounds,
and even high-resolution
images from low-resolution
sources. This plug-in used to
be available only with their
Modo 3d program (an amazing
3D program), but Luxology
received such rave reviews,

they decided to release it as
a standalone.
The powerful imageSynth
plug-in, based on proprietary
technology licensed from
Allegorithmic SAS, lets designers create high-quality, tiling
images from simple seed images
that are fed into the Photoshop
plug-in. imageSynth quickly
processes images and generates
new unique images that will tile
together seamlessly, making
them ideal for backgrounds,
brushes, or texture maps. You
can manually control how the
resulting image is built up spatially or use automatic options to
generate the final, tiling image.
imageSynth also lets you produce a new single image from

separate image sources.
After reviewing the intuitive
video tutorials, I was up and
running with imageSynth in
no time and Im now creating
seamless textures in one-third
of the time that it used to take.
You cant beat that!
imageSynth works with
Windows and Macintosh
versions of Adobe Photoshop
CS or higher, but here is a rarity:
Once purchased, you can use
the plug-in on both the PC and
the Mac as needed! Overall, this
is one of the best plug-ins to
come along in years for artists
who use Photoshop. N
PRICE:
FOR:
$99
Mac and Windows
FROM:
Luxology LLC
PHONE:
650-378-8506
WEB:
RATING:
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XXXXX
EXPODISC
0ROFESSIONAL$IGITAL7HITE"ALANCE
.EUTRALOR0ORTRAIT
+VU[^HZ[L[PTL_PUNJVSVY
*HW[\YL(JJ\YH[L*VSVY
h0ROS-OREACCURATECOLORBALANCEFORNEXTTONOTHING
#ONS.ONETHATWECOULDCOMEUPWITHv
0$.$ECEMBER$AVID3CHLOSS
h4HEAMOUNTOFTIMETHISSAVESYOUIN0HOTOSHOP
ISSTAGGERINGANDITSSOEASYTOUSE
ITTAKESJUSTSECONDSBUTSAVESHOURS
!NABSOLUTEMUST HAVEv
,AYERS$EC3COTT+ELBY
#OPYRIGHT$-AYNARD
WWWEXPODISCCOM
"EST,ENS&ILTER
%XPO$ISC7HITE"ALANCE&ILTER
reviews
20/20 Color MD 2
Review by
Dave Huss
Color-correcting Photoshop plug-in
PRICE:
FOR:
FROM:
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RATING:
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Mac and Windows
PhotoTune Software
530-432-2365
www.phototune.com
XXXXX
PhotoTunes 20/20 Color MD

version 2 is a wizard-style Photoshop plug-in designed to correct
colors or enhance an image.
Color correction is complicated
and subjective and the whole
purpose of 20/20 Color MD is
to simplify the process. You
look at a series of side-by-side
images, each time clicking on
the one you think looks best.
After you complete this 15-second process, it applies the minimum number of adjustments
necessary to make your image
look like your final choice.
The most important changes
in version 2 are support for
16-bit and RAW images, and that
the total number of steps has

been reduced to a much simpler
six-step wizard.
A unique feature of 20/20 is
that you can work on the entire
image, one layer, or even a selection (in this version, you can now
see the selection in preview). I
was able to increase both detail
and color in shadow areas as
well as correct the colors.
For those who eschew the
wizard approach, advanced
controls allow you to adjust
exposure in half f-stops, and
separately balance color in
highlights and shadows
I was surprised at the saturation control possible with this
new version. Another new

feature is the ability to save
Snapshots of your adjustments
at any point in the process,
because sometimes you attain
the look you want during the
wizard steps and after completing the process, youd like to
return to it. You can also include
20/20 Color MD in a Photoshop
action for batch processing.
Bottom line, its an effective
tool for color correction and
enhancementeven for those
who do studio work (where
lighting is consistent). And
you can batch the color corrections and apply them to
the entire shoot. N
XXXNZQIPUPQJQFDPN
5IF0OMJOF-BC'PS4FSJPVT1IPUPHSBQIFST/BUJPOXJEF
/PXXJUI30&4
reviews
Fisheye-Hemi
Review by
Dave Huss
Hemispheric correction tool for Photoshop
PRICE:
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RATING:
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Windows
Image Trends, Inc.
512-637-7310
www.imagetrendsinc.com
XXXXX
The Fisheye-Hemi is a Photoshop plug-in that provides

automatic correction for lens
distortion produced by a hemispheric fisheye lens. A fisheye
lens provides the advantage of
an expanded view of approximately 180, but theres an
enormous amount of distortion.
In the past, you could either
accept the distortion as part of
the images appearance or render these fisheye images using
rectilinear mapping programs.
Using rectilinear, however, usually makes people at the edge
of the image appear stretched
and badly distorted.
Now, according to Image
Trends, the Fisheye-Hemi

plug-in transforms a fisheye
image to show a more normal
view of people by not distorting
their faces and bodies, [and it]
improves the resolution of the
image, displays the intended
composition and framing, and
straightens vertical lines. This
is a tall statement; after all,
you cant expect to twist all
those fisheye-distorted pixels
into normal ones without some
areas of the image suffering. In
fact, thats just what this plug-in
does and quite wellcheck out
the gallery at their website and
youll see examples of just how
well the Fisheye-Hemi does this.
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But how complicated is

it to get these results? Well,
I downloaded a full-feature
trial demo and installed it in
Photoshop. I then opened an
image and was ready to dive
into the dialog only to discover
that theres no dialog! Just by
selecting the filter, it launches,
and completes the conversion
before youre even aware of
whats happening. (Note: The
trial version puts a watermark
on your image.)
I spent some time digging
up some of my favorite fisheye
photos just to see what it could
and couldnt do, and this Fisheye-Hemi is outstanding! Q
reviews
magicolor 2550 DN
Review by
Daniel M. East
Color laser printer with duplex option

Inkjet printers seem to be
taking over the printing world
for small businesses, and color
lasers still have a reputation
of being priced outside most
peoples budgets. Enter Konica
Minoltas magicolor 2550 DN
color laser printer, which is
priced at less than $500 and
delivers speed and quality
that may make you think twice
about your trusty inkjet.
The magicolor 2550 DN
has a lot to offer, such as print
speeds up to 20 ppm in black/
white and 5 ppm in color with
9600x600 dpi resolution. The
DN model that we tested has
an ample 256-MB, DDR SDRAM
(the EN model has 128-MB

DDR SDRAM), upgradeable
to 640 MB. The DN model has
a duplex option for doublesided printing. The 2550 supports PostScript 3, PCL 6, PDF
1.4 (with optional hard disk),
and has Ethernet, parallel, and
USB connectivity. The PowerPC
300-MHz processor works
with multiple platforms, and
software installation is simple;
however, on the Mac we used,
a restart was required.
When operating, the 2550
is a little noisier than Id prefer.
And if youre accustomed to
having an inkjet printer on
your desk, you may find that
a color laser printer is larger

than youre willing to provide, but network capabilities
allow for remote placement.
In terms of the output,
colors are spot-on and even,
with grainy but smooth gradients and a slightly punchy
contrastas in most color
laser printers. Text is rich in
tone, but not quite as sharp
as some other models in this
class. The real key is that the
magicolor 2550 combines
many of the best features from
a higher-priced model into a
compact, good-quality, color
laser printer that represents
a good value in its class. N
PRICE:
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$499
Mac and Windows
Konica Minolta Printing Solutions USA, Inc.
800-523-2696
www.konicaminolta.com
XXXX
reviews
Snap 2
Review by
Daniel M. East
Interactive image-cutout plug-in
PRICE:
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Mac and Windows
Digital Film Tools
818-761-6577
www.digitalfilmtools.com
XXXXX
You know how it goes: You

need to mask out the subject
of an image and create something that doesnt look as if
the designer altered it. And in
Photoshop, just eyeballing
it isnt giving you the results
you need. There are a few
good masking tools out there
today, but Digital Film Tools
has released version 2 of the
Snap image-cutout tool that
really does isolate your subject from the background and
produces great results.
Once youve installed Snap,
the first challenge is to find
the software, as the launch
command resides under your
Select menu in Photoshop

in the Digital Film Tools
pull-down menu. Once I
remembered that little fact,
I found myself trying out all
kinds of images to see just
how accurate Snap really is
for this selection process.
After indicating the subject
I wanted with the Select
tool, which creates a simple
green line on your image
(red indicates what should
be omitted), my target was
completely selected and
ready to use.
Adding paths and overriding edges arewell, a
snap with simple navigation
on a very clean interface.

There are so many imagemasking tools out there now
that sometimes it becomes
a matter of simply picking
one and running with it.
Its important to try these
products before you buy, to
see for yourself what kind of
results you can achieve. And
like many vendors, Digital Film
Tools offers working demos
of their software.
Snap 2 is easy to use and
produces excellent results that
dont show any significant
visual evidence that youve
used such a product. Its definitely worth a look. N
You Dont Have to be a Professional

to Shoot Like One
Step-by-Step Secrets For How To Make your
Photos Look Like The Pros
Scott Kelby, the man who changed
the digital darkroom forever with
his groundbreaking, #1 best-selling,
award-winning book, The Photoshop
Book for Digital Photographers, now
tackles the most important side of
digital photographyhow to take
pro-quality shots using the same
tricks todays top digital pros use (and
its easier than youd think). This isnt
a book full of confusing jargon and
detailed concepts. This is a book on
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which button to push, which setting to

use, and nearly 200 of the most closely
guarded tricks of the trade to get you
shooting dramatically sharper, more
colorful, more professional-looking
photos with your digital camera. Theres
never been a book like it, and if youre
tired of taking shots that look okay, and
if youre tired of looking in photography
magazines and thinking, Why dont
my shots look like that? then this is the
book for you. Cover Price: $19.99
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books
Get the inside scoop on all the latest Photoshop books
Photoshop Effects for

Portrait Photographers
Understanding Adobe
Photoshop: Digital Imaging
Concepts and Techniques
Photoshop CS2
Accelerated
by Christopher Grey
by Richard Harrington
by B. J. Kang
Youll find a number of interesting techniques in this book, but nothing that you
wont find elsewhere. Combining these
techniques in a slim volume aimed at
portrait photographers is an interesting
idea, but your $30 can buy the same ideas
along with many more in a number of
other, more comprehensive Photoshop
books. The author explains the examples
clearly, but theres just not very much
here. A number of the books images are
available for download from the books
website. If you have trouble opening
them, rename the files and remove the
excessive periods (.) from the filenames.
Whether you stand in front of the classroom or are a classroom of one, check
out this book. Its designed to teach not
only the basics of Photoshop, but also the
underlying theory. When you understand
how things work, youre better prepared
to face real-world situations. To use this
book properly, take advantage of the
video files on the DVD, which develop
the more difficult and complex concepts. And make sure to work through
the hands-on activities and exercises to
realize the potential of this book. Whether
youre a teacher or a student, this book is
well worth consideration.
Taking a Windows-only approach with

some irregularities in translation (Windows users more commonly refer to the
Backspace key rather than Delete, for
example), this is a very basic introduction to Photoshop CS2. Youll find that
the sample images are small and many
(such as the red eye example and the
Save for Web dialog) would benefit from
zooming. There are also some rather
obvious omissions and oversights.
The discussion of paths, for example,
describes all of the available tools but
somehow neglects to tell the reader
how to actually create straight and
curved path segments. Skip this book.
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Focal Press
128 pages
www.focalpress.com
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Peachpit Press
396 pages with DVD
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YoungJin.com
276 pages with CD
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XX
Reviews by Peter Bauer
089
NAPP Photoshop Design Showcase

Where NAPP members get to exhibit their artwork
If youd like to have your work considered

for publication in the Photoshop Design
Showcase, submit samples of your artwork
to fnelson@photoshopuser.com.
Ellie Nigretto
As an experienced collage artist, Ellie says that her fascination with
color and texture made it a natural progression from conventional art
supplies to mastering Photoshop. Shes Manager of Graphic Design at
the National Association of Chain Drug Stores, Alexandria, VA, where
she uses her artistic vision to create illustrations and designs. I love
to use photography, stock or my own, she says, combining them to
create a painting-like effect.
www.takeoutgraphics.com
090
T Brant Shenkarow
Rachel works for a design firm and in her free time, shes
working on a photorealistic childrens book. As a child, I
painted in oils and Ive always loved everything to do with
computers and art, she says. Photoshop has been my
passion since I was 15 years old. Self-taught in Photoshop,
Illustrator, InDesign, Painter, Cinema 3d, and Digital Photography, shes also learning Dreamweaver and Flash.
A California native, Brant received his MFA in Studio Arts

from UCLA in 1974. I started scuba diving to find inspiration for my paintings in a world few people are privileged to
experience, he says. I borrowed a point-and-shoot camera
housed in plastic and took it on a dive and since then, I
wouldnt think to dive without a cameraand my laptop is
an extension of my dive gear.
rachelrothgraphics@gmail.com
brantravels@yahoo.com
S Rachel Roth
091
Photoshop Q & A
Answers to some of the most commonly asked Photoshop questions
N BY MAT T KLOSKOWSK I
Q. I hear a lot about the Curves adjustment. Is this used to correct

the lightness/darkness of my photos or is it used to correct color?
A. Well, you can actually use it for both. In fact, you can also use
Curves to add contrast to flat photos.
The Curves adjustment (Image>Adjustments>Curves) can
be used to correct the tonal range of your photos, which means
that Curves is a great tool for adjusting the exposure of an
image. You can make an image lighter if its too darkor vice
versaand, using Curves, you can also increase or decrease the
contrast in an image. All of these tend to be tonal fixes.
In addition, the Curves adjustment can be used to correct

color. Theres a Channel menu at the top of the Curves dialog that
lets you target individual color channels, which means that you
can target specific color changes to your images here. Also notice
the three eyedroppers at the bottom right of the dialog. These can
be used to neutralize color casts and essentially make the color in
your photos look much better.
092
After using Curves
So, if youre confused about what the Curves adjustment is and

what its used for, youre not alone. Curves is really one of the most
powerful adjustments in Photoshop because it can indeed fix the
exposure, contrast, and color in your photos all in one place.
Q. I get an error message whenever I try to open a photo that was

shot in RAW? What is it and how do I fix it?
A. This error probably means that you dont have the latest
Adobe Camera Raw update on your machine and, therefore, your
cameras RAW files arent supported in your current version of
Camera Raw. What you should know is that whenever camera
manufacturers come out with a new model, RAW files tend to
change ever so slightly. Adobe then incorporates those changes,
tests, and then publicly releases a new
version of Camera
Raw so that you can
open those RAW files
in Photoshop.
To fix this, go to Adobes Digital Camera Raw File Support
website at www.adobe.com/products/photoshop/cameraraw
.html and download the latest version of Camera Raw. You can
also check to see if your camera is supported.
Q. How do I create my own gradient?
A. Our thanks to Dave Crosss The Photoshop CS2 Help Desk Book
(the ultimate resource for Photoshop Q&As) for this one. With
the Gradient tool (G) selected, go to the Options Bar and click
on the current gradient shown in the thumbnail. This opens the
Gradient Editor. Click on one of the basic gradients at the top of
the dialog. To change the start and end colors, double-click on a
color stop below the gradient bar and then choose a color in the
resulting Color Picker. Add more color stops by clicking below
the gradient bar. Copy existing
stops by pressing Option (PC:
Alt) and dragging a color stop
to a new position. (You can
also vary the Opacity setting at
different parts of the gradient
by clicking above the gradient
bar to add opacity stops.) Once
youre done, give your gradient
a name and click New, and the
gradient youve just created will
be added to the Gradient Picker.
Q. What is Adobe Photoshop Lightroom and will it
replace Photoshop?
A. Lightroom (actually it was recently renamed Photoshop Lightroom) is a new product from Adobe thats geared specifically to
professional digital photographers. Unlike Photoshop, which has
continued on p. 94
The Best Photoshop Training Just Got Better!
Announcing the addition of NAPP

Hall of Famer and best-selling author
Deke McClelland to the lynda.com
training roster.
More than 60 hours of master-level training, including:

Photoshop CS2 Actions and Automation
Photoshop CS2 Mastering Camera Raw
Photoshop CS2 Channels & Masks
Free lynda.com Online Training Library one-week access:

www.lynda.com/deke
Q. When I use the Liquify filter on a large image, my computer

becomes very slow. Is there a way to speed up the process?
A. Sure, but first you need to make a smaller, scaled-down version
of your image. Duplicate your image (Image>Duplicate). Then
resize the image down (Image>Image Size) significantly, while
leaving it large enough to be able to work in Liquify mode. Now,
open the Liquify filter (Filter>Liquify) and make the necessary
changes on the smaller image. Dont click OK yet. When youre
done, press the Save Mesh button at the top right of the dialog,
assign your mesh a meaningful name, and Save it (remember
where you save it).
ISTOCKPHOTO/SANDY JONES
a huge appeal for all different kinds of audiences, Lightroom has a

specific audience with a specific purpose: Its an application for professional photographers to manage, sort, rank, and search through
their library. Its also where all image processing (for example; exposure, color correction, and tonal changes) will take place.
It could possibly replace the need for Adobe Camera Raw in
Photoshop but it definitely wont replace Photoshop. Think of all
the things that you do to an image in Photoshop after you process
a photo in Camera Raw; youll still need to do those things in
Photoshop even if youre using Lightroom. In short, Lightroom is
an excellent workflow tool for digital photographers: It manages
your entire library and gives you access to the one thing you need
the most as a photographeryour photos.
094
Q. Then will Photoshop Lightroom replace Adobe Bridge?

A. If you only use Bridge to look at your photos, Lightroom may
well replace Bridge. What you need to remember is that there are
thousands of designers out there who use Photoshop and Bridge
as well. Designers will typically use Bridge not only to see PSDs
and JPEGs, but also Illustrator (AI) files, InDesign files, PDFs, and
videos. In addition, you can launch Microsoft Word files as well
as many other types of applications from Bridge. For those folks,
Bridge will still be a major part of their daily workflow. When it
comes to storing, searching, sorting, and general management of
your photos though, Lightroom will be the place to do it.
Left to right, file types are: JPEG, AVI, and PDF (top row); AI and PSD (bottom)
Q. Can I use the warp features in Photoshop to resize an image or

do I have to switch to another tool to do it?
A. Thats a great question. I cant think of a time when I used the
Warp feature and didnt need to tweak the image size at the same
time. You can indeed resize while in Warp mode, but theres a notso-obvious trick to it.
First, open an image that youd like to warp. Then go to the
Edit menu and choose Transform>Warp. Youll see an icon at the
right side of the Options BarSwitch between Free Transform
and Warp Modes. So, if
youre warping an image
and realize that you need to
resize, rotate, skew, or otherwise
transform it, just click this icon to
switch to Free Transform mode.
When youre done, click it again
to switch back to Warp mode.
Whatever warping youve done to
that point will be displayed again
and youre ready to continue. N
If you have a Photoshop question youd like to see published
in this column, please send it to letters@photoshopuser.com.
If, however, youd like your question answered immediately,
go to the Help Desk at www.photoshopuser.com.
ALL IMAGES BY MATT KLOSKOWSKI, EXCEPT AS NOTED
ISTOCKPHOTO/MAX DELSON
Now click the Cancel button to exit Liquify. Click on your fullsize image to make it active, open the Liquify filter, and choose
Load Mesh. Find the MSH file that you just saved and click OK.
For Mac OSX and Windows
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Photoshop Quick Tips

Some quick tips to make your Photoshop life easier
QBY SH ERRY LONDON
Cloning can get tedious

If you need to clone an area of an image
to make a mostly solid-colored area,
you can speed up the process. Make
your selection then add a new blank
layer (click on the Create a New Layer
icon at the bottom of the Layers palette) then click on the Create New Fill
Layer icon and choose Solid Color to fill
the selection with your color. The problem is that the solid area has no texture
at all and will look very oddon either
a photo or on an illustration.
When I had to do a lot of this type
of correction on scanned watercolor
images lately, I found that if you add
another new layer and use the Healing
Brush tool (not the Spot Healing Brush
tool), you can target the texture of
the area from which you would have
cloned and just add the texture to the
solid coat of paint. This picks up a clear
texture that blends well.
To have used the Clone Stamp tool for
the entire area, youd have to have used
a hard brush to get the sharp texture
but the hard brush also leaves definite
brush marks and doesnt blend well. A
soft brush blends well but doesnt get
you sharp texture. This method seems
to be the best of both worlds.
An easy duotone
You can easily create a duotone image
in process or RGB colors by adding a
photo to the layer mask of the top layer
of two solid color layers. If the top layer is
with an ACT extension, it can be

loaded into the Swatches palette.
Note: On a PC, pull down the
File>Type menu to reveal the ACT
option as it defaults to only ACO,
which is the Swatches extension.
darker, your duotone will look like a positive image, and if the top layer is lighter,
the image will look like a negative.
Open your image, then go to the
Channels palette (Window>Channels),
and Command-click (PC: Control-click)
on the RGB composite channel to load
your original image as a selection. Go
under the Select menu and choose Save
Selection and name it alpha. Press
Command-D (PC: Control-D) to deselect.
Go back to the Layers palette and
choose a dark tone for your Foreground
color (we used the Eyedropper to click
on the darkest part of the flower). Now
click on the Create New Adjustment
Layer icon at the bottom of the Layers
palette and choose Solid Color. Repeat
this with a lighter color to make another
Solid Fill layer. Then click on the top
layers mask thumbnail, go under the
Image menu, and choose Apply Image.
In the dialog, choose your alpha channel to put it into the layer mask.
Then choose Image>Adjustments
and select Levels, Curves, or even
Shadow/Highlight on the layer mask
to adjust the contrast.
Turn an image into a Swatch
Just choose Image>Mode>Indexed
Color to turn any image into a
Swatch, then save the Color Table
(Image>Mode>Color Table). Finally,
in the Swatches palette (Window>
Swatches), click on the right-facing
arrow and choose Load Swatches.
Even though the Color Table is saved
Use selected colors in Illustrator

Youve selected colors from within
Photoshop and want to save them to be
used in an Illustrator palette. Heres how:
Choose Edit>Preset Manager>Swatches.
Command-click (PC: Control-click)
on the specific swatches you want to
export, then choose Save Swatches for
Exchange on the pop-out menu (upperright of the dialog).
QUICK KEYSTROKES
Here are a few shortcuts for
using Guides:
1. Option- (PC: Alt-) click on the Ruler
to change a Guides direction from
horizontal to vertical, or vice versa.
2. Double-click the Ruler bar to change
the units of measure.
3. Drag the blank area between the
horizontal and vertical ruler at the
top left of the image to change the
zero point on the ruler.
4. Use Command-; (PC: Control-;) to
hide or show your guides.
5. Use Command-Option-; (PC: Control-Alt-;) to lock your guides. Q
096
ALL IMAGES BY SHERRY LONDON
photoshop
January/February 2007
I N D E X
O F
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A D V E R T I S E R S
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Photoshop Beginners Tips

Some quick tips to get you started in Photoshop
NBY COLIN S MI TH
When the Unexpected Comes Along

In this issue, well cover some tips that will
help you when things dont happen the
way you expect, and youll be happy to
know its not just you!
Colors in space
Have you ever noticed that sometimes the
colors dont match when you output an
image for the Web using Save for Web?
All of a sudden all of your colors start to
look washed out. The reason? Its because
Save for Web uses a different color space
than youre using (or should be using) for
photos (Adobe RGB).
Go under the Edit menu and choose
Convert to Profile and under Destination
Space, choose sRGB. Now adjust the image
until it looks correct and Save for Web. Make
a copy of this image for future Web work.
114
Local adjustment
Sometimes you
may apply an
adjustment layer
and you only want
it to affect one
layer but it affects
all the layers under
the adjustment.
Heres a two-step
tip to limit the
adjustment layers
scope. Click on the
Create a New Group icon at the bottom of
the Layers palette, then drag your layer
into the Group, and apply the adjustment.
Youll notice that the adjustment still
affects all of the layers. To fix it, just click
on the Group layer and change its blend
mode from Pass Through to Normal.
Swap the selection
Youve made a selection of a shape; however, what you want is to select everything
thats unselected, and deselect everything
thats currently selectedswitch the
selection. This can be done easily: just
choose Select>Inverse or use the shortcut,
Command-Shift-I (PC: Control-Shift-I).
When good grids go bad

Several folks tell me that they have trouble
getting good perpendicular grids when
using Vanishing Point, and that the perspective is off at times. This may be especially
true if youve used a wide-angle lens. Dont
forget to fix that barreling first! Go under
the Filter menu and choose Distort>Lens
Correction. In the dialog that appears, drag
the Remove Distortion slider until it looks
correct, and click OK. Now your image is
ready for accurate results in Vanishing Point.
Not so
warm fuzzies
Have you ever
noticed that some pictures look blurry
at first and then when you take a closer
look, you realize that theres actually a
colored outline around everything? This
is known as chromatic aberration where

the colors have shiftedactually a single
color channel is out of sync. Youll see this
often on phone cameras and some pointand-shoot cameras.
If youve ever worked with RAW images,
you may have noticed the Chromatic Aberration adjustment in the Adobe Camera
Raw dialog. Good news! In Photoshop CS2,
the adjustment is also located in the Lens
Correction filter dialog (Filter>Distort>Lens
Correction). Simply drag the slider for the
offending colors, click OK, and now you
have a perfect-looking image.
A slanted oval selection
Do you experience difficulty when using
the Elliptical Marquee tool? Is it a challenge
to get perfect circular selections in exactly
the right place? Worry no more: Theres
a useful, hidden command ready to help
you. Begin making the selection and then
choose Select>Transform Selection. Now
youll see adjustment handles just like on
a layer. Reshape your selection using the
handles and then press Return/Enter to
apply the transformation to your selection. Q
Colin Smith, an award-winning designer, lecturer, and writer, has authored or co-authored
several books on Photoshop, and hes also the
founder of PhotoshopCAFE.com.
ALL IMAGES BY COLIN SMITH

Photoshop User - 0701Jan-Feb

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Contents

Down & Dirty Tricks

Photoshop Speed Clinic

The Fine Art of Printing

Photoshop for Educators

ADIM X Set to Sail

Digital Workshop on the Road

Creative Point of View

Digital Camera Workshop

From the Editor

NAPP Member News

From the Help Desk

When you need to remove large objects from an image,

Photoshop Book Reviews

Photoshop Design Showcase

Mastering Photoshop with Video

The WOW! Factor

As scary as it may be for video professionals, working

Digital Photographers Notebook

Classic Photoshop Effects

Photoshop Quick Tips

About Photoshop User Magazine

To add richness and soften distractions in an image,

Photoshop Beginners Tips

HP Photosmart Pro B9180

HVC Color Composer Pro

NAPP Membership Benefits:

Advice Desk to get straight,

Vendor discounts on hardware,

Bookstore of latest educational

NAPP Perks for complimentary images,

National schedule of Adobe

Help Desk to get your Photoshop

NAPP Gallery for creating

Registration discount to Photoshop World Conference & Expothe annual

From the Editor

Where Does Lightroom Fit In?

Its just about

Q. Does Lightroom replace Photoshop?

is Photoshop Users first regular

Sherry London is author of Photoshop CS2

Colin Smith, an award-winning designer, lecturer,

Gone Wild and has written a number of other books on

is a freelance writer, professional

Jim DiVitale is an Atlanta-based photographer and

Katrin Eismann, author of Photoshop Restoration

instructor specializing in digital photography. His clients

& Retouching and Photoshop Masking & Compositing, is

Jan Kabili, a best-selling Photoshop author and trainer,

Ben Willmore is author of Up to Speed: Photoshop

has written several books on Photoshop, ImageReady, and

CS2 and Photoshop CS Studio Techniques. Currently,

Dave Huss, with more than 25 years experience as a

Glen Stephens, developer of the Tools for Television,

photographer, has authored more than 18 books on digital

Photoshop Toolbox (www.toolsfortelevision.com), has more

is the Director of the NAPP Help Desk

Ph.D., a nationally known electronic publishing

John Paul Caponigro

Kevin Ames is a commercial digital photographer,

Daniel East is an author, freelance writer, presenter/

lecturer, photographer, and writer, has

trainer, and consultant with more than 20 years experience in

author, and educator. His books include Photoshop CS2: The

*4#/ QBHFT 64 $"/

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