September 2016

T H E A D O B E P H O T O S H O P H O W -T 0 M A G A Z I N E S E P T E M B E R 2 0 1 6
DYNAMIC A close-up look at the

many tools in Photoshop for
PHOTOGRAPHY Learn how to re-create the
mood and atmosphere from
RANGE removing distracting objects SECRETS classic pin-up photographs
THE OFFICIAL PUBLICATION OF
lightroom vs.
capture one pro
Some reviewers claim
that Capture One Pro
checkmates Lightroom
when it comes to
rendering RAW files.
But is that true?
We take an in-depth
look at both programs
to reveal the truth.
Visit our website at kelbyone.com

COMING TO A CITY NEAR YOU
Minneapolis, MN | Milwaukee, WI | Las Vegas, NV
09/21/16 09/23/16 11/16/16
For more information visit kelbyonelive.com

Kevin Newsome
TABLE OF CONTENTS September 2016
FEATURE
Adobe Lightroom and
64 Capture One Close-Up
There are some who claim that Capture One
Pro by Phase One renders a sharper and
Chess Pieces: Adobe Stock/JcJg Photography; Guitar Player: Martin Evening
better image than Adobe Photoshop Light-

room CC, but is that really the case? Martin
Evening takes an up-close look at both RAW-
processing applications and shows how the
two programs are actually more similar than
you might think.
Martin Evening
Departments How-To
From the Editor
006 024 DOWN & DIRTY TRICKS
Suicide Squad Text Effect
Contributing Writers
009 034 DOWN & DIRTY TRICKS
Use Face-Aware Liquify to Create a Caricature
About Photoshop User Magazine

010 040 BEGINNERS WORKSHOP
Taming Whiskers with the Dust & Scratches Filter
KelbyOne Community
012 052 PHOTOSHOP PROVING GROUND
Text Control for Graphic Effects
Exposed: Industry News

016 056 PHOTOSHOP TIPS
Boost Your Productivity and Creativity
Photoshop World Guru Awards

018 058 DESIGN MAKEOVER
Brand Development
Photoshop User Quiz

113 062 INDESIGN TIPS
Advance and Enhance Your InDesign Skills
From the Advice Desk

116 074 PHOTOGRAPHY SECRETS
Pin-Up Perfection
DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it means All lighting diagrams courtesy of Sylights
there are either downloadable practice files or additional content
for KelbyOne members at http://kelbyone.com/magazine. Click this symbol below to access the Table of Contents.
KELBYONE.COM
Lightroom Magazine
0 85 LIGHTROOM WORKSHOP
Creating 32-Bit HDR Images in Lightroom
0 91 UNDER THE LOUPE

Understanding the Role of the Folders Panel
096 MAXIMUM WORKFLOW

LandscapePro
1 04 LIGHTROOM Q&A
Sean McCormack
106 LIGHTROOM TIPS & TRICKS
Dealing with
DYNAMIC
RANGE 44 Distracting Objects
Distracting objects can have a huge impact on an
otherwise great image. There are many psycho-
logical explanations as to why viewers are drawn
to those objects in images, but this is a Photoshop
magazine, so well focus on removing those objects
instead. From the Clone Stamp and Healing tools to
the Camera Raw filter, there are many ways to make
unwanted distractions disappear.
Mark Heaps
Mark Heaps
Reviews
108

Tamron SP 85mm F/1.8 Di VC USD Lens
109 Mola Solla 28" Reflector

CalDigit T4
110 Extensis Suitcase Fusion 7

Atomos Shogun Flame
111 DxO OpticsPro 11 Elite

Hasselblad X1D
112
Photoshop Book Reviews
A FEW WORDS FROM SCOTT KELBY
From the Editor

lightroom vs. capture one
We had an amazing Photoshop World Conference out these to you (and a big high-five to our managing editor,
in Vegas, but theres a lot going on with Photoshop User, Chris Main, who did a ton of work to make these available
so lets start with what I think is an important cover story for our members).
from fashion photographer, author, and well-known As I mentioned earlier, Photoshop World in Vegas totally
Photoshop and Lightroom expert, Martin Evening. His rocked (see page 12 for some highlights), but I want to talk
article (which is almost an expos of sorts) shows how about how were bringing the next show back to the East
the initial look of your imported RAW images has every- Coast for the first time in three years. Thats right! Were
thing to do with how you set your defaults in whichever back at the Orange County Convention Center in Orlando
program you use to process your RAW files. With that next April (mark your calendars now for April 2022, 2017).
backdrop, Martin pulls back the curtain on Lightroom Were planning the biggest and best conference yet! We
competitor, Capture One Pro from Phase One, which fans have the entire South Concourse of the convention center
(and some reviewers) claim does a better job of rendering every meeting room from end to endand were fill-
RAW images. He shows how you can achieve that same ing it with the most amazing classes taught by the best
look in Lightroom by simply changing your default settings. teachers in the world. Keep an eye on photoshopworld
Its very eye-opening to say the least, and something a .com because well be opening registration soon! (The con-
lot of folks in this industry need to read. nected Hyatt Regency Orlando will be our host hotel, so be
This is going to sound like a little thing, but its actu- sure to book your room when you register so you can stay
ally a big thing to help with the readability of the mag. in the same hotel as us.)
Starting last issue, we increased the point size by a full Finally, I just announced my 9th Annual Worldwide
point, taking it from 8.5 to 9.5. If you print the mag, the Photo Walk (sponsored by the great folks at Canon), and
type might seem a tad big (well, compared to the old youre invited to join us Saturday, October 1, in photo
size anyway), but it makes it much easier to read online walks organized in more than 1,000 cities around the
and even more so on mobile devices. Let us know what world. Its a social photography phenomenon and the
you think. worlds largest event of its kind, and I hope youll come
Another thing were all pretty excited about is that spend the day with us. Join a walk near you and have a ton
weve made more back issues of Photoshop User mag- of fun (and maybe win some prizes in the optional photo
azine (all the way back to the January issue of 2014) competition). You can sign up for a walk and find out all
available for free to members online. Theres a ton of great the details over at worldwidephotowalk.com.
info in these back issues (but I guess I dont have to tell you Theres a lot more here in the mag, and lots of great
that, right?), and theyre still relevant to users of Photo things cooking for members at KelbyOne. (Have you
shop CS6 or CC, as well as Lightroom 6 or CC. Another noticed all the cool Photoshop and Lightroom classes
big benefit of these back issues is that they use the new coming out lately?) Hope you caught my 7 Photoshop
reader, so iPad and iPhone users can access all of them Techniques Every Lightroom User Needs to Know class,
directly from the KelbyOne member site since they dont along with all the live private Members-Only Webcasts
p h ot o s h o p u s e r s e p t e m b e r 2 0 1 6
use Flash (or, if you prefer, you can download the PDFs weve been hosting just for you guys. Its a great time to
and read them offline). You can find these back issues by be a KelbyOne member, and were really glad youre here
clicking on Magazines in the left sidebar on the member with us. Your support, goodwill, and enthusiasm mean a
site dashboard. Were very happy to be able to bring lot to us.
All my best,
Scott Kelby
KelbyOne President & CEO
006 Editor & Publisher, Photoshop User
The official publication of KelbyOne
SEPTEMBER 2016 Volume 19 Number 7
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
Contributing Writers
Steve Baczewski Corey Barker Peter Bauer Larry Becker
Tom Bol Dave Clayton Michael Corsentino David Creamer
Sen Duggan Martin Evening Mark Heaps Sean McCormack
Kirk Nelson Colin Smith Lesa Snider Rob Sylvan Scott Valentine
Erik Vlietinck Jake Widman
GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Graphic Designer
MARKETING:
Kleber Stephenson Melissa White
WEB:
Adam Frick Brandon Nourse Yojance Rabelo Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152
HOW TO CONTACT KELBYONE:

U.S. Mail: 118 Douglas Road East Oldsmar, FL 34677-2922
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Letters to the Editor: letters@photoshopuser.com
Letters to the Lightroom Editor: lightroom@photoshopuser.com
Advice Desk: http://kelbyone.com/my-account/helpdesk
COLOPHON:
Photoshop User was produced using Adobe Photoshop CC 2015.5 and
Adobe InDesign CC 2015. Roboto was used for headlines and subheads.
Frutiger LT Std for text.
This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.
All contents COPYRIGHT 2016 KelbyOne, LLC. All rights reserved. Any use of the
contents of this publication without the written permission of the publisher is strictly
prohibited. Photoshop User is an independent journal, not affiliated in any way with
Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom,
and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in
the United States and/or other countries. All other trademarks mentioned belong to
| fuel for creativity their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 2470-7031 (online)
PHOTOSHOPS MOST WANTED
Contributing
Writers
STEVE BACZEWSKI
is a freelance writer, professional photographer, graphic designer, and MARK HEAPS
consultant. He also teaches classes in traditional and digital fine arts photography. is creator of Reactive Exposure for Lightroom, an Adobe Community Professional, Adobe MAX
His company, Sore Tooth Productions, is based in Albany, California Master instructor, author, photographer, Executive Creative Director, and most importantly,
husband and father. Based in Austin, he rides motorcycles and obsesses about food and culture.
COREY BARKER
is an award-winning designer and illustrator. A featured instructor at the Photoshop SEAN McCORMACK
World Conference and an Adobe MAX Master Instructor, he has produced numerous is the author of Essential Development: 20 Great Techniques for Lightroom 5.
training titles for KelbyOne. Look for his new book Photoshop Tricks for Designers. Based in Galway, Ireland, he shoots subjects from musicians, models, and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com.
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select KIRK NELSON
group of corporate clients. His latest book is Photoshop CC for Dummies. He was is a professional graphics artist in the Washington, D.C., area. He has a B.A. from George Mason
inducted into the Photoshop Hall of Fame in 2010. University and is an Adobe Certified Expert in Photoshop. Kirks career has touched on a broad
range of subjects in the design field from logo design to animation. He can be reached here.
LARRY BECKER
is an author, trainer, speaker, and tech aficionado. He is the founder and lead trainer at COLIN SMITH
LarryBecker.tv, where they teach small businesses and entrepreneurs how to create their is an award-winning digital artist, photographer, and lecturer who has authored
own professional-looking videos in-house without hiring a video production team. 18 books and has created a series of training videos. Colin is also the founder of
the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
TOM BOL
is an editorial and commercial photographer specializing in adventure sports, LESA SNIDER
portraits, and outdoor lifestyle photography. His images and stories are used is the author of Adobe Lightroom CC and Photoshop CC for Photographers: Classroom in a
worldwide. You can see more of his work at www.tombolphoto.com. Book (2016), Photoshop CC: The Missing Manual, several eBooks, and more than 40 video
courses. She also writes a weekly column for Macworld. For more info, visit PhotoLesa.com.
DAVE CLAYTON
is a KelbyOne instructor, designer, and creative specialist with more than 30 years of ROB SYLVAN
experience. He specializes in creating branding projects and logos and has been pub- is the Lightroom Advice Desk Specialist for KelbyOne, on staff at the Digital Photo
lished by Peachpit and KelbyOne. Hes also an Adobe Influencer and ACA in InDesign. Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom SCOTT VALENTINE
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker is an Adobe Community Professional and Photoshop author. His latest book
and international workshop leader. Learn more at www.michaelcorsentino.com. is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
DAVID CREAMER
is the owner of IDEAS Training (www.ideastraining.com), teaching everything from ERIK VLIETINCK
Photoshop to FileMaker. He has more then 30 years of publishing experience, founded IT Enquirer in 1999. A J.D. by education, Erik has been a freelance
18 years of Web experience, and 12 years of video experience. technology editor for more than 20 years. He has written for Macworld, Computer
Arts, Windows NT Magazine, and many others.
SEN DUGGAN
is the co-author of Photoshop Masking & Compositing, Real World Digital JAKE WIDMAN
Photography, and The Creative Digital Darkroom. He leads workshops on digital is a writer and editor who lives in San Francisco. Hes been covering the intersection
photography, Photoshop, and Lightroom. Learn more at SeanDuggan.com. of computers and graphic design for about 25 years nowsince back when it was
k e l b yo n e . c o m
called desktop publishing and Photoshop was just a piece of scanning software.
MARTIN EVENING
is a photographer with a background in commercial studio photography.
Hes also an experienced technical reviewer, who has over the last two
decades authored 25 books on Photoshop and Lightroom.
009
ABOUT PHOTOSHOP USER
Photoshop User
Magazine
Photoshop User magazine is the official publication of
KelbyOne. As a KelbyOne member, you automatically
receive Photoshop User ten times a year. Each issue
features in-depth Photoshop, Lightroom, and photo
Image: Adobe Stock/JcJg Photography

graphy tutorials written by the most talented designers,
photographers, and leading authors in the industry.
About KelbyOne
KELBYONE MEMBER DISCOUNTS
is the worlds leading resource for Adobe Photoshop, Lightroom, Save anywhere from 23 times your membership cost by using
and photography training, news, and education. Founded in 1998 as our many industry-related discounts.
the National Association of Photoshop Professionals (NAPP), KelbyOne
has evolved from NAPP and KelbyTraining to create a singular hub for
creative people to learn, grow, and inspire. From photographers to graphic
designers, beginners to professionals, KelbyOne is open to everyone. TECH SUPPORT
Fast, friendly Photoshop, Lightroom, and photo gear help; equipment
Theres no faster, easier, and more affordable way to get really good at advice; and more from certified experts at the KelbyOne Advice Desk.
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MEMBER COMMUNITY
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Member Benefits other a hand. Together, we have built the friendliest, most knowledgeable
Photoshop and photography community on the Web.
PHOTOSHOP USER MAGAZINE

Ten issues of the best Photoshop and Lightroom tutorial-based NEWS & REVIEWS
magazine in the industry. Unbiased coverage on the latest equipment, plug-ins, and programs
in the marketplace.
MEMBERS-ONLY WEBSITE
Our extensive website features time- and money-saving content.
MONTHLY E-NEWSLETTER
ONLINE CLASSES & EDUCATION The KelbyOne Newsletter is your monthly connection to everything
Thousands of Photoshop, Lightroom, and photography tutorials, KelbyOne. Its produced exclusively for members to keep you informed
full online classes, and quick-tip videos. of everything new in the industry and at KelbyOne headquarters.
010 FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 MondayFriday, 9:00 a.m. to 5:30 p.m. EST.
KelbyOne Community
Inspiration, information, and member musings to fuel your creative think tank
By Chris Main and Dave Clayton
Photoshop World Conference

2016 Is in the Books
If you missed Photoshop World Conference 2016 in Las
Vegas this past July, then you missed out on a ton of edu-
cation and fun. We had an absolute blast this year. Dont
believe us? Check out the recap video below and see for
yourself. From the pre-conference workshops; to the key-
note; to all the classes on Photoshop, photography, design,
and mobile apps; to the Partner Pavilion; to the parties and
Midnight Madness; to the Conference Wrap-Up and Guru
Awards, there was just no time for sleep.
More Photoshop User

Back Issues Now Online
KelbyOne members have been asking
for access to more back issues of Photoshop User, their all-
time favorite Photoshop and Lightroom magazine. (Well,
at least its our all-time favorite Photoshop and Lightroom
magazine.) Were happy to announce that members can The people who come to Photoshop World are creative
now access issues all the way back to January 2014. Previ- and passionate artists and photographers. Just check out
ously, we only had the last 12 issues online. Now were this years Guru winners starting on page 18. We also had a
up to 27 issues. To make it even better, those issues will lot of amazing instructors this year. We know that because
always remain onlinethe oldest issue wont disappear we kept hearing it from the attendees, who seemed to love
when we add the latest issue. That means the Photoshop every minute of the show.
User archive will continue to grow and grow. To make it Photoshop World is a time to step away from the grind
even sweeter, all the back issues have been converted to of everyday life and recharge your batteries with lots of new
the new magazine reader so you can access all of your techniques, friends, and connections. If you were at Photo-
favorite issues directly from the KelbyOne website on any shop World, you know exactly what we mean. If youve
device, including iPhones and iPads. And if you need to never been to the show, then consider joining us in Orlando
read it offline, just download the PDF and take it with April 2022, 2017. You wont be sorry. And as a KelbyOne
you. Visit the magazine page today to start reading. member you always get a great discount on the Conference.
p h ot o s h o p u s e r s e p t e m b e r 2 0 16
Get Ready for Scott Kelbys

Worldwide Photo Walk
On October 1, 2016, thousands of people will gather in hun-
dreds of cities around the world for Scott Kelbys 9th Annual
Worldwide Photo Walk. This is an amazing event where like-
minded people will spend the day together shooting, making
new friends, and learning from each other. Not only that, the
photo walk supports a great cause, Springs of Hope Kenya.
So visit worldwidephotowalk.com today to sign up for a
walk, or register to lead your own walk. And dont forget
012 about the photo contestyou could win lots of great prizes.
KelbyOne ARTIST SPOTLIGHT >> Sue Byrne
MEMBER SINCE 2014
KelbyOne ARTIST SPOTLIGHT >> Francesca Hughes

MEMBER SINCE 2014
KelbyOne ARTIST SPOTLIGHT >> KelbyOne ARTIST SPOTLIGHT >>
Philip Decker > MEMBER SINCE 2014 Dave DeBaeremaeker > MEMBER SINCE 2016
KelbyOne ARTIST SPOTLIGHT >> Mike Busch

MEMBER SINCE 2013
KelbyOne Community
Whos Who
in the KelbyOne Community
Jocelyn Petruccio was this years Best of Show Guru winner
at the Photoshop World Conference 2016 in Las Vegas
back in July. (You can see her winning image on page 18.)
Dave Clayton spent a few minutes with Jocelyn at the show
Jocelyn Petruccio
to learn more about what drives her creatively when it comes
to her photography and digital retouching.
First, congratulations on your Guru award. Was this ing photography program they had. I took a slower pace,
your first Photoshop World? but eventually graduated cum laude. Halfway through my
Thanks! And yes, it was my first, but hopefully not my last. schooling, I got the opportunity for my first retouching job
There were so many classes offered with knowledgeable and ended up working full-time at a big commercial studio
instructors. The workbook is filled with so much useful while finishing my degree. After two and a half years at
information, and learning with so many other working pro- that studio, I left to go freelance. Ive now been a working
fessionals and creatives was really fun. professional in Cleveland for eight and a half years.
How did you come up with your Guru-winning idea? Whats the favorite part of your creative journey?
Ive known of the Guru Awards for a few years from col- I love that Ive been able to work with so many different
leagues who have attended and submitted in the past. photographers, doing all different kinds of commercial
I decided to take a shot at it and brought the idea up to work, while being able to shoot my own jobs. I still enjoy
a studio I do freelance retouching work for, BurkleHagen shooting bands, but now its more promotional rather than
Photography in Cleveland, Ohio. The owners, David and live. I also like to shoot artsy/fashion conceptsanything
Andrew, decided this was a great idea. Theyre exclusively a moody and creative. Being a professional retoucher helps
food photography studio, so we wanted to use food as our me take the images I shoot and push them even further.
subject. We asked Lauren Parsells, another freelance photo-
grapher at the studio, to see if she would be interested in Is there anything youve yet to attempt in photo-
photographing it, and she jumped at the chance. graphy that youve been inspired to consider?
We discussed the idea of doing an image that looked I want to push myself with lighting moretake more
like it had been cut in half; it hit all of us instantlytake chances, and create more drama and interest, challeng-
soup ingredients and make them look like coral in the ing the post end of it to create really memorable pieces.
ocean. Many Asian ingredients would be perfect to portray I was extremely inspired during Photoshop World on how
our vision. We shared our concept with a local food stylist, to achieve a new portfolio Ive been thinking about doing.
Melissa McClelland, who loved the idea. With her knowl-
edge of ingredients and food, we knew shed be able to What do you love about being a KelbyOne member?
come up with the best ingredients to achieve our vision. Its about a community. Its one thing to search online when
From there, it was a full day of shooting the individual youre in a rut or cant find a solution to a problem, but
pieces, and then compiling by me until it was just right. KelbyOne offers so much more. Their classes are an abso-
lute must for working professionals. Its important to keep
How did you get started in photography? learning, rather than finding yourself in the same routine.
I began photographing my friends in high school bands with
disposable cameras. Later on, my sister gave me an old Pen- Which KelbyOne instructors have inspired you?
k e l byo n e . c o m
tax and I continued to shoot bands. After passing up college I found myself very inspired by Glyn Dewis and Lindsay
for three years, I was finding myself in a rut, and my sister Adler when I attended Photoshop World. With Lindsays
gave me some advice that changed my focus: You love to lighting/style, and Glyns inspiring retouching ideas, com-
shoot; you do it all the time. Why dont you go to school for bining these techniques is my new goal. I attended Photo-
it? I registered immediately for classes at Cuyahoga Com- shop World on a bit of a creative roadblock but left feeling
munity College because I had heard about what an amaz- amazed and ready to get to work! 015
CLICK TO RATE
Exp sed: Industry News
The latest news about photography gear, software, and services
By Chris Main
Nikon Announces New Topaz Releases

Lenses and Entry-Level DSLR Glow 2
At the end of July, Nikon announced a new professional Topaz Labs recently announced a major update to
FX-format lens, the AF-S NIKKOR 105mm f/1.4E ED. Glow, their application for creating everything from
According to Nikon, this is the perfect lens for portraiture subtle to artistic lighting and glow effects in your
whether youre in the studio or on the beach because it images. Glow 2 features more than 50 new presets
produces sharp images with beautiful bokeh. The AF-S to give users more than 120 one-click effects. A new
NIKKOR 105mm f/1.4E ED features Nikons electromag- masking feature allows you to fine-tune your images
netic aperture control technology; Flourine coatings for with four masking options: spot, color, luminosity,
easily cleaning the front and rear elements; 14 elements and brush. Twenty-two new blend modes along with
in 9 groups, including 3 ED glass elements; a 9-blade dia- a precision opacity slider help you achieve perfect con-
phragm; and Nikons Crystal Coat technology. Its also trol over every effect. The latest version also includes
dust and moisture resistant. It retails for $2,199.95. unlimited undos/redos. Finally, Topaz announced the
Nikon also announced the brand-new Nikon D3400, new Topaz Community, which is integrated into Glow
a compact, lightweight, versatile entry-level DSLR. The 2. Members can search for, download, and share cus-
D3400 features a high-res- tom-created effects. Glow 2 retails for $69.99 but is
olution 24.2-megapixel free to current Glow owners. It works as a standalone
CMOS sensor; Nikons app, as well as a Photoshop and Lightroom plug-in.
EXPEED 4 image pro-
cessing engine; an
ISO range from
10025,600; an
11-point Autofo-
cus system; con-
tinuous shooting
up to 5 frames per
second; and SnapBridge for wirelessly transferring
photos to compatible smart devices.
To go along with the new D3400, Nikon intro-
Before
duced four new affordable lenses: the AF-P DX NIK-
KOR 1855mm f/3.55.6G with and without VR,

and the AF-P DX NIKKOR 70300mm f/4.56.3G ED
also with and without VR. The AF-P designation indi-
cates that these new lenses use a pulse motor (which
uses Nikons Stepping Motor technology) to provide
faster and smoother autofocus (AF) than previous
drive systems during live view (contrast-detection AF)
and allow for whisper-quiet operation during video
recording. For pricing and availability of the D3400,
the new AF-P lenses, and the two different kit options
016 visit nikonusa.com. After
e x p o s e d: i n d u st ry n e w s
The PowerEgg Will promises to deliver more realistic and natural results
Be Hatching Soon with less noise and detail lossall while rendering
PowerVision, a worldwide leader in robotics and big the RAW files at a much faster speed. The new Polar-
data technologies, has announced that the PowerEgg, ize tool emulates a traditional polarizer lens filter to
their first consumer drone, is now available for pre- improve skies, saturate colors, and remove glare.
order and is scheduled to ship in mid-October. The Batch Processing will automatically group your brack-
PowerEgg isnt youre average drone. Its actually egg ets and apply the effects; all you have to do is pick
shaped and the blades and landing feet are tucked the original photos and then click Save at the end.
neatly away into its body. It comes with the worlds An updated interface places the focus on the image
first gesture-based controller, the PowerEgg Maestro, while keeping the familiar feel of the original version
which can be used with one hand. The remote has of Aurora HDR. All in all, there are more than 20 key
motion-sensing capabilities so users can control the improvements and features. Pre-orders for Aurora
drone by the movement of their hand. The PowerEgg HDR 2017 begin on September 14 and it will launch
also comes with a traditional two-handed remote. on September 29. For pricing, visit Macphun.com.
Other features include real-time video transmission
up to 3.1 miles; a flight time of around 23 minutes; Canon Introduces new
Lenses and the EOS 5D Mark IV
an optical positioning system for flying indoors, low to
Canon recently announced the brand-new EOS
the ground, and in GPS-free areas; an integrated 4K
5D Mark IV. Highlights for this camera include
UHD camera that can shoot photographs and videos
a new 30.4-megapixel full-frame CMOS sensor;
with 360 views on a 3-axis gimbal; and automated
an ISO range of 10032,000, expandable up to
flight modes that include Follow Me, Orbit, WayPoint,
50102,400; 4K Motion JPEG video (DCI cinema-type
and Selfie mode. The PowerEgg has an MSRP of
4096x2160) at 30p or 24p; in-camera 8.8-megapixel
$1,288 and is available for pre-order until September 30.
still frame grabs of 4K video; Full HD up to 60p and
Visit PowerVision for more information.
HD up to 120p; Dual Pixel CMOS AF for responsive
and smooth AF during video or Live View shooting;
full touchscreen LCD monitor, including selection of
AF area; up to 7 fps with high-performance DIGIC
6+ Image Processor; 61 AF points with AF possible
at all 61 points with many lens and extender com-
binations effective at f/8; a 150,000-pixel RGB+IR
metering sensor for precise exposure metering; Dual
Pixel RAW, in-camera Digital Lens Optimizer during
JPEG shooting and Diffraction Correction technolo-
gies; and built-in Wi-Fi, NFC, and GPS. The EOS 5D
Mark IV will retail for $3,499 (body only). To learn
more, check out this video by Scott Kelby.
Macphun Gives Sneak In addition to the 5D Mark IV, Canon announced
Peek of Aurora HDR 2017 the EF 1635mm f/2.8L III USM Ultra-Wide Zoom
Macphun, a California-based Mac app developer Lens, the EF 24105mm f/4L IS II USM Standard
focusing on the consumer and professional photog- Zoom, the Canon Battery Grip BG-E20, the Wi-Fi
raphy and digital imaging markets, has given a sneak Adapter W-E1, the Rain Cover ERC-E5S/E5M/E5L,
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HDR, which will be called Aurora HDR 2017. First tion, including availability and pricing of all of these
up is an updated tone-mapping algorithm, which products, visit Canon. 017
CLICK TO RATE
Best of Show > Winner
JOCELYN PETRUCCIO
PHOTOS: LAUREN PARSELLS/BURKLEHAGEN FOOD PHOTOGRAPHY
018
Before
KelbyOne & Photoshop User magazine is proud to announce the
winners of the Photoshop World 2016 Guru Awards. The winners in eight
categories, including the Best of Show, were revealed on July 21 during
the Guru Awards & Wrap-Up Ceremony at KelbyOnes annual three-day
Photoshop, Lightroom, photography, & design convention in Las Vegas.
Sponsored by B&H, the ceremony featured images and photography from
international entries in a wide variety of styles, techniques, and skill levels.
Congratulations to all the Photoshop World 2016 Guru Award Winners!
Commercial > Winner

ALEX MANFREDINI
Artistic > Winner

DIANA DAVIDSON
019
Illustration > Winner
SE AN FERGUSON
Before
Photo Montage > Winner

DAVID SCHL AT TER
020
Before
Photo Restoration > Winner

PATRICK HACKENBERG
Before
Photo Retouching > Winner

DON CL ARK > PHOTO: VITALY DRUCHININ
021
Photography > Winner
JEFFREY DANNAY
ARTISTIC
STEVE LARSON
MARK RODRIGUEZ
COMMERCIAL
VIVIENNE DANG
ALEX MANFREDINI
ILLUSTRATION
PAUL BARTELL
ALEX MANFREDINI
PHOTO MONTAGE
DON CLARK
SEAN FERGUSON
PHOTO RESTORATION
DON CLARK
CLARISSA COLLENZI
PHOTO RETOUCHING
STEVEN LARSON
ALEXANDRA LENZ
PHOTOGRAPHY
ERIC ESTERLE
022 LAURA MUEHL
HOW TO
Down suicide squad text effect
&Dirty
BY COREY BARKER
Just last month the newest comic book movie Suicide Squad hit theaters.
Tricks
In this exercise, well take a look here in Photoshop at one of the many
3D type treatments done for the film. Inspired by the movie, and with a
few embellishments of my own, youll see how to use type, shapes, tex-
tures, and 3D in creative ways!

DOWN AND DIRTY TRICKS
Step One: The first thing we need to do is find the

right font. To do that well use the new Match Font
feature in Photoshop. Just open an image with the
text that youre trying to replicate and make a selec-
tion over some or all of the text. Be sure to include
any special text characteristics in the selection.
Step Two: Go under the Type menu and choose

Match Font. A dialog will open showing you any
fonts that you have in your system that are a close
Step One
match to the selection. It will also show you any
Typekit fonts that match. In this case, were going
to use Anzeigen Grotesk Regular from Typekit.
(Click here to watch a short video on how to load
Typekit fonts.)
Step Three: Once the font is identified and

loaded, create a new document (File>New) thats
2000x1100 pixels at 100 ppi and click OK. Press
Command-I (PC: Ctrl-I) to Invert the Background
layer from white to black.
Step Four: Press D then X to set the Foreground

color to white. Choose the Type tool (T) in the Tool-
box, and click on the canvas to set a text layer. Here
weve set the words SUICIDE SQUAT using the
Anzeigen Grotesk Regular Typekit font we loaded Step Two
earlier. Use the Character panel (Window>Character)

to format the text so the ends of the two words line
up. (Click here to watch a short video on setting
the text.)
Step Five: We need to convert the text to a path, so

Right-click on the type layer in the Layers panel and
choose Create Work Path. Open the Paths panel
(Window>Paths) and double-click the Work Path to
open the Save Path dialog. Rename the path, Main
Path, and click OK to save it. Press the letter A on
your keyboard to switch to the Path Selection tool,
Step Four
and then in the Options Bar, set the Path Operations
drop-down menu (the two overlapping squares) to

Combine Shapes. Click on the black background
to deactivate the path, and click on the Eye icon
next to the type layer in the Layers panel to hide
the white text.
Step Five 025
HOW TO
Step Six
Step Six: Select the Rectangle Shape tool (U) in the

Toolbox. Go into the Path Operations drop-down
menu again in the Options Bar and choose Subtract
Front Shape. Make sure the Tool Mode on the left
side of the Options Bar is set to Path, and then draw
a very thin rectangle over the two Ss on the left side
as shown here. With this path still selected, press
Command-T (PC: Ctrl-T) to activate Free Transform
and click-and-drag outside the shape to rotate it
counterclockwise just a little. Press Enter when done.
Step Seven
Step Seven: Now hold down Option-Command

(PC: Alt-Ctrl) and click-and-drag this shape to dupli-
cate it and move it to another part of the image.
Enter Free Transform again, Right-click inside the
bounding box, and choose Flip Horizontal. Press
Enter when done.
Step Eight: Using the Path Selection tool, click-

and-drag around all of the shapes to select them,
including the text shapes. Go into the Path Opera-
tions menu once again and this time choose Merge
Shape Components. The rectangle paths will cut the
text shapes and the rest of the text will be normal.
026 Step Eight
Step Nine: We need to open a texture image that
Adobe Stock/antonel
we can use for the front of the text. You can use
the texture provided in the downloads, or try one
of your own. Here we have a simple texture with a
scratched surface; however we want it to be lighter.
Heres a cool trick for doing that: Since the texture
is black and white, press Command-I (PC: Ctrl-I) to
invert the values, creating a negative of the image.
[KelbyOne members may download the files
used in this tutorial at http://kelbyone.com/maga-
zine. All files are for personal use only.]
Step Nine
Step 10: Using the Move tool (V), click-and-drag this

texture into the main design document in which we
created the paths. In the Paths panel, click anywhere
below the path to deactivate it, and then use Free
Transform to scale and position the texture where
desired in the canvas so its large enough to cover
the text. Press Enter to commit the transformation.
Step 10
Step 11: Make sure the texture layer is active in

the Layers panel, and click on the path layer in the
Paths panel to make it active again, as well. Then, go
under the 3D menu and choose New 3D Extrusion
from Selected Path. This will extrude the text and
apply the texture to the front face in one move.
Step 11
Step 12: Open both the 3D and Properties panels

(if theyre not already open) located under the Win-
dow menu. Select Layer 1 in the 3D panel, and then
in the Properties panel, set the Extrusion Depth
to 50 px.
Step 12 027
HOW TO
Step 13: Click on the third tab at the top of the

Properties panel to enter the Cap settings, and set
the Bevel Width to 5%.
Step 14: Click back on the first tab in the Proper-

ties panel, and click on the Edit Source button at
the bottom of the panel. This will open the original
document from which the 3D object was created.
Using the Direct Selection tool (the white arrow
nested under the Path Selection tool in the Toolbox),
click-and-drag around the inner shape in the letter
Q to select that part of the path. Selected shapes
will have solid control points whereas unselected will Step 13
be hollow. Once the inner shape is selected, simply
press Delete (PC: Backspace). Then, close the docu-
ment and save the changes.
Step 14
Step 15: In the 3D panel, select the Layer 1 Front

Inflation Material layer, which is a sublayer of Layer 1.
Then, click on the page icon to the right of the Dif-
fuse setting at the top of the Properties panel and
choose Edit Texture. When the document opens,
you should see the main texture and the outline of
the text. If you dont see the outline of the text, go
to the Properties panel and check on UV Overlays.
Step 16: Create a new

blank layer, press D to
Step 15
set the Foreground color
to black, and choose the
Brush tool (B) in the Tool-
box. Select a simple, round,
hard-edged brush with

a very small tip. Then,
draw the face elements
in the middle area of the
Q where we deleted the
inner shape. When done,
close the document and
save the changes. The
graphic will be updated
on the 3D text.
028 Step 16
Step 17: In the Properties panel, set the Shine to

50% and the Reflection to 75%. This may blow
out the highlights in the text when you do this, but
dont worry; well get to that.
Step 18: Click on the folder icon to the far right of Step 18
the Bump slider, and choose Layer 1. This will apply
the same scratched texture as a bump map. Then,
set the Bump amount to 3%.
Step 17
Step 19
Step 19: Back in the 3D panel, select the Layer 1

Front Bevel Material layer. Go to the Diffuse prop-
erty in the Properties panel and choose New Tex-
ture from the page menu. In the New dialog that
appears, make the file 500x500 pixels, and click OK.
When the new file opens, press Command-I (PC:
Ctrl-I) to Invert the white background to black. Close
and save the changes.
Step 20: In the Properties panel, set both the Shine

and the Reflection to 75%. Also, add the Layer 1
bump map as we did in Step 18, and set the Bump
amount to 2%
Step 20 029
HOW TO
Step 21: Select the Current View in the 3D panel.

Then, with the Move tool selected, choose the Orbit
the 3D Camera tool at the right of the Options Bar
(its the first tool in the 3D Mode section). Use this
to rotate your view of the text so you can see the
extruded sides.
Step 22: Select the Layer 1 Extrusion Material in

the 3D panel. Go to the Diffuse property and again
create a new 500x500-pixel document as we did in
Step 19. This time youll need to fill it with a dark-
red color instead of black. So click the Foreground
color swatch at the bottom of the Toolbox; set it to
R: 140, G: 24, and B: 28; click OK; and press Option-
Delete (PC: Alt-Backspace) to fill the document with
Step 21
that color. Close and save document when done.
Step 23: Set both the Shine and Reflection to 50%,

and then add Layer 1 as a bump map again. Once
done, go back into the Bump menu and choose Edit
UV Properties to open the Texture Properties dialog.
Step 24: Textures tend to stretch a lot on extruded

sides, so we need to fix that in the Texture Proper-
ties dialog. If using a different texture, youll need to
experiment, but for the texture were using, we set
the U/X Scale to 10% and the V/Y Scale to 3000.
Uncheck Apply to Matching Textures and click OK. Step 22
When done, go back to the 3D panel and click on
Default Camera (its the layer at the very bottom) to
return to the main view.
Step 23
030 Step 24
Step 25: In the download files, open the second
Adobe Stock/papa
texture image, which is a dust particle image. Using
the Move tool, drag this texture into the main image.
Make sure the layer is below the 3D text layer in the
Layers panel, then use Free Transform to scale and
position it in the main layout behind the text object.
Press Enter when done.
Step 26: With the dust particle layer active, click on

the Add a Layer Style icon (x) at the bottom of the
Layers panel and choose Color Overlay. Click on the
color swatch and choose the same shade of red (or Step 25
close to it) that we used for the extruded sides of the
text in Step 22. Set the Blend Mode to Multiply and
click OK. This will make the dust layer all red.
Step 27: Weve now arrived at the final phase,

which is lighting. First, click on the 3D text layer
in the Layers panel to make it active, and select Step 26
Environment at the top of the 3D panel. In the Prop-
erties panel, youll see the IBL (Image Based Light)
setting at the top. Click on the menu to the right
and choose Edit Texture.
Step 28: Once the Default IBL.psb document

opens, go to the Image menu and choose Image
Size. Set the Width to 1024 pixels (the Height should Step 27
automatically change to 512 pixels), and click OK.
Press D to set the Foreground color to black, then
Option-Delete (PC: Alt-Backspace) to fill the entire
canvas with black.
Step 29: Switch to the Gradient tool in the Toolbox.

(Note: If youre in the 3D workspace in Photoshop
2015.5, you wont see the Gradient tool in the Tool
box, and pressing the letter G shortcut will activate
the Material Drop tool. To access the Gradient tool,
click on the spot between the Zoom tool and the Step 28
color swatches in the Toolbox and youll see it in
a drop-down list of tools.) Press X to make the
Foreground color white, click the gradient preview
thumbnail in the Options Bar to open the Gradient
Editor, select the Foreground to Transparent pre-

set, and click OK. Choose the Radial Gradient icon
in the Options Bar, and then draw a single white
radial gradient like the one shown here. Close and
save when done.
Step 29 031
HOW TO
Step 30: Switch to the Move tool, and youll see a

small sphere in the middle of the canvas. Use the
Orbit the 3D Camera tool in the Options Bar to click-
and-drag this IBL light around the subject, and youll
see the light reflection change on all surfaces as you
drag it. Just rotate it until you see a lighting arrange-
ment you like. You can always change it later. In the
Properties panel, set the Intensity below the IBL to
75%. Also, go down to the Ground Plane settings
and set the Shadows Opacity to 0%.
Step 31: Click on Current View in the 3D panel. In

Step 31
the Properties panel, set the FOV to a 14- or 15-mm
lens. This will make the lens a wider angle, giving a
more dramatic look. The object will appear smaller
because of the virtual lens change. Just grab the
Slide the 3D Camera tool (the fourth tool in the 3D
Mode section in the Options Bar), and then click-
and-drag down to move the camera closer to the
object, filling in the frame more. You can also use
the Orbit the 3D Camera tool to slightly change the
angle of the text.
Step 32: Click on the Light Bulb tab at the top of

the 3D panel. Here youll see the default Infinite Light
that was created. Select it and click on the Type menu
in the Properties panel and choose Point. Then, drop
the Intensity to 50% and click on the Move to View
icon. The light will appear as a small yellow wire-
frame ball. Use the 3D tools to position this light just
in front and slightly below the letter A in the main
text so the light is coming from the bottom.
Step 32
Step 33: Create a second Point light by clicking on
the Add New Light to Scene icon (light bulb) at the
bottom of the 3D panel and selecting New Point
Light. In the Properties panel, click on the Color
swatch and choose the same red color that weve

been using in the Color Picker. Click OK, and set the
Intensity to 250%.
Now use the Slide the 3D Object tool to push
this light behind the text. Youll still see the wire-
frame but it will be dimmed when behind the 3D
object. The point here is to enhance the sense of red
light coming from the background texture. With this
new lighting in place you may want to adjust the IBL Step 33
position for a more dramatic effect. Just select Envi-
032 ronment in the 3D panel and rotate it.
STEP 34: Before we proceed, Id suggest making a

duplicate of this 3D layer. The next step will remove
a lot of editability of the 3D object, so making a
duplicate will save you time if you need to start over
from this point. Just press Command-J (PC: Ctrl-J),
and then click the Eye icon next to the original layer
in the Layers panel to turn it off.
STEP 35: With the duplicate 3D layer active, go

under the 3D menu and choose Split Extrusion.
This will break the text into individual 3D letters, but
it will keep all of the letters in the same 3D layer.
Just use the 3D tools to select a letter and move it
around separately.
Remember those cut lines we created at the
beginning? We can now move those elements so
they look offset to the original. You can also select
other letters and change their rotation slightly for
more interesting angles. You can use either the 3D
tools or the on-object widget controls. Just hover
over different areas of the widget for tool tips, and
then click-and-drag a setting to modify it.
You can still adjust things like the lighting, but if

Step 35
you want to edit the texture properties youll need
to do it to each letter individually. See now why
you want to do all those things before you split
the extrusion? When youre done, just go under
the 3D menu again and choose Render 3D Layer.
Rendering times will vary. CLICK TO RATE
033
Final
HOW TO
Down use face-aware liquify

to create a caricature
&Dirty BY KIRK NELSON
One of the most interesting features of the Photoshop 2015.5 release is a help-
Tricks
ful addition to Liquify, a filter thats already heavily used by photo retouchers
everywhere. This amazing new technology called Face Aware automatically
detects faces in an image, assigns regions to recognizable facial features, and
builds in controls to edit those features. This was developed to assist with
portrait beauty retouching, but in this tutorial, we push it past its intended limits
and use it to create a humorous photo caricature!
Step One: Selecting just the right portrait to use
Adobe Stock/olly
for a caricature is as important as the technique
itself. The task is much easier and more suc-
cessful if you choose an image that already has
some slightly exaggerated elements to it. The
art of crafting a caricature is to push those ele-
ments to be comically exaggerated. This stock
image of a surprised man works well because
his eyes are already wide and his mouth is
hanging open. Begin by duplicating the Back-
ground layer with Layer>New>Layer Via Copy,
or with Command-J (PC: Ctrl-J), then transform
that layer into a smart object with Layer>Smart
Objects>Convert to Smart Object.
[KelbyOne members may download the Step One
file used in this tutorial at http://kelbyone.com
/magazine. All files are for personal use only.]
Step Two: Go to Filter>Liquify to launch the

Liquify dialog. Things are a little different now
in Photoshop 2015.5. Notice theres a new
tool in the toolbox on the left, the Face Tool
(A), which automatically detects facial features
and even adds on-canvas controls. Mouse over
one of the eyes to see an assortment of controls
for the eye area. Drag the small rectangle to
change the Eye Size, then drag on the dotted
arc outside the eye to adjust the Eye Tilt. You
can also move each eye individually.
Step Three: Look in the Properties panel on

Step Two
the right and click on the right-facing arrow
next to Face-Aware Liquify to expand that sec-
tion. Open each sub area and make adjust-
ments using the sliders. Overall, the goal is
to make the eyes and mouth large, the nose
wider, and the whole head shape longer and
narrower. Here are the settings we used:
E yesEye Size: 100, Eye Tilt: 40, and
Eye Distance: 38
oseNose Height: 20 and
N
Nose Width: 97
outhLower Lip: 100 and

M
Mouth Width: 24
F ace ShapeForehead: 75,
Chin Height: 100, Jawline: 100,
and Face Width: 67. Step Three 035
HOW TO
Step Four: The built-in features are intention-

ally limited to keep the proportions somewhat
believable. We want to push them beyond
that! Switch to the Forward Warp tool (W) and
use the Bracket keys on your keyboard to size
the tool to be about approximately the same
size as the models chin. Then, gently pull his
bottom lip downward causing the mouth to
be cartoonish in proportion. If it doesnt look
right the first time, just press Command-Z (PC:
Ctrl-Z) to undo and try again by either resizing
the brush or clicking-and-dragging in a slightly
different area.
Step Four
Step Five: Reduce the size of the brush a little

more and push the models temples inward
slightly. Also push his neck inward where it
meets the base of his head, as this accentu-
ates the wide-open mouth. Then, grab the
Bloat tool (B) and give just a click or two on the
round fleshy areas of his cheeks to pop them
up just a bit. Click the OK button to apply the
whole Liquify effect. Notice that the Liquify fil-
ter is a smart filter applied to the smart object.
This is advantageous because it means you can
readjust those settings at any time.
Step Five
Step Six: Now go to Edit>Puppet Warp. Click

to place warp pins on the models pupils and
outer ears. These areas shouldnt move and
the pins will serve as stationary points to hold
down the image. Use several pins along his

forehead and hairline to carefully pull the upper
portion of his head upward, exaggerating the
size of his forehead and his hairstyle.
036 Step Six

Step Seven: One of the hallmarks of a clas-

sic caricature is the extreme size difference
between the persons head and his body. To
capture this effect, add more pins to the neck
and shoulder area. Begin pulling these areas
inward to significantly reduce the apparent size
of his torso. Hit the Enter key to apply the Pup-
pet Warp transformation. Dont worry about
the edges of the image being pulled into the
visible area of the canvas; well take care of
that next!
Step Seven
Step Eight: Go to Layer>Layer Mask>Reveal

All to add a mask to Layer 1. Press D then X
so the Foreground color is set to black, and use
the Brush tool (B) with a Soft Round tip to paint
on the mask and gently fade out the visible
edges. (Tip: Use the Bracket keys on your key-
board to quickly change your brush size as you
paint on the mask.)
Step Eight
Step Nine: Puppet Warp will frequently intro-
duce unwanted distortions and irregularities to
the image. These are easy enough to correct
with another run of the Liquify filter. (Note:
Dont double-click Liquify in the Layers panel
to reopen the filter because it wont show you
the changes you made with Puppet Warp;
youll need to go to Filter>Liquify again so you
can see all of your changes. Also, before you
go into Liquify, click on the layer thumbnail for
Layer 1 so the image is active and not the layer
mask.) Use the Forward Warp tool (W) again to
help smooth out any odd surface bumps. Take

care to ensure that the eyes are large, but still
round, especially the irises and the pupils. Then,
gently pull down on his teeth to extend them
just slightly. Click the OK button to apply these
latest edits. Step Nine 037
HOW TO
Step 10: At this point the structural edits to the

caricature are complete; the rest of the steps
are aesthetically oriented. Lets begin by inten-
sifying the eye color. Add a Hue/Saturation
adjustment layer through Layer>New Adjust-
ment Layer>Hue/Saturation. Set the Saturation
to +58 and the Lightness to 4. Click on the
mask thumbnail for the adjustment layer in the
Layers panel and tap Command-I (PC: Ctrl-I) to
Invert the mask from white to black. Press X to
switch the Foreground color to white and use
the Brush tool (B) with a Soft Round tip to reap-
ply the adjustment effect only to the irises.
Step 10
Step 11: Add a new layer with Layer>

New>Layer. In the New Layer dialog, set the
Name to Dodge Burn and the Mode to
Overlay. Check the option for Fill with Overlay-
Neutral Color (50% Gray), and click OK. Grab
the Burn tool (nested under the Dodge tool [O]
in the Toolbox) and set the Range to Midtones
and the Exposure to 11% in the Options Bar.
Use this to darken the hair shadow areas and
the darker eye socket. Switch to the Dodge tool
with the same settings and work on brighten-
ing the highlights of his face.
Step 11
Step 12: Add a new layer by using the Create
a New Layer icon (it looks like a square with a
folded corner) at the base of the Layers panel.
Double-click the name of this layer, rename

it Eye Whites, and set the blend mode
to Color. Grab the Brush tool (B) with a Soft
Round tip and set the Opacity to 30% in the
Options Bar. Hold down the Option (PC: Alt)
key to access the Eyedropper tool and click to
sample a color from the brightest portion of
the eye whites. Gently paint over any pinkish
areas of the eyes to whiten them and create a
cleaner look. Use the Bracket keys to resize the
038 brush as needed. Step 12
Step 13: Create a merged layer at the top of

the layer stack by holding down the Option
(PC: Alt) key and going to Layer>Merge Visible.
Rename the merged layer to Merged and
convert it to a smart object with Layer>Smart
Objects>Convert to Smart Object.
Step 14: Go to Filter>Camera Raw Filter to

launch the filters dialog. In the Basic tab,
increase the Shadows to +68, decrease the
Step 13
Whites to 16, and boost the Blacks to +23.
Increase the Clarity to +54 and the Vibrance
to +61. Dont click OK yet.
Step 15: Switch to the Effects tab (x) and set

the Dehaze to +19. In the Post Crop Vignett-
ing section, set the Amount to 20. Click the
OK button to apply the filter and finish the
final effect.
THAT WAS EASY!

While the Face-Aware Liquify feature isnt
designed to complete the full-on caricature, Step 14
it does a lot to shorten the process. Just the
fact that it identifies facial features and can
add some exaggeration is a tremendous help
for making the creative decisions on what
features to fully exaggerate. Never before has
crafting a photo caricature been so easy or
so much fun!
CLICK TO RATE
Step 15
039
Before After
HOW TO
Beginners' Workshop LESA SNIDER

taming whiskers with the dust & scratches filter
A wonderful yet overwhelming truth about Photoshop is that there are several ways to do most things and
sometimes the least obvious method works the best. In this column, youll learn how to use the Dust &
Scratches filter to tame distracting whiskers quickly, realistically, and without harming your original photo.
Adobe Stock/nyul
Step One
Step One: To use the Dust & Scratches filter nondestruc If, when working with your own files, the portrait con
tively, run it on a smart object. Doing so puts a protective sists of multiple layers, activate the layers in the Layers
wrapper around your layer content so the filter happens to panel first and then convert them all into a single smart
the wrapper, so to speak, and not whats inside it. In Photo object as described above. To access the original layers
shop, choose File>Open as Smart Object. If the portrait is later, double-click the smart object thumbnail in the Layers
already open in Photoshop, convert the image layer into a panel and Photoshop opens them in a new, temporary doc
smart object by Right-clicking near its name in the Layers ument. Make your changes, choose File>Save (not Save As)
panel and choosing Convert to Smart Object, or by choosing and close the document. The original document is updated
Filter>Convert for Smart Filters (these two commands do with your changes.
the same thing). Either way, you see a special smart object [KelbyOne members may download the file used in this
badge at the bottom right of the thumbnail (circled). tutorial at http://kelbyone.com/magazine. All files are for
Tip: If you use Lightroom, you can send a photo from personal use only.]
Lightroom to Photoshop as a smart object by choosing
040 Photo>Edit In>Open as Smart Object in Photoshop.
BEGINNERS' WORKSHOP
Step Two: Choose Filter>Noise>Dust & Scratches.

In the dialog that opens, zoom in on an important
area of the photo so you can see it in the filter pre
view window (say, his neck). The goal is to increase
the Radius enough to soften the whiskers and then
adjust the Threshold to control the point at which
the filter kicks in. Keep the Threshold as low as pos
sible but high enough to preserve your subjects
skin texture. Youll need to experiment with these
settings on your own photos to find a balance that
works. We set the Radius to 9 and the Threshold
slider to 8 in the high-res version of this image, but
youll have to try lower values for the low-res prac
tice version. Click OK to close the dialog.
Step Two
Step Three: To hide the filter from everywhere

except the mans whiskers, use the filter mask that
Photoshop automatically added when you ran the
filter. In the realm of masks, black conceals and
white reveals. Since youll hide the filter from the
majority of the photo, its quicker to start with a
mask thats filled with black and then reveal it in
certain areas by painting with a white brush. Click
to activate the mask (circled here) in the Layers
panel and then press Command-I (PC: Ctrl-I) to
invert it from white to black. Photoshop hides the
filter from the entire photo.
Step Three
Step Four: Press B to activate the Brush tool. In

the Options Bar, click the brush preview to open
the Brush Preset Picker and choose a soft-edged
brush (one that has fuzzy soft edges) and enter a
size of around 90 px (40 px for the low-res practice
file). Make sure the Mode drop-down menu is set
to Normal and that Opacity and Flow are 100%.
The Foreground color chip at the bottom of the
Toolbox controls what color the Brush tool uses.

To reveal the filter, paint with white. Press D on
your keyboard to set the color chips to their default
values of black and white, and then press X until
white is on top. Step Four
041
HOW TO
Step Five: Mouse over to the photo and brush

across the stray whiskers on his face and neck. Zoom
into the photo by pressing Command-+ (PC: Ctrl-+)
and then Spacebar-click-and-drag to reposition the
photo so you can see the mans beard. Be careful
not to brush across any areas that you dont want
blurred (say, the edge of his chin). Adjust brush
size as you go using the Left and Right Brackets on
your keyboard: Press the Left Bracket ([) to decrease
brush size or the Right Bracket (]) to increase it. If
you reveal too much of the filter, press X on your
keyboard to swap the color chips so black is on top
and then brush across that area again to hide the
filter. To soften whiskers that are too long within the
beard, use a small brush and click once atop them.
Step Six: When youre finished, assess your work Step Five
by turning the filter off and on. To do that, click the
visibility icon to the left of the filters name in the
Layers panel. If the subjects skin looks too blurry,
you can change the filters settings. To do that,
double-click the filters name (circled) and the Dust
& Scratches dialog reopens. Here we increased the
Threshold to 14 to preserve more texture. Click OK.
Step Seven: Press Command-S (PC: Ctrl-S) to save

the document and in the resulting dialog, choose
Photoshop from the Format drop-down menu. As
you can see in this before and after version, the
whiskers are far less distracting.
Step Six
Who knew the Dust & Scratches filter was so

useful for this kind of thing? You can also use
the same technique on wrinkles to soften them.
And by using a smart object, your original photo
remains fully intact and you can easily experiment

with the filters settings to produce the result you
want. Until next time, may the creative force be
with you all!
Before After
042 CLICK TO RATE
HOW TO
Dynamic Range MARK HEAPS

dealing with distracting objects
A long time ago at Photoshop World, Jay Maisel gave a talk about his photographs. Jay is always a great
speaker and his images are spectacular. One thing Jay said that stood out while he was giving advice that
day was, Dont put words or letters in your pictures unless you want people to read them. This was a
simple, but very true, piece of advice.
The human brain has a tendency to want to read the words In recent years, the Clone Stamp has received some
that it sees. We are conditioned for it, and its almost impos- upgrades and now you can store up to five various source
sible to look at a group of letters and not try to make words points in the Clone Source panel (Window>Clone Source)
out of them. But what if those letters, or words, arent while youre working. This is useful if you have several vari-
things you want the viewer to focus on? They become a dis- ous source points from which you want to clone.
traction, a part of the visual noise that hurts the story youre One useful feature of
trying to tell. this tool (and others like
There are lots of things in images that can be distracting. it) is that it allows you to
Over time, image-makers have found various techniques sample through all layers
to help the viewer focus on the intended target within the in your document. Just
image; for example, shallow depth of field, vignettes, lead- create a new blank layer
ing lines, contrast, saturation, and more, all help create a tar- at the top of your layer
get focus for an image. This is key, because in todays media stack and make sure the
culture, we have nothing more than a glance from a viewer Clone Stamp is set for All
to tell him or her a story. Layers in the Options Bar
above. Now the tool will
THE CLONE STAMP TOOL clone from all the visible
Thankfully, Photoshop has some very powerful tools to help information contained in
us remove distracting elements from images that maybe the layers below. The duplicated pixels end up on the empty
couldnt have been eliminated while taking the photo. First, layer. This way the edits are nondestructive and contained in
lets explain the foundation of these tools. The oldest tool a new layer above the image.
used for this sort of work is the Clone Stamp tool (S).
The Clone Stamp tool allows you to copy
from one source location to another target loca-
tion using a brush interface. This is a direct copy
from the source location. The basic premise for
removing distracting elements in an image is to

simply replace or reduce the value that makes it
stand out.
044
DYNAMIC RANGE
THE HEALING TOOLS often a mix of using the old and new tools together to get
The next set of tools that are often used are the Spot Healing the best solution to problem areas in photographs.
Brush, Healing Brush, and Patch tool (J). The Patch tool is the
only one that doesnt allow you to duplicate onto an empty PUTTING THE TOOLS TO THE TEST
layer so its more destructive than the others. In this shoot for a custom Triumph motorcycle, we applied
a basic vignette to help frame the image, which allows
us to reduce the noise from the texture and scene,
but boost the attention to the center of the frame
toward our subject. But, we have some other distractions
to remove.
Lets tackle issues that these tools can easily handle: the
Each of these three tools, which are advancements on big blob stain on the back wall that jumps out because of its
the foundation that the Clone Stamp tool offered us, add size and darkness against the lighter surrounding panel, and
various forms of auto-blending. With the Clone Stamp, the tall vertical line that shows a seam in the wall.
you get an exact replica from your source point; the Heal- [KelbyOne members may download the files used in this
ing tools blend patterns, textures, geometry, colors, lumi- tutorial at http://kelbyone.com/magazine. All files are for
nosity, and more. The removal of distracting elements is personal use only.]
Source image Tone adjusted image
045
HOW TO
Step One: By creating a new layer above the im-

age, the photograph is protected from the edits
that are made until the image is finalized. Double-
click the name of the new layer and rename it
Healing Brush.
Step Two: With that layer active in the Layers panel,

choose the Healing Brush tool from the Toolbox.
Set it to work with All Layers. This works the same
as the Clone Stamp tool option mentioned earlier
in the article and is found in the same place in the
Options Bar at the top of the screen. Step One
Step Three: With the Healing Brush selected, and

the empty layer targeted in the Layers panel, use the
Bracket keys on your keyboard to quickly resize the
brush, then hold down the Option (PC: Alt) key to set
the target point from which to copy by clicking on
it. Choose a spot thats similar in texture to the sur-
rounding area thats being repaired. As you begin to
brush, youll see it cloning, but also auto-calculating
the tonal adjustments and textures for you. This is
something the regular Clone Stamp cant do. Step Two
046 Final result: Distractions removed

DYNAMIC RANGE
Its always a good idea, if possible, to pick an

area thats not close to the repair site to ensure
that no obvious cloning or repetition occurs. The
human brain can very quickly identify repeated
details. One way to help this is by cloning from
multiple smaller source points. Simply repeat the
process by building up detail from various areas
of the surrounding pixels. Be sporadic and scatter
your source details.
The Spot Healing Brush will give you similar
results but it doesnt allow you to set a source point
to clone from; instead, it looks for similar areas
within the image from which to pull detail. This is
great for small spot details, but for larger areas, the
Healing Brush gives the editor all of the control.
USING HUE & SATURATION TO

REDUCE DISTRACTING ELEMENTS
Heres a second image from the motorcycle shoot
that requires a slightly different approach to remov-
ing a distracting element. In this image, theres
a recycling bin in the background thats visible
through the spokes of the rear wheel.
047
HOW TO
The detail of the bin being there isnt as prob-

lematic as the fact that its a distinct blue color.
Because of the depth of field from the lens, its
a detail that isnt clear, but the blue color being
framed by the black tires and frame really makes
it stand out.
In this case, rather than stamping, cloning, or
patching, its just as effective to alter what makes
this detail a problem: the color itself.
Step One: Make a basic selection around the

problem areas. This doesnt have to be precise, as
it would be in a compositing task, it just needs to Step One
frame the color area we want to make less distract-
ing. We used a combination of the Rectangular
Marquee tool (M) and the Lasso tool (L). After you
select the first area, hold the Shift key to add the
second area to the selection.
Step Two: With your selection active, create a Hue/

Saturation adjustment layer. This is found by click-
ing the half-filled circle icon at the bottom of the
Layers panel. Navigate down through the list and
click on Hue/Saturation. With your new Hue/Satu-
ration layer created, the Properties panel should
automatically appear; if it doesnt, then go to
Window>Properties. That will bring up the Proper-
ties for whatever is actively targeted in Photoshop.
You can also double-click on the Hue/Saturation
layer thumbnail. Youll see a layer mask attached
to the Hue/Saturation adjustment layer in the
Layers panel. The mask is filled with black except
where you made your selections; those selected
areas appear in white. The Hue/Saturation adjust-
Step Two
ment will only affect the photo through the white
areas on the mask.
Step Three: In the pull-down menu thats labeled

Master in the Properties panel, choose the color of
the detail youre trying to edit. In this example, the
value of the recycling bin is Blues. To make sure
youre aligned to the exact hue thats being altered,
use the Eyedropper near the bottom left of the
Properties panel for Hue/Saturation and click on
the blue pixels in the image being changed. This
will move the brackets at the bottom of the Proper-
ties panel to align with that exact hue.
048 Step Three
DYNAMIC RANGE
Step Four: Now drag the Hue slider until you find
a color that pops out less from the background.
Also, reduce the Saturation to make the color less
vibrant, and consider altering the Lightness to help
reduce the contrast against the foreground detail.
In this example, by making the recycling bin green,
less saturated, and slightly darker, it no longer
stands out against the details of the motorcycle.
Step Four
Before and after detail view 049

HOW TO
USING THE CAMERA RAW FILTER

TO REMOVE DETAILS
This image of the custom Triumph motorcycle has
some signage in the background along with a few
other distracting details that should be dealt with.
If the image being edited is provided in the
RAW format, youll have more edit controls avail-
able. The great thing about the RAW editor is that
its completely nondestructive when used with
a RAW source file; however, if the image being
edited is something like a stock image provided in
JPEG or TIFF format, it can still work with the RAW
editor controls. Just make your layer a smart object

first by Right-clicking on the layer and choosing
Convert to Smart Object.
Once the source image is prepared, you can
access your Camera Raw engine either with ACR
(Adobe Camera Raw), Lightroom, or by going to
Filter>Camera Raw Filter. Within the Camera Raw
engine theres a tool called the Spot Removal Brush.
Step One: Access the Spot Removal Brush by

050 pressing the letter B. This is very similar to the tools
DYNAMIC RANGE
found within Photoshop, but the advantage is

that, after painting the target area, the distraction
should be removed.
Step Two: The area being cloned from can be

dragged around to different target areas until
you find the best result. Simply click-and-drag the
green position marker to a new area and it will
clone from within that area. Look for details like
patterns, vertical lines, etc., that can be lined up to
match the surrounding target area.
Step Three: Repeat this again and again by simply

painting into new areas that you want to remove.
Each click will create a new target to repair. For
larger areas, press-and-hold the mouse button to
paint over the distracting element.
Step Four: Once youve completed the edits, click Step Two
OK, and this will update the image back in Pho-
toshop. From here, apply further edits by adding
a new layer above the image and using the tech-
niques described earlier in this article. Look at the
edges where you used the Spot Removal Brush
because there are often little artifacts that appear
where Camera Raw blended the edges. The Spot
Healing Brush or regular Healing Brush in Photo-
shop are good for removing those small details.
Step Five: After youve removed all the distracting

signs, you can use Hue/Saturation to tackle the gas
can and make it less noticeable. When the distract-
ing elements are removed, we have a nice clean
image that gives negative space for headline or Before
article copy to support the story of this photo.
CLICK TO RATE 051

After
ALL IMAGES BY MARK HEAPS
HOW TO
Photoshop Proving Ground SCOTT VALENTINE

text control for graphic effects
This fall, Ill be teaching Photoshop typography tools at the Adobe MAX conference in San Diego. This is a
milestone for me, so I thought Id share a sneak peak of my talk with you, my favorite readers. It turns out
that there are lots of things you can do with type in Photoshop, and you know how I love to push tools to
their limits! Lets start with some simple ways you can control type, and then Ill demonstrate a really fun
way to spice up your titles and designs using some simple tricks.
Step One: This is kind of a follow-along, so open your copy

of Photoshop and create a new document (File>New). Im
using a simple 1000x1000-pixel square at 300 pixels per
inch (ppi) and a solid white background. If youll recall from
my May/June column on resolution [see Photoshop User,

May/June 2016, p. 42.], remember that if you want to print,
you should use 300 ppiwith type, thats really important
because Photoshop rasterizes type, and lower resolutions
may result in jagged edges. When you first create a type
layer in Photoshop, it exists as a vector layer, which is essen-
tially a mathematical description of the outlines of the font.
But when you print from Photoshop, those smooth lines get
converted to dots on a grid. Ill talk more about raster versus
vector in a future article, but for now just remember that you
052 should print type at 300 ppi whenever possible.
PHOTOSHOP PROVING GROUND
recommend getting in the habit of selecting the Type tool

when working on your text layer. While you can use the
panel with other tools active, it might cause some confusion,
for example, if you try to edit the text when the Marquee
tool is selected.
Step Three: With the Type layer and Type tool selected, lets
see how to adjust the spacing between the letters in our word.
When you adjust all the text at once, this is called tracking,
and theres a field dedicated to changing it. Clicking on the
Tracking drop-down gives you a range of preset values, both
positive and negative. Positive numbers will increase the space
between letters, and negative moves them closer together.
Making sure the text in your layer isnt currently selected and
your cursor isnt inserted anywhere in the text, try a few values
to see how this behaves. (Note: If your text is selected or your
cursor is inserted somewhere in the text, you can either click
the checkmark in the Options Bar, press the Enter key, or click
on the text layer in the Layers panel to commit the text.)
Step Four: You can also type a value directly in the Track-
Step Two: We have a fresh, new document thats just beg- ing field if you want more precision than whats provided
ging for some cool text. Select the Type tool (T), and then in the drop-down. Or, you can change the values by click-
show the Character panel (Window>Character). The Char- ing over the Tracking icon and dragging left or right. This
acter panel has some really cool features for dialing in the changes the values rapidly, but you dont see the result of
look of your text. For the moment, click on the Font drop- those changes until you release the cursor. If you ever want
down menu and choose a simple font such as Arial Black. to get back to the original tracking value set by the fonts
In this case, I chose a point size of 36. Press D to set your creator, you can choose or type in 0 to reset the spacing.
Foreground color to black, and click on the canvas and type I used a value of 45 for my starting point.
something short, like a single word. Well use this to explore
some of the tools in the panel. Step Five: Photoshop allows you to get even trickier,
Many of the options in the Character panel will apply though. With the Type tool active, click-and-drag over two
to your text so long as the Type layer is selected, but I also adjacent characters to highlight them. Now the Tracking
Step Four
053
HOW TO
field becomes a Kerning field! Well, it wont say that, but Step Six: Another way to get a little spark in your type is to
youre now controlling the space between two adjacent change the baseline of some of your characters. Baseline is
characters instead of the whole body of text. So kerning the imaginary line on which your type sits, except for charac-
is used for adjacent characters, and may differ throughout ters like lowercase y or g that have descenders. Letters like o
a piece of text, while tracking is used for the overall body and s sit on the baseline, while letters with descenders have
of text. Once youve applied kerning to a pair of letters, you tails that drop below the baseline. As you type text in Photo-
can then go back and select just the left character of the pair shop, it shows you the baseline of the font youre using. In
to continue adjustments. the Character panel, the Aa icon denotes the Baseline Shift
Adjusting the kerning and tracking of text is a great way control. If you change this value from zero, the entire block
to change the feel of a given font, and can help adjust the of text will shift up or down; however, you can do this with
graphical look or readability without using transform or scale single characters as well.
tools. Below are three versions showing the original tracking
at top, my preferred manual kerning in the middle, and a Step Seven: Choosing the first letter in our word, lets
tightly kerned title at the bottom. simulate a drop-cap effect by increasing its point size to
(Note: There are two types of kerning methods, Met- 48, and then going to the Baseline Shift field and enter-
ric and Optical. Metric is the assigned kerning between ing 7. This moves the P down 7 points. (Im not going to
character pairs that the designer intended, and its what explain points in this article, so just think of them as units
I generally use by default. Optical evaluates several pairs of measure, like millimeters or inches.) In this case, that
of characters and develops spacing based on that evalu- aligns the top of the capital P with the top of the h and
ation and the letter shapes themselves. The regular Kern- the bottom of the descender on the lowercase p at the
ing option is in the Character panel, just to the left of the end. I love using this effect for simple titles, especially with
Tracking control.) fancier script fonts.
054 Step Five

PHOTOSHOP PROVING GROUND
Step Eight
Step Nine
Step 10
PAINTING TEXT
Now that we have some interesting text, lets kick it into comes standard with Photoshop. I like this one because it
high gear and have some fun with painting. has some randomized color changes. Lightly paint back and
forth across the bottom of the text and youll see the grass
Step Eight: Create a blank layer above your Type layer by appear. Finish by pressing Command-D (PC: Ctrl-D) to dese-
pressing Command-Shift-Option-N (PC: Ctrl-Shift-Alt-N), lect. I added a Hue/Saturation adjustment layer (Layer>New
then hold Command (PC: Ctrl) and click on the Type layers Adjustment Layer>Hue/Saturation) and chose the Colorize
thumbnail. Turn off the visibility of the Type layer by clicking option in the Properties panel to give it a green color. The
on its Eye icon. The blank layer should be active, and you opening image for this month uses this same basic hand-
should have an outline of your text loaded as a selection. painting technique to simulate a rounded 3D font.
Step Nine: Press G to load the Gradient tool, and then D to The takeaway from this effect is that you can fine-tune your
set your Foreground and Background colors to their default type pretty easily, and then use the outline of that type for
of black and white, respectively. In the Options Bar, click on some really great effects. While the selection is active, you
the gradient preview thumbnail to open the Gradient Editor, can paint and add gradients in any way you like. With a little
select the Foreground to Background preset, and click OK. care, you can add layer styles such as Drop Shadows, or cre-
Choose the Linear Gradient icon in the Options Bar. On the ate cool titles for motion-graphics projects. When you treat
blank layer, click-and-drag up from the bottom of the selec- type as a graphical element, pay attention to legibility and
tion to some point above it. You should end up with a black make a conscious choice whether the type should be read
to gray gradient in your text. clearly and what meaning it should convey. Tighter kern-
ing may feel crowded as simple text, but may provide more
Step 10: Press B to activate your Brush tool, and choose any continuity for a design. Looser kerning can work well for
kind of textured or patterned brush from the Brush Preset powerful headlines that need to fill space. Dont be afraid to
Picker in the Options Bar. Im using a basic Grass brush that play with lots of variations!
055
CLICK TO RATE
HOW TO
Photoshop Tips COLIN SMITH

boost your productivity and creativity
I have some quick-fire tips for you in this issue. These are fast-and-simple tips that, if you start using them,
youll see an increase in productivity with less fiddling, and you know how annoying fiddling can be; thats
unless youre a fiddler and play the actual fiddle. So, Photoshop is not the place for fiddlinga fiddle is.
PIVOT POINT the hidden layers because theyre not needed. Or, you can
When youre transforming layersyou know, rotating and use a great little feature in Photoshop to clean up all those
scalingthey usually transform from the center. Have you unwanted layers in your Layers panel: Right-click in the Lay-
ever had a corner exactly where you wanted it before you ers panel and choose Delete Hidden Layers. Well, you could
scaled an object, but then you had to reposition it because do that until you upgraded to 2015.5, and that option is
the corner moved? I bet there have been a ton of times now gone from the contextual menu!
where you wished that objects rotated or scaled from a dif- Dont fear though, as its still there; Adobe just did a little
ferent point. You can actually have it transform from any spring-cleaning. Go under the main menu at the top and
point you like, even outside your object. Heres how: With choose Layer>Delete>Hidden Layers.
your objects layer active, press Command-T (PC: Ctrl-T) for
Free Transform. In the center of the Transform box youll see QUICK PATHS
a little point, known as the pivot point. (This point is always When youre working with the Pen tool (P), there are actu-
in the center unless you move it.) So, click-and-drag it to a ally five different Pen tools. There are also two path selection
different location and watch how everything now revolves tools, so that makes seven in total! The good news is that
around that point. you can access most of them by using keyboard modifiers.
Choose the regular Pen tool, and hold down the Option
(PC: Alt) key to change to the Convert Point tool to change
direction, convert lines to curves, and vice versa. Hold down
the Command (PC: Ctrl) key to switch to the Direct Selection
tool. Make sure Auto Add/Delete is turned on in the tool
Options Bar and you can click anywhere on the path to add
a point, or click a point to remove it. There, now you dont
have to keep changing tools.
NONDESTRUCTIVE STRAIGHTENING OF PANORAMAS

If you stitch together images into panoramas (File>
Automate>Photomerge), you may have noticed that the
horizons are often bent. Heres a nondestructive way to

fix that. When you first create the panorama, all the lay-
ers should automatically be selected in the Layers panel.
Right-click any of those layers and choose Convert to a
WHERE IS MY DELETE HIDDEN LAYERS FEATURE Smart Object. Now, use Filter>Adaptive Wide Angle (yes,
IN PHOTOSHOP CC 2015.5? it works on a smart object!). If you hold down the Shift
If youre like me when youre experimenting, you can end up key while drawing along the crooked horizon, it will be
with a ton of layers that you dont need. You can turn them adjusted to a perfect horizontal position. Heres the
off by clicking the little Eye icon next to them in the Lay- catch: Trying to get it right using only one line usually
ers panel, and then, when you get tired of endlessly scroll- doesnt work. While holding down Shift, draw a line on
ing through layers in the Layers panel, you start to delete the left half and then draw another line on the right half.
056
P H O T O S H O P T I PS
USE BUTTON MODE FULL-SCREEN TOGGLE

FOR ACTIONS In Photoshop there are three viewing modes. The default is
When you want to run an Standard Screen Mode. If you press the F key, you can go
action, you have to open the into Full Screen Mode with Menu Bar. This provides more
action set that it lives in, and working space. It also allows you to move the entire canvas
then select the action youre by holding down the Spacebar and dragging. Press F again
looking for. If you have a lot to go into Full Screen Mode. This will hide everything except
of actions loaded, that means for your artwork. Many people use this as a way to present
a lot of scrolling. Hopefully, their artwork. Tap the Tab key to show and hide the panels
the actions arent expanded, and Toolbox. Press Shift-Tab to show and hide the panels
because that means even by themselves. Press F one more time to return to Standard
more scrolling. By the time Screen Mode.
youve launched your action,
you could have performed MOVING LAYERS
the task manually. Heres a Keyboard shortcuts are a good way to speed up your work
tip: Click on the flyout menu in Photoshop. Heres a great one for layers: Rather than take
at the top right of the Actions the time to visit the Layers panel, press Command-[ or ] (PC:
panel (Window>Actions) and Ctrl-[ or ]) to move the currently selected layer down or up,
choose Button Mode. In Button Mode, youll see all the respectively, in the layer stack. If you want to quickly move
actions as colored buttons. Click the button and the action a layer to the bottom of the stack, press Shift-Command-[
runs, nice and simple. Bonus tip time: Youre probably (PC: Shift-Ctrl-[); or to instantly move
wondering how to change the colors on the buttons. Turn a layer to the top of the stack, press
off Button Mode (you cant edit actions in Button Mode), Shift-Command-] (PC: Shift-Ctrl-]).
hold down Option (PC: Alt), and double-click an actions
name. The Action Options dialog appears with Color
options at the bottom.
WHATS WITH THESE PESKY SMART OBJECTS?

While smart objects are wonderful, whenever you File>Place
something into Photoshop, it automatically comes in as a
smart object. There are times, however, when you might
want rasterized files instead of smart objects. You can
just tell Photoshop to stop placing as smart objects. Go to
Photoshop CC (PC: Edit)>Preferences>General and turn
off Always Create Smart Objects when Placing. Youll see
another option there that will allow you to Skip Transform CUSTOM WORKSPACES
when Placing if you just want to get it done! This one is really simple, but its surprising how many people
dont use workspaces, or maybe have just forgotten about
SELECTING THE LIGHTS AND DARKS them. At the top right of Photoshop (at the far right of the
Many people are aware that the Color Range tool enables Options Bar) is a pull-down menu; use this to choose a work-
you to make selections based on colors or tones. What a lot space. You can also move your panels around, close the ones
of people dont realize is Color Range is also a great place to you dont need, and open the ones you do. When you have
select the brightest or darkest pixels in your image. Choose everything set up the way that you like, you can save this
Select>Color Range. In the Select drop-down menu youll see workspace so it can be used again. Just choose New Work-
the options Highlights and Shadows. Use these options to space from the workspace drop-down menu, give it a name,
make your selections, and then use the Range slider to fine- select the options you want to save in the workspace, and
tune whats considered a highlight and a shadow. click Save.
057
CLICK TO RATE
ALL IMAGES BY COLIN SMITH
COLUMN
DesignMakeover JAKE WIDMAN CLIENT

Prescott Realty, Inc.
prescottrealty.com
brand development
before Prescott Realty, Inc. serves the home-buying needs of
Prescott, Arizona, located about an hour and a half north
of Phoenix. It was founded in 1991 when the firms bro-
ker, Richard Hanna, moved to the area with an eye to
retirement. Richard had been in the realty business since
the 70s, following in the footsteps of his father, Lyle, who
Original Logo
had founded D & H Realty in Phoenix in 1973.
The retirement plans, however, were put on hold.
Richards investor and builder friends urged him to keep
developing new housing in his new location, and so
instead of retiring, he launched a new company, Prescott
Realty. The firm started developing four subdivisions in
1992 and has been selling those lots ever since.
The new company needed a new logo, and Richard
came up with one himself. He loved the marketing side
As part of the resurrection, of real estate, recounts co-owner and sales specialist
Jon Rocha, and he drew it out when he founded the
Rocha convinced his company. Over the years, the logo mostly appeared on
partners that they needed the firms printed collateral. Out here in Prescott, our
to up their marketing game. median age is about 57 or 58, mostly higher-income

retired folks, says Rocha. Theyd call us and say, I really
like those subdivisions outside of town; can you send
us some information? So Richard would put together
packets of information, all using his handmade logo.
Rocha bought into the firm in the summer of 2015,
joining Richard and his daughter Lorinda. Now, instead
of winding down, were revving the company back up,
he says. As part of the resurrection, Rocha convinced his
partners that they needed to up their marketing game.
For one thing, he spearheaded the creation of Prescott

Realtys first website. For another, he launched a project
to modernize the longstanding logo.
makeover submissions
Were looking for product packaging or labels, print advertisements, websites, and magazine covers that are currently in the marketplace for
future design makeovers. So if you or someone you know has a design that youd like us to consider making over, or if youre a designer and
youd like to be considered for a future Design Makeover, send us an email at letters@photoshopuser.com. (Note: This is purely a design
exercise and the designers do not work directly with the client, create functioning websites, etc.)
Well also be covering real-world makeovers in this column, so let us know if you recently had a branding makeover or if you did a branding
makeover for a client that youd like us to consider.
058
DESIGN MAKEOVER
CLIENT
Prescott Realty, Inc.
prescottrealty.com
the project Rocha is very conscious of how a companys visual pre-

sentation affects consumers perception. You buy into
a certain brand because of how it looks or what story it
conveys. Theres so much power now in the branding of a
company and what it stands for, he says.
When he joined Prescott Realty, though, Rocha felt
that the existing logo would hold the company back in
its efforts to address a new generation of homebuyers.
We needed to make a logo that communicates things
were actually about rather than things that happened
20 years ago, he says. The old logo may have com-
municated experience, which is not a bad thing, but it
conveyed too much of that and not enough relevance,
innovation, and growth.
He did encounter some emotional reluctance to change
the firms longstanding image, though. The founder and
old logos originator, Richard Hanna, is still involved with
the business, and it was hard for him to hear that the
companys look needed to become more relevant to
todays consumers.
But Rocha wasnt talking about a complete overhaul
but rather just some fine-tuning, he says. We still
wanted to convey authority and experience. In collabo-
ration with the designer, they decided to build the new
logo around the companys initials, as with the old one.
From a design standpoint, Rocha says, if a real estate com-
pany uses something like an icon of a house for its logo,
that has an expiration date. But if you start with the PR,
you can create a timeless look. We wanted to take that
piece and progress with it. Retaining the companys ini-
tials also helped ease the founders concerns about the
rebranding project.
Round One
about the client

The actors in Prescott Realtys story are fourth-generation Arizonians and third-generation real estate brokers. The story begins when Richard Hannas
(Prescott Realtys Broker) father, Lyle Hanna, founded D & H Realty in 1973 in Pinetop-Show Low, Arizona. Shortly thereafter, Richard Hanna and his wife
Dorinda Hanna stepped into the real-estate scene and began marketing and selling property in East Valley Phoenix, in cities like Mesa, Tempe, and Chandler.
After selling the business in Phoenix, Richard and his father Lyle saw an opportunity to bring the same level of real-estate services to the Prescott area and
proceeded to build a new companyPrescott Realty, Inc. Today, Prescott Realty continues to embody and operate on the principles and values laid out by individu-
als such as Lyle Hanna, Richard Hanna, and Dorinda Hanna, who have always believed in unfaltering integrity, a strong work ethic, and exemplary client services.
059
DESIGN MAKEOVER
DESIGNER
Amie Baker Creative
amiebakercreative.com
the process Given the go-ahead, Rocha spent a month research-

ing designers and finally got in touch with Amie Baker
of Amie Baker Creative in Washington State. I have a
specific webpage that I put out there just for real estate
clients, says Baker, so he found that page on my site.
The process started with deep discussions about the
reasons for the rebranding. I really appreciated that she
asked the big whys of what were doing, says Rocha,
instead of just me saying, Hey, Amie, make something
really cool and modern-looking.
They told me they have a broad base of older
clients based on where theyre located but that theyre
trying to get new business as well, recalls Baker. So the
logo needed to be something that could be well received
by two generations. Baker suggested that retaining a
focus on the company initials would retain brand recogni-
tion while still moving the brand forward. So my focus
became playing with the two letters [P and R] and how
they work together to create more of a monogram look.
Baker explored several approaches, including some she
never showed to the client. She winnowed them down to
three for the first round (see previous page): the two let-
ters combined into a single glyph, the letters overlapping
in a triangle, and the R wrapping around the P. The clients
liked the last, so for the second round, Baker presented
variations on it: with thin strokes and thick ones, standing
alone and contained inside different shapes.
The third and final round (see next page) explored finer
variations on ways to contain the letters inside a square
including a new approach that started with a sketch by

Rocha. After I sent the second round, Jon had this idea
and wanted to see how it looked, Baker says. He drew
Round Two it by hand and Baker vectorized it, but that was enough.
Nine times out of ten, when I vectorize a clients idea into
a real logo for them to look at, they dont pick it.
060
DESIGN MAKEOVER
DESIGNER
Amie Baker Creative
amiebakercreative.com
the result The new logo hasnt yet made its debut at the time of this
writing. Were still figuring out the best date to launch
the new look so we can sync it with our Web developer,
whos working on tweaking our website, says Rocha.
That way we can rebrand all our stationery and also have
a strong presence online. Inside the company, though,
the new look is a hit. We all loved it, Rocha says, even
the founder. As soon as he saw it he said, I can see how
this makes us look like 2016.
For her part, Im really happy with the logo, says
Baker. I think its going to serve them well. She high-
lights the fact that its simple geometry gives it the ability
to be used in many different ways. Sometimes its hard
to get businesses to simplify their logo, she says, but
when you help them see theyre going to need to use
it in all these different contexts, it shows how well the
logo can do. Besides Prescott Realtys printed collat-
eral and website, the logo can be easily scaled up for
use on signs and billboards, and the monogram can be
used without the words as the firms profile picture in its
social media endeavors.
Round Three
The successful outcome also lays the groundwork
for future projects. Im a firm believer in working with
people I like, says Rocha. When I approached Amie, I
said well give it a go with this one project first, to see if
it works and if we like each other. Down the road, she
already understands what we like and dont like and what
we want to convey to the consumer.
Final Logo
CLICK TO RATE
about the designer

Amie Baker is a graphic designer, entrepreneur, and mother of two based in the South Puget Sound area of Washington State. After graduating in graphic
design from the Art Institute of Seattle in 2004, she held a range of in-house positions, where she enjoyed managing a wide range of projects that supported the
brands while clearly communicating the goals of each brands marketing efforts. She gained an understanding of the reach of marketing, from the simple touches
of a business card through the complex information compiled in a sales presentation, and of how all of those things work together. She drew on this foundation
when launching her business, Amie Baker Creative, in 2010.
Amie now serves clients by offering identity and logo design, branding, print design, and Web design through a balance of insightful creative vision and strategic
thinking. She partners with small businesses as a resource for efforts in continuously developing and growing their brands. 061
HOW TO
InDesign Tips DAVE CLAYTON

advance and enhance your indesign skills
COMPOUND PATHS (OR COMBINING SHAPES INTO

ONE SHAPE): THIS IS A GREAT TIP IF CREATING A
TRIPTYCH-STYLE LAYOUT IN A DOCUMENT
This tip is really useful when you want one image to fit
into multiple shapes without needing multiple versions of
the same image in each shape. Start by creating your first
frame/shape, switch to the Direct Selection tool (A), hold the
Option (PC: Alt) key, and click-and-drag to create a duplicate
shape. Repeat once more to create a triptych-kind of layout.
document, the image would update and remain in the

three frames.
But what if you wanted to move one of the shapes?
Okay, a couple of steps will rectify this. Select all the shapes
again and go to Object>Paths>Release Compound Path.
This releases the shapes/frames and the image will only
appear in the first shape. Now move the shapes into a dif-
ferent position, select them all, hit Command-8 (PC: Ctrl-8),
and the image fills all the shapes again.
Heres an extra cool design tip: Make two shapes and
If you were to select all the shapes with the Direct Selec- overlap them. Make a compound path as before and place
tion tool and try to File>Place an image, it would only place the image. This time, the overlap area is blank and the other
the image into whichever shape you click on. To enable areas are filled with the image. You can then place some
the image to span all three, you first need to combine the text in the blank area but still be able to move the image
shapes. With all the shapes selected, you can either go to around in the rest of the frames.
Object>Paths>Make Compound Path or press Command-8
(PC: Ctrl-8) to convert the three shapes into one frame.
Now when you place your image, it drops into the three
shapes as one image. This means you can move the image
around until satisfied with the placement. If you were to
062 edit the image in Photoshop and return to the InDesign
I N D E S I G N T I PS
MAKING MULTIPLE-SIZED DOCUMENTS IN ONE FILE as images or text, which you have obviously saved in CC
One of the biggest problems of creating multiple-sized Libraries, you can use them across all the layouts with ease.
documents (e.g., letterheads, business cards, flyers, comp That way, if you were to edit one asset, it would update
slips, etc.) is keeping track of all the files. If Im working across all the pages. Once finished, you can export as a PDF
on something like this for a client, I use the multiple-page that your print company can use.
feature already in InDesign; the very same one you use for
creating multiple-page documents. Using a feature in the GLYPH OPTIONS
Pages panel, we can add additional pages and resize them, One of the newer features in InDesign CC 2015 is the abil-
maintaining all document settings (character styles, margins, ity to see alternative character glyphs instantly onscreen
bleeds, etc.). instead of the old way where you had to open the Glyphs
Start by creating the first page as normal (File> panel (Window>Type & Tables>Glyphs) to find the one you
New>Document). Choose your settings in the New Docu- needed. Now you just type your text and highlight the char-
ment dialog, making sure you have Facing Pages unchecked, acter. If there are alternative glyphs available, there will be
and click OK. Now open the Pages panel (Window>Pages) a blue line at the bottom of the highlighted letter. Hover
and click the Create New Page icon at the bottom. you cursor over the highlighted letter and the glyph options
The new page appears, but before you do anything else, will appear underneath. Just click the one you prefer and it
click the icon to the left of the Create New Page icon called automatically changes.
Edit Page Size, and choose a size. By clicking Custom, you Speaking of shortcuts, if only you could download a short-
can create your own specific-sized pages, such as a square cuts cheat sheet from Adobe. Well, you can! Just click here.
flyer, business card, or any size document you require. Do
this action for each different-sized page you need to add to
the document.
Using this tip means

you cant use the standard
Master Page, which is sized
for the first layout, but thats
okay. Just click on each
of the pages in the Pages
panel and drag it up to the
master section to create a
master for that size. Then,
Right-click on that page in SAMPLING COLORS
the Pages panel, and select Lets say youve placed an image and added some text and
Apply Master to Pages. In you want to select a specific color from the image to apply to
the Apply Master dialog that the text. First, highlight the text with the Type tool (or if you
appears, choose the master want to change the color of a shape instead, select it with the
page that you want to use Selection tool [V]), and double-click the Fill icon (square with
in the Apply Master drop- a T) near the bottom of the Tools panel to open the Color
down menu, and click OK. Picker. In the bottom right of the Color Picker youll see a little
Youll see a Master Page eyedropper icon. Just click-and-hold on that icon, drag it over
Size Conflict dialog pop up; the image, and move the cursor around until you find the
just click Keep Current Page color you want. If you simply click OK in the Color Picker, it
Size. This way, if youre cre- will change the color of the text, but if you click the Add RGB
ating multiples of each of Swatch button in the Color Picker first, it will add that color
the sizes in this document, to your Swatches panel for that document. Then, you could
the appropriate master style click on that swatch in the Swatches panel and click the Add
will apply to each layout. Selected Swatch to My Current CC Library icon (cloud with
Now when you start arrow) at the bottom of the panel to use that color with other
placing other assets, such projects where you might need it again. 063
CLICK TO RATE
A Comparison of Lightroom and Capture Ones Image Processing
and How First Impressions Can Sometimes Be Deceptive
BY MARTIN E VENING
Are Lightroom users getting the most out of their RAW How Sharpness Is Defined
files and can they be sure the RAW-processing software The reason why Capture One is perceived to be sharper
they use is as good as Lightrooms leading competitor? than Lightroom is mainly due to the default settings used.
Its a worrying thought, yet this is the claim being made By default, Lightroom applies a 25 Amount sharpening to
by some reviewers in head-to-head comparisons between all RAW images (on a scale of 0150). The actual amount of
Adobe Lightroom and Capture One Pro. If you were to underlying sharpening thats applied varies from camera to
count up all the hours youve spent processing your files in camera, but Adobes aim is to apply a base-level amount of
Lightroom, youd want to be reassured your creative efforts sharpening that makes all RAW files appear equally sharp at
havent been wasted. So earlier this year I spent some time a 25 setting. Its actually a rather conservative amount, and
comparing the RAW-processing controls in both programs all images will benefit from having at least this much sharp-
in detail. From this, I concluded Capture One is indeed a ening without the risk of seeing ugly artifacts. The intention
solid RAW processor that has a number of unique features is to let photographers decide how much further they wish
that are missing in Lightroom; however, these dont include to adjust the Amount, Radius, Detail, and Masking sliders
better sharpness and color/tone rendering. This article takes to fine-tune the sharpening effect.
a close look at the image processing in Capture One and Capture One meanwhile, applies higher default
Lightroom and shows how the two programs are actually sharpening settings, where the indicated values vary from
more similar than you might think. Although the compari- camera to camera. With Canon sensors, the default
sons shown here were done in Lightroom, youll see the Amount setting is usually 180 (on a scale of 01,000),
same kinds of results if you work in Adobe Camera Raw. while for the Fujifilm X-Pro1, the default Amount is 140.
Martin Evening, Canon EOS 1Ds Mark III
Capture One with default sharpening and noise reduction In this Lightroom-processed version, the Sharpening and Noise
Reduction settings were adjusted to match the Capture One look.
In the Detail panel, Amount was set to 55, Radius to 0.9, Detail to 15,
Masking to 0, and Luminance Noise Reduction to 35. In the Basic
panel, Clarity was set to +15.
Close-up view of the Capture One default settings version Close-up view of the Lightroom-adjusted version
065
In all cases, the Capture One
sharpening setting is roughly
double that applied by Light-
room. If you increase the Amount
sharpening slider in the Detail
panel in Lightroom to around
4555, youll see a closer match
in sharpness. In case you think
this is cheating, you can check
to see what happens when the
sharpening is disabled. At a zero
setting, images appear equally
unsharp in Capture One and
Lightroom. Increase the sharp-
ening settings in Lightroom and
most images will appear to be
just as sharp. [Note: All the close-
up views throughout this article were taken at a magnifica- Luminance Noise Reduction is most likely necessary to pre-
tion of 800% on a HiDPI display.] vent noise artifacts from being sharpened. Compared to
The image above shows a comparison of the Capture Lightroom, the Capture One Luminance Noise Reduction
One and Lightroom renderings (see previous page). In produces smoother results; therefore, theres a slight loss of
Photoshop, I placed the Lightroom-adjusted rendered ver- fine-detail texture, as can be seen in close-up views of this
sion as a layer above the Capture One default-rendered ver- pine forest image below.
sion and set the blend mode to Difference near the top When the sharpening and noise reduction are zeroed
left of the Layers panel. I then added an Invert adjustment (see images next page), theres very little difference and
layer (Layer>New Adjustment Layer>Invert), plus a Levels both appear equally unsharp. When the default sharpen-
adjustment layer (Layer>New Adjustment Layer>Levels) set ing and noise reduction settings are compared, the Cap-
to Auto to amplify the difference. This emphasized the dif- ture One version appears to be sharper; however, when
ference in edge detail such as on the contours of the guitar. the Lightroom Detail panel controls are adjusted to match
There are other factors to consider here though. Cap- the Capture One default settings, and a small amount of
ture One appears to apply what can best be described as a Clarity is added, the Lightroom version matches the sharp-
wide-edged, Clarity-type enhancement that can make the ness of the Capture One version more closely.
high-contrast edges stand out
more. This isnt always evident,
but is most noticeable on cer- Martin Evening, Canon EOS 650D
tain types of images, such as in

the photo of the guitarist, where
the contours of the guitar had
slightly better definition in the

Capture One rendered version.
This can be matched to some
extent in Lightroom by adding a
small amount of Clarity.
It so happens that Capture
One applies by default a 50 Lumi-
nance Noise Reduction, whereas
the default in Lightroom is zero.
Because Capture One applies a
more aggressive sharpening, the
066 This is a full-frame view of the image used to carry out the following sharpen and noise reduction tests
Capture One: Close-up view with zero sharpening and Lightroom: Close-up view with zero sharpening and
zero noise reduction zero noise reduction
Capture One: Close-up view with default sharpening and Lightroom: Close-up view with default sharpening and
noise reduction noise reduction
Capture One: Close-up view with default sharpening and Lightroom: Close-up view with sharpening set to Amount: 55, Radius:
noise reduction. [Note: This is the same image as above. Its repeated 0.9, Detail: 15, Masking: 0, and Luminance Noise Reduction: 35. In the
here to make it easier to compare it to the Lightroom image on the right.] Basic panel, I added +15 Clarity.
Essentially, the Capture One approach applies a differences are very minor, though, and you have to
stronger, more aggressive sharpening and adds a small go pixel peeking to really appreciate them. Most of the
amount of Luminance Noise Reduction to compensate time the extra sharpening thats applied by Capture One
for any noise increase. Once you balance out these dif- is pleasing, and where its too strong, can be tamed by
ferences by increasing the sharpening, noise reduction, reducing the sharpening settings.
and midtone contrast in Lightroom, its apparent that Capture One has Amount, Radius, and Threshold
the Lightroom approach seems to preserve more micro sliders to control the sharpening, whereas Lightroom has
detail. So while Capture One processing can produce Amount, Radius, Detail, and Masking sliders. The Detail
images where the contrast edge detail is enhanced, this slider in Lightroom is excellent for enhancing the sharp-
is done at the expense of fine-detailed texture. These ness (especially with low ISO captures), and the Masking
067
slider is useful for concentrating the
Scott Kelby, Nikon D3S
sharpness on the sharp edges only.

These extra controls provide Light-
room users with additional scope
to fine-tune the sharpening in ways
Capture One cant.
Color Rendering
The color appearance is determined
by how the RAW-processing soft-
ware interprets the color data. When
you shoot in JPEG mode, the camera
processor converts the colors to
whatever color look or picture style
youve chosen in the camera settings
Lightroom default settings using the Adobe Standard profile for a Nikon file menu. When you shoot in RAW
mode, you have the option to select
the type of look you prefer afterwards
via Lightrooms Camera Calibration
panel before applying any further
color edits. If you have never before
explored this menu option, its worth
checking out the different color looks
you can apply, including Camera
Standard (which will match the
camera JPEG color rendering). The
point is that any of these options
can be considered a suitable start-
ing point. Which you should choose
depends on whether youre looking
for color fidelity, a saturated color
Capture One default settings using the default camera profile for a Nikon file look, or something else. By default,
Lightroom applies the Adobe Stan-
dard camera profile to all newly
imported images. This is designed to
provide the best color accuracy and
is created from images shot of X-Rite
color targets.
The Capture One color rendering

differs from Lightrooms in a num-
ber of respects. With some cameras,
such as Canons, the colors will appear
notably warmer and the skin tones
richer in color. While the Adobe Stan-
dard profile in Lightroom will achieve
a fairly good match when processing
Phase One and Fuji files, the Adobe
Portrait profile generally works best for
Lightroom-adjusted tone settings using Camera Portrait profile, plus minor HSL adjustments
068
Canon and Nikon files. To achieve a
Martin Evening
more exact match, its often necessary
to tweak the HSL panel controls. Basi-
cally, if you want an image processed
in Lightroom to precisely match a Cap-
ture One look, youll also need to use
the HSL panel. It can be done, but its
more likely users will want to stick with
the default color look and use this as
the base starting point from which to
make further color edits.
Tone Editing
The interesting thing about Capture
One is how the tone settings are adap-
tive. For the most part, Capture One Default Capture One settings
applies an extra amount of contrast
that adds more of a kick to the shadows
compared to Lightrooms default Linear
Tone Curve setting. I would describe
Capture Ones contrast setting as
producing a more film-like look. When
Capture One encounters high-contrast
subjects, however, it adaptively applies
a softer contrast curve. This is kind of
similar to the way the Auto tone func-
tion in Lightroom works, except when
you click Auto, the tone adjustments in
Lightroom can sometimes work well,
but other times look awful. Capture
One appears to have a built-in auto
contrast adjustment that is, by compar- Capture One processed version with the Highlights set to 100 and the Shadows set to +50
ison, tamer and more often than not
spot on. That said, the default option is
to apply a fairly strong tone curve, one
thats similar to selecting a Medium
Contrast setting in Lightrooms Tone
Curve panel. This is why comparison
tests tend to show Lightroom images
looking softer and less punchy.
With the Exposure slider adjust-
ments, I noticed Capture One allows
the highlight tones to compress as
you increase the Exposure. Lightroom
does this too, but does a better job of

preserving the tonal separation in the
highlights without requiring a separate
Highlights slider tweak.
This shows a Lightroom processed version with the Highlights set to 100 and the Shadows set
to +100. Although these two sliders are set to their maximum setting, they dont compress the
tones as much as Capture One does. 069
Martin Evening
A more obvious difference between
Capture One and Lightroom tone
adjustments is the way the High-
lights and Shadows sliders respond
and the types of halos they generate.
In the example on the previous page,
youll notice how when editing a reg-
ular image, the tone width range for
the Capture One controls is narrower
(which can lead to less flattening of the
midtone contrast). With this type of
image, the Capture One Highlights and
Shadows sliders are more effective at
darkening the highlights and lightening
the shadows. If you take an image that
Default Capture One settings features a wider dynamic range scene
(see the example on this page), the
Lightroom sliders have a more concen-
trated lightening and darkening effect
compared to Capture One.
Capture One processed version with the Highlights set to 100 and the Shadows set to +100
Lightroom processed version with the Highlights set to 100 and the Shadows set to +100.
In this instance, the range of the Lightroom sliders is greater.
070
Martin Evening, Sony A7rII
HOW TO GET THE
CAPTURE ONE LOOK
As youve seen, its possible to tweak
the settings in Lightroom to achieve
results that are more like the Capture
One default look. You can do this by
adjusting the Develop module settings
each time you open an image, but you
can best do this by making Develop
presets, or creating new default
settings. The actual settings will vary
from camera to camera, but as a rough
guide, I suggest you try the following:
Step One: In the Detail panel, increase

the Sharpening and Luminance Noise
Reduction settings. Set the Sharpening
Amount slider as follows: Nikon: 75,
Step One Canon: 55, and Sony and Fuji X-Trans:
45. Set the Radius slider to 0.9 and
the Detail slider to 15 and leave the
Masking slider set to 0. In the Noise
Reduction section, set the Luminance
slider to 35.
Step Two: Now, go to the Presets

panel and click on the plus icon to
create a new preset. Click Check None;
check on only the Sharpening, Lumi-
nance Noise Reduction, and Process
Version boxes; and click OK to create
a new Sharpening and noise reduc-
tion preset. Youll notice I also created
Step Two
a Capture One Simulation folder to
which to save the preset. Just click on
the Folder drop-down menu, select
New Folder, name your folder, and click
Create in the New Folder dialog. Click
Create again to close the New Develop
Preset dialog.
Step Three: Next, go to the Tone

Curve panel and select Medium
Contrast from the Point Curve drop-
down menu. Repeat Step Two, but

this time only check the Tone Curve
and Process Version boxes and save
as a Medium Contrast preset to the
same Capture One Simulation folder.
Step Three 071
Step Four: Go to the Camera Calibra-
tion panel and select Camera Portrait
from the Profile drop-down menu.
Once again youll want to create a
new preset. Check the Calibration
and Process Version boxes only and
save as Camera Portrait to the
same Capture One Simulation folder.
Step Five: Having done that, reset all

of the above settings to their defaults
and save as a Reset Settings preset. Step Five
Youll need to check all the items
Step Four
shown here in the New Develop
Preset dialog. This preset can be used
to reset the Detail panel sharpening,
noise reduction, Tone Curve panel,
and Calibration panel settings.
Step Seven
Step Six: Now open an image and
click to apply each of the presets
in turn to see which combination
improves the appearance of the Step Six
image. If necessary, click the Reset
Settings preset to start over, especially
since not all images will benefit
from a contrast boost or Camera
Portrait profile.
Step Seven: Theres also the option

to save any of the above adjustments
as a default setting. In the Develop
module Develop menu, choose Set
Default Settings. This opens the dialog
shown here where the currently
applied settings will become the new
default for this particular camera. Its
important that no other settings are
applied other than those you wish to

make the defaults.
Step Eight: As an optional step, go to

the Quick Develop panel in the Library
module and click on the Temperature
single-right-arrow button. This will
apply a small warming white balance
adjustment relative to the current
white balance setting.
072 Step Eight
These suggested settings are a guide to the kind of settings offers better control over the color saturation. GPU support
needed to simulate the Capture One look. Ive found means Lightrooms Develop sliders are more responsive.
Capture Ones default sharpening settings for Nikon to be Lightroom has superior retouching tools, plus more effec-
more aggressive than the amount applied for other cameras, tive lens correction and perspective controls. It also has fully
so Id suggest using a 55 Amount sharpening setting. For integrated DNG support to enable things such as Panorama
images that are already quite contrasty, I suggest leaving and HDR Photo Merges.
the Tone Curve setting as is. You could also include a Basic The biggest difference between the two programs,
panel +10 or +15 Clarity adjustment. In some instances, though, is a difference in philosophy. Lightroom aims for
this can help match the Capture One look, but this adjust- a standardized result where the tone and color rendering
ment doesnt suit all images, and I recommend you manu- is deliberately made more conservative. This reminds me of
ally add Clarity only where you feel its necessary to do so. the time I spent at art school learning to print in black and
white. I was taught to produce the contact sheets on a soft-
Two Different Philosophies contrast grade of paper, because this would reveal the full
In conclusion, if you simply compare default settings, the extent of tones captured by the negative. In Lightroom, the
results will look different. If you go beyond the basics and initial rendering is meant to be a starting point, and Light-
actually edit in Capture One or Lightroom, you can make room provides the color, tone, and sharpening controls you
your photos look similar, or make them look however you need to realize your vision.
want. Having worked in Capture One, I have full confi- Capture Ones philosophy is to produce a more opti-
dence in the programs image-editing controls, just as mized look that doesnt necessarily require further edit-
I have in Lightroom. The perceived wisdom that Capture ing. This may have led to the perception that Capture One
One is sharper is mostly based on a superficial analysis of is sharper and punchier, but in reality neither program is
the default settings. inherently better than the other when it comes to actually
Capture One does outshine Lightroom in some respects working on your images and adjusting the settings to suit
though. The color editing sliders offer better fine-tuning individual tastes.
control, particularly for skin tones. The Shadows and High- I am disinclined to criticize Capture Ones approach. If
lights sliders have a greater range of tone control when Capture One customers find the optimized approach gives
editing regular dynamic range images. The new Luma them the end result theyre after quicker, are they wrong if
Curve is useful for precise control of luminance and color they happen to like what they see? Capture One certainly
contrast. The global moir removal is faster, and the black- has the professional-level tools to produce great-looking
and-white conversion process is good at suppressing halos images, but Lightroom users shouldnt be sidetracked by
along areas of color contrast. claims for Capture Ones superiority. Fundamentally, the
Lightroom, meanwhile, has extra controls to fine-tune two programs arent as different as some might have
the sharpening and noise reduction. The Vibrance slider you believe.
CLICK TO RATE
Martin Evening is a UK-based photographer with a background in commercial studio photography

with more than 20 years experience writing about all things to do with Photoshop, Lightroom, and
photography. In 2008, Martin was inducted into the NAPP Photoshop Hall of Fame in recognition
for his work as a Photoshop and Lightroom instructor. He continues to work as a writer and technical
reviewer and has a particular passion for landscape photography.
073
PHOTOGRAPHY SECRETS
One thing I love about being a portrait

photographer is experimenting with
different styles. One day I might
be shooting edgy sports portraits,
and the next day photographing
film noir. Recently, I was at the
Pima Air & Space Museum in
Tucson, Arizona, and noticed that
some of the old military planes
had pin-up models painted on
their fuselages. Studying this
colorful nose art, I was struck
by the distinct style and feeling of
these paintings. Even though this era
was before my time, I was intrigued by
the photography style that inspired these
paintings. My challenge was to re-create
the mood and atmosphere so evident in
these early pin-up photographs.
PHOTOGRAPHY SECRETS
Many would call Betty Grable the original pin-up model. Step One: Production
Her bathing suit pin-up photograph hung in countless Ask any photographer what the key is to a successful shoot
GI lockers during WWII, and Life magazine included this and chances are theyll say production. Producing a shoot
shot in 100 Photos that Changed the World. But what includes all the specifics leading to the actual photograph.
caught my eye with these early pin-up shots was the classy, If you dont pay close attention to the details, then your final
tasteful style. Pin-up models from this era wore colorful image wont be as successful. I spent a full day researching
dresses and skinny shorts. To be successful, I needed the pin-up styles, props, and models. I noticed some pin-up
right model, props, and location. models were posing with bicycles from the 50s. Fort Col-
I live in Fort Collins, a small city in northern Colorado, lins is a big biking town, and cruiser bikes are very popular.
and one advantage of being a photographer in this city I found a beautiful yellow cruiser bike at a local store, and
is Old Town, a historical district with many buildings dat- bought it on the spot. Next, I purchased red and pink
ing back to the early 1900s. A brick building with a 50s bubble-gum balloons to add a whimsical feel to the
Coke mural oozes nostalgia from this era. I spent a half day image. Finally, my wife (who is also a photographer)
walking around Old Town looking for the perfect location, located our model. She knew a girl who was a dancer
and discovered an old auto repair store that had closed in a burlesque show, and would perfectly fit the part for
down. The gritty feel combined with the red building pin-up model.
exterior had a nostalgic feel. I had my location.
Cree Bol
075
PHOTOGRAPHY SECRETS
Step Two: Start With One Light

Even if I envision many lights for a portrait, I generally photo shoots. I chose a 39" Rotalux Deep Octabox to
start with one light. Starting simple allows me to build in be my main light. The Deep Octa adds a little more con-
more flash as I need it instead of over-illuminating a shot trast and stronger shadows to the subject, which would
that doesnt need it. Lighting brings my portraits to life create better separation for my model. I triggered the
by supporting the subject and concept, not by distract- lights using the new EL-Skyport Plus HS wireless
ing the viewer. For this shoot I used Elinchrom Rangers transmitter, and underexposed my ambient exposure
with Free Lite S Heads. These 1100-watt battery-powered one stop to slightly mute the background. We placed
flash packs are my workhorses for location lighting. Eleven our model, Emma, in front of the old garage with the
hundred watts is enough power to overpower midday cruiser bike and took the first shot. And thats when
sun, and these packs have plenty of battery life for long I saw a big problem.
Cree Bol
076
PHOTOGRAPHY SECRETS
Step Three:
Roll With The Punches
On almost every shoot I do, some
snafu comes up. Reviewing my first
shot of Emma, I realized the garage
doors in the background were highly
reflective. Even though they appeared
dull gray in color, the doors perfectly
reflected my softbox in the image.
In essence, we were photographing
against a giant mirrored background
and would have to be careful to
avoid reflections. I shot with my
35mm f/1.4 lens to blur the back-
ground and create more separation.
Shooting at f/1.8 required a shutter
speed of 1/4000. Since I was using
the slow flash duration Free Lite S
heads combined with the EL-Skyport
Plus HS transmitter, I was able to use
Hi-Sync and shoot at any shutter
speed I needed. Hi-Sync retimes the
shutter and flash to enable the use
of shutter speeds much faster than
my normal 1/250-sync speed. The
single light image looked nice, but
felt too edgy for a pin-up. I wanted a
light-and-airy feel to the image, and
that meant adding a second light.
Cree Bol
077
PHOTOGRAPHY SECRETS
Step Four:
Cree Bol
Add Lights As Needed

To create more highlights and illu-
minate Emmas left side, I used a
second Ranger and Free Lite S Head
shot through a standard 39" Rotalux
Octa. We feathered this light (aimed it
up) from the left to illuminate Emma
but not cast strong shadows on the
ground. Opposing shadows never look
good in a portrait. Emma was the per-
fect model for this shoot; she seemed
to transform into a real pin-up girl as

the shoot progressed. I still didnt like
the dark garage wall behind her, so
we added a third Ranger and Free Lite
S Head to illuminate this area. I placed
a 20 grid on the flash to focus where
we needed it in the background. These
images were looking terrific. I loved
the bike and balloons as props, and
Emmas red makeup and yellow head-
078 band nicely accented the image.
PHOTOGRAPHY SECRETS
Cree Bol
Step Five: Mix It Up
Once we had the bike shot, we decided to try something
a little different. Photographing multiple scenes and looks
is important to getting the right shot. Ive found on por-
trait shoots that the synergy with the model only develops
over time, and often my best images are near the end of
the shoot. With this in mind, Emma switched into a new
outfit and we changed the color of the balloons. And then
it happened. Totally unscripted, Emma lifted her heel up
and looked over her shoulder toward the light. And that
moment was the shot. Her surprised look and classic pose
just nailed the 50s pin-up feel. We were back to one light,
the Deep Octabox, shooting at f/1.4 at 1/5000. To further
enhance the vintage look in postprocessing, I used ON1
Effects 10 to add a warming tone to the image.
079
PHOTOGRAPHY SECRETS
Step Six: Dont Stop Now
Cree Bol
I was feeling really good now, and Emma was having a
good time, so we decided to try one other image in a
nearby alley. To compress the final image and create nice
bokeh, I switched to my 85mm f/1.4. For lighting, I set
up one of my favorite softboxes, the Elinchrom Rotalux
Indirect 75" Octabox. This softbox creates silky-smooth
soft light, a nice look for almost any photograph. We
worked through some different poses, but as I reviewed
the shots on my LCD, I knew I already had my shot from
the garage location.
A few days of production, hours of shooting, and one

unscripted moment resulted in my nostalgic pin-up portrait.
And it all started by walking through a plane graveyard
in the scorching Arizona sun. Go figure. But Im already
CLICK TO RATE planning my next pin-up shoot.
080
ALL IMAGES BY TOM BOL EXCEPT WHERE NOTED

What happens when your brain goes out of bounds? What happens when you push the boundaries of your
imagination? The answer is obvious. You take your ideas to places theyve never been before. Youre in new territory
now. And if its up to you, youll go into new territory again tomorrow. Fuel your creativity.
Easy training from the best in Photoshop, Lightroom & Photography kelbyone.com
For information or to register visit www.worldwidephotowalk.com
LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ISSUE 23
MAGAZINE
SEE HOW THE LANDSCAPEPRO

LIGHTROOM PLUG-IN CAN IMPACT
YOUR LANDSCAPE PHOTOGRAPHS
MAXIMUM
WORKFLOW
LIGHTROOM WORKSHOP UNDER THE LOUPE

Creating 32-Bit HDR Images in Lightroom will give you The Folders panel is probably the most-used panel in Light-
much more tonal control of your photos. p85 room, but are you taking full advantage of its capabilities? p91
PHOTO BY SEAN McCORMACK
85 91 96 104 106 &
Tips Tricks BY SEN DUGGAN
Sen Duggan
Scott Kelby
Questions Answers
BY SCOTT KELBY &
Maximum Workflow
landscapepro
BY SEAN McCORMACK
Sean McCormack
Under the L oupe
understanding the role of the folders panel
B Y R O B S Y LVA N
lightroom magazine contents

Rob Sylvan
Lightroom Workshop
creating 32-bit HDR images in lightroom
BY SCOTT KELBY
Scott Kelby
lightroom magazine
Lightroom creating 32-bit HDR

images in lightroom
Workshop BY SCOTT KELBY
Lightroom lets you take a series of shots that were

bracketed in-camera and combine them into a
single 32-bit HDR image (something we used to
have to jump to Photoshop for in the past). But, I'll
tell you up frontit doesnt create the traditional
tone-mapped HDR look (like Photoshops HDR
Pro does). In fact, the 32-bit HDR will look a lot like
the normal exposure. But, when you edit it, this 32-
bit image has increased highlight range and bet-
ter low noise results when you really have to open
up the shadows, so the image has a greater tonal
Excerpted from The Adobe Photoshop
Lightroom CC Book for Digital Photographers range overall to work with from the start.
lightroom magazine
step one: Select your bracketed shots in
SCOTT KELBY
the Library module. Here, I selected three
shots: the regular exposure, one shot that is
two stops underexposed, and one shot that
is two stops overexposed. Then, go under
the Photo menu, under Photo Merge, and
choose HDR (as shown here; or just press
Control-H [PC: Alt-H]). Note: If you have
Adobe Photoshop, you still have the option
to jump over to it from Lightroom and use
its HDR Pro feature instead. To do that, just
select your images, then go under the Photo
menu, under Edit In, and choose Merge to
HDR Pro in Photoshop.
step two: This brings up the HDR Merge

Preview dialog you see here, and it looks
gray like this while its building a preview of
how your combined single HDR image will
look. Note: This dialog is resizablejust click-
and-drag the edges of the dialog to resize it.
tip: faster hdr processing

If you want to skip this dialog altogether and
just have Lightroom combine your bracket-
ed images into a 32-bit HDR in the back-
ground, using the settings you last used,

just select the images, then press Control-
Shift-H (PC: Ctrl-Shift-H) and itll do the rest.
Adobe calls this skipping-the-dialog feature
Headless mode. I am not making this up.
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lightroom magazine
step three: After 20 or 30 seconds (or

so), a preview of the combined HDR image
will appear. Like I said up top in the intro, itll
probably look very much like the normal
exposure. But, depending on the image,
it can have more detail or it can look brighter
in the shadow areas, but it wont look a
whole lot different (with Lightrooms brand
of 32-bit HDR, you dont really see the
benefits until you tone the image in the
Develop module using the Basic panel).
tip: less bracketed image

is more
For the type of math Lightrooms HDR
Photo Merge does, you dont need a lot
of bracketed images. In fact, according to
Adobe, not only are three bracketed images
enough (one normal, one two stops under,
one two stops over), you can even skip the
normal exposure and just use two images
and have lots of detail (versus using more
bracketed images). Pretty wild, I know.
step four: Before you click Merge,

I would recommend turning the Auto Tone
checkbox on/off to see how it looks (this
is the same Auto Tone checkbox found in
the Basic panel). In nearly all the HDR im-
ages Ive tested (and its a bunch), Auto
Tone has looked at least a little, if not a
lot, better, so its worth toggling it on/off
to see what you think. You can see the dif-
ference here between this one with Auto
Tone turned off and the auto-toned im-
age in Step Three. If you ask me, that one
looks quite a bit better (and I usually leave
Auto Tone turned on when Im processing
my own HDR images). While were talking
checkboxes, the Auto Align checkbox is on
by default, but what it helps with (mostly)
are shots you handheld while bracketing.

If the alignment is off a little (or a lot), itll fix
that automatically. If you shot your HDR on
a tripod, it doesnt need to align anything,
so you can skip it and itll process faster.
087
lightroom magazine
step five: The Deghosting feature helps

if something was moving in your photo
(like someone walking in your frame, who
now appears like a fully or semi-transparent
ghost, but it doesnt look cool, it looks like
a mistake). By default, Deghosting is turned
off (only turn it on if you have visible ghost-
ing). To turn it on, click either Low (for mild
deghosting), Medium (for more), or High (if
theres a lot of ghosting in the image), and it
does a pretty amazing job of basically pull-
ing a non-moving area from one of the three
bracketed exposures and seamlessly display-
ing it, rather than the ghosted movement.
I always start with the Low setting and only
move up to Medium or High if the ghosting
is still visible. By the way, when you turn this
on, it has to rebuild the preview again, so itll
take a few seconds (and youll see a Build-
ing Preview message appear).
step six: If you want to see the areas that

are being deghosted in your image, you can
turn on the Show Deghost Overlay checkbox
and after a few seconds (it has to rebuild a
new preview), the areas that are being de-
ghosted will appear in red, as seen here,
where I turned on Medium deghosting.
Theres not a lot moving in this image, which
was shot on a tripod, but you can see a guy
on the far left who was moving and the de-
ghosting helped a bit here. Since it didnt do
much, I turned it off again.
088
lightroom magazine
step seven: So far, youre looking at a

preview of how your merged HDR will look,
but its just a preview. When youre fin-
ished making your checkbox choices, click
the Merge button and it starts processing
the actual HDR image in the background.
It takes a minute or so (depending on how
many bracketed images you used, the size
of your images, the speed of your computer,
etc.). When it's done merging, this new 32-
bit HDR appears as a RAW DNG file in the
same collection you started in, as seen here
(you read that rightyour combined HDR
image is a RAW file, which is pretty amazing
unto itself). By the way, if you didnt start this
process from a collection, then it saves the
single 32-bit HDR image in the same folder
as the bracketed images. Lets go ahead and
take a look at our HDR image. Click on its
thumbnail and go to the Develop module.
step eight: Normally, you can drag the

Exposure slider to +5.00 or 5.00. Well, be-
cause of the hugely expanded tonal range
in 32-bit images, that range is now +10.00
(as seen in the inset) or 10.00. Hopefully,
youll never take an image whose exposure
is off by 10 stops, so Im just letting you
know the 32-bit HDR image has a greatly
expanded range, and that helps us by giv-
ing us some highlight headroom and better
results when it comes to noise when you
open up the shadow areas a lot. Aside from
that stuff, if you look at the image, you can
see some lens problems (take a look at the
long horizontal sign up topthe whole
thing is arcing down on the right). Its not
fully level, either.
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lightroom magazine
step nine: Luckily, these lens problems

are an easy fix using the Lens Corrections
and Transform panels (so scroll down to
them in the right-side panels). On the Pro-
file tab in the Lens Corrections panel, turn
on the Enable Profile Corrections checkbox
(Lightroom reads the camera data embed-
ded in the file and chooses the proper lens
profile for you), and just doing that helps a
lot. If, for whatever reason, it cant find a
matching lens profile, then choose your lens
Make and Model from the pop-up menus.
Once thats done, in the Transform panel,
turn on the Constrain Crop checkbox and
click the Auto button to apply an automatic
lens correction. As you can see, its dramati-
cally better (compare it with the original in
the previous step).
step 10: Okay, now we can start toning

the image in the Develop modules Basic
panel, and in this particular image, theres
just not that much to do (especially since
we already applied an Auto Tone when we
created the HDR image in the first place).
In fact, all I did here was to crank up the
Clarity amount to +42 (chrome and metal
love Clarityit really makes them pop),
then I went to the Detail panel, and in the
Sharpening section, I increased the Amount
to +50. Thats it, your first 32-bit HDR image

in Lightroom.
090 CLICK TO RATE

lightroom magazine
Under understanding the role of

the folders panel
the
B Y R O B S Y LVA N
Loupe
The Folders panel may be one of the most-used panels in all
of Lightroom, but it may also be one of the least understood.
Theres actually quite a bit of functionality in this little panel, and
it puts a lot of data at your fingertips.
lightroom magazine
One of the most important distinctions to make is that the

Folders panel is not a file browser. You will only see fold-
ers that have actually been through the import process. Just
like the photos that reside within them, nothing appears in
Lightroom unless it was introduced to the catalog first.
In addition, you can open that disk in Windows Explorer or

Finder and even access information about that disk.
Another nice aspect of the Volume Browser is that its
collapsible, which makes the Folders panel much easier to
navigate, especially if you have multiple drives with multiple
The Folders panel consists of two elementsFolders and folders on each. The previous screen captures showed both
the Volume Browser. Folders are exactly that, the folders of my volumes collapsed, but once theyre expanded, I can
on your hard drive(s) that youve imported into Lightroom. see my folder structure underneath.
You can import any number of folders and subfolders, and
theyll always be sorted alphanumerically. Subfolders will
nest under their parent folders, which mirror the structure
you see in your file browser (i.e., Finder or Windows Explorer)
when looking at your disk because theyre one and the same
set of folders.
the volume browser

I have two Volume Browsers, labeled Macintosh HD and
DroboPhotos (see image above). Macintosh HD is my inter-
nal drive and DroboPhotos is an external drive. These are the
names I gave these drives on my Mac. On Windows, you
would see the relevant drive letter.
With a glance at the Volume Browser I can tell a few
things about my drives. First, the Macintosh HD drive shows
a green indicator, which means that the drive has ample free
space. In fact, it shows that 115 GB out of 465 GB are free.
Second, I can see that DroboPhotos is offline since it dis-
plays a gray indicator and the name is faded out. Since its
offline, Lightroom cant display how much free space it has. Remember, youll only see imported folders displayed in
Once that drive is reconnected to my computer and comes the Folders panel. I find it preferable to always import the
online, the Volume Browser will change from gray to green, top-level or parent folder that contains all the subfolders
and any question marks on folders will go away. Just so you where my photos are stored. This provides the benefit of
know, the color indicator will turn yellow as free space gets being able to collapse that group of subfolders so the list
down to 10 GB, orange as the free space gets down to 5 doesnt run on forever, and it makes it much easier to move
GB, then red when the disk has only 1 GB free remaining that entire tree of folders to a new drive if necessary just by
(hopefully, you wont let your drive get that full). dragging-and-dropping the top-level folder.
Free space isnt the only information the Volume Browser Dont worry if you havent imported the parent folder
reveals. If you Right-click the Volume Browser, you can choose containing your photo subfolders because it can be done
092 to display Disk Space, Photo Count, Status, or nothing at all. right from the Folders panel. Just Right-click the topmost
lightroom magazine
folder in the panel and choose Show Parent Folder. The the panel, and Imported_Photos will appear nested under-
parent folder will automatically appear in the Folders panel, neath, just like it exists on my drive.
and all of its subfolders that were showing previously in the Alternatively, if you have a top-level folder that you
Folders panel will be nested underneath. For example, you dont want to see displayed in Lightroom, you can Right-
can see that my top-level folder is named Imported_Pho- click that folder and choose Hide This Parent to make it go
tos, but I know that folder is stored inside my Pictures par- away. I dont want to see the Pictures folder showing at the
ent folder. If I Right-click the Imported_Photos folder and top of my Folders panel, so I will hide that parent to keep
choose Show Parent Folder it will add the Pictures folder to Imported_Photos at the top.
find your folders and photos on disk

Its very important for all Lightroom users to know how to
find exactly where a given folder or photo resides on their
drives from inside Lightroom. There are a few ways to iden-
tify where your folders and photos exist on your drive. The
easiest is the good-old Right-click contextual menu. Go
ahead and Right-click any folder in the Folders panel and
choose the Show in Finder (PC: Show in Explorer) menu item.
This will open your file browser to that folder and show you
where it exists on your drive. Similarly, you can Right-click
any photo and access that same Show in menu to take you
right to that photo in your file browser. You dont have to
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lightroom magazine
go that far to find that information, though. If you just hover I want this folder to exist, click the New Folder button, give
your cursor over a folder, you should see its path revealed in the new folder a name in the New Folder dialog, and click
a tooltip pop-up. So take a moment to make sure you know Create. I like to have a parent folder named Imported_Photos
exactly where all of your photos are located on your drive. on each drive I use to contain photos managed by Light-
room, so Ill use that name to create this folder (you can do
what makes sense for your setup). The new folder will be
created on that drive, and I can now click the Choose button
to return to Lightroom where Ill see Ive added a new drive
(note the new Volume Browser) and folder to the Folders
panel. Now I can use that as a destination during future
imports, or I can use Lightroom to move photos and folders
from other locations to that folder.
adding new folders

In typical Lightroom fashion there are a couple of ways to cre-
ate new folders. Lets imagine a common scenario where you
buy a new external drive with the intention of storing photos
on it because your existing drive is filling up. To start, you can
go to the Library menu and choose New Folder, or click the
plus sign at the top of the Folders panel and choose Add Folder
to launch the Choose or Create New Folder dialog (below).
From here you can either choose an existing folder you
may have created in your file browser or you can create a
brand-new folder. In this example, Ill select the drive where
094
lightroom magazine
Another common scenario is the need to create subfold- panel (and the Lightroom catalog). In that situation, Light-
ers within existing folders to help with your organizational room will open a pop-up warning you that the photos
needs. This process works in a similar fashion, but you start will be removed from the Lightroom catalog, but the
by selecting the parent folder within which you want folders and files will remain on disk. This is generally not
to create the subfolder. In this case, Ill select the new something youd want to do because you dont want to
Imported_Photos folder I created on the drive named end up with folders full of photos that arent being man-
Sparta, Right-click to open the contextual menu, and aged by Lightroom and are just taking up disk space. If you
choose Create Folder Inside Imported_Photos (or want to delete the photos, you need to delete them first
whatever the name of the folder is that you Right-click). using Lightroom, then you can remove the empty folder
This opens a smaller Create Folder dialog where you as described.
can give the subfolder a name and click Create to com-
plete the process. The subfolder will then appear in renaming folders
the Folders panel. These folders are ready to add Youll eventually come to a situation where you need to
photos and even new folders as your organizational change the name of a folder. This can be accomplished
needs demand. easily by Right-clicking the folder and choosing Rename
from the contextual menu. From there, simply enter the
new name in the Rename Folder dialog that appears and
click Save to commit the change. The folder is renamed on
the drive and that change is reflected in the Folders panel.
removing empty folders

Knowing how to remove folders is important too. The most
common situation for removing a folder is when youve
deleted all of the photos from the folder for some reason
or youve moved the photos into a different folder. In either
case, theres no need to keep an empty and unused folder
around. Simply Right-click on the empty folder and choose
Remove. The folder will be removed from the Folders panel,
and if it was empty, Lightroom will also delete the folder

from your drive.
What if the folder isnt empty? Well in the case, when
you Right-click a folder that has some files in it and choose I hope these suggestions help you stay in control of your
Remove, the folder will only be removed from the Folders Lightroom library!
095
CLICK TO RATE
ALL IMAGES BY ROB SYLVAN
Maximum landscapepro
Workflow
BY SEAN McCORMACK
LandscapePro is a new plug-in from Anthropics,

the makers of PortraitPro. Its designed to make
enhancing landscapes a breeze using an internal
masking system to separate the sky, trees, moun-
tains, rivers, etc., allowing you to work on each
part of the image individually. By labeling each
part of the photo, you can replace skies or even
relight the photo. It can also cope with people in
the landscape. Its especially great for beginners,
as you dont have to understand complex masking.
Lets get it installed and get to working on our
landscape mojo.
lightroom magazine
installation
Run the installer to get LandscapePro on your
machine. It doesnt create the usual Edit In
preset, so youll need to create your own.
Open Lightroom (PC: Edit)>Preferences and
choose the External Editing tab. In the Addi-
tional External Editor section, click Choose at
the far right of Application. Navigate to the
LandscapePro app and select it.
Next, choose either TIFF or JPEG for edit-
ing. Then, from the Preset drop-down menu,
choose Save Current Settings as New Preset,
name it LandscapePro for ease of recognition,
and click Create. You can now run the app
from the Edit In option in the Photo menu.
There is one other setting that youll need

to change so that any images you edit and
save will appear back in Lightroom. Launch
LandscapePro from the Photo>Edit In menu,
and then click the Home button at the top
left. Home goes out of image view into an
area where you can access the Settings, Full
Screen mode, or get help and tutorials. Click
on Settings at the top left, turn on the Auto
Plugin Mode option, and click OK. Close out
of LandscapePro and relaunch it. The Save
button next to the Home button now says
Save and Close. Now when you save your
edited file in LandscapePro, it will appear
in Lightroom.
[KelbyOne members may download the
file used in this tutorial at http://kelbyone
.com/magazine. All files are for personal
use only.]
097
lightroom magazine
layout and labeling

The layout for this plug-in couldnt be simpler. You
have the image on the right and a single panel on the
left with various labels. The panel will expand with
more options after you label an area and click Con-
tinue. Lets take a closer look at how this works.
Add & Edit Areas: Begin by dragging a label such as

Sky to the relevant area of the photo. If youre just
doing a sky replacement, this is the time to click Con-
tinue to get to the Selection Editing Tools. Were going
to label the image as much as possible first and then
refine the settings after all the labels have been placed.
With all the labels in place, click Continue to show
the areas as a set of colored masks.
To fix mislabeled areas, or to extend an area, click
on the text label in the image to lock into that area
only. Next, click-and-drag the cursor over the corre-
sponding parts of the photo to apply that label to
them. You can always go back at any point to change
where areas are labeled using this Pull tool.
You can refine the edges of the masks, as well
as deal with smaller objects, using the tools below
the labels in the Selection Editing Tools; for example,
098
lightroom magazine
Soften could be used along the mountain

edge in this image. Tree & Sky helps mask
trees sticking into the sky (the tools are all
well-named), and Horizon Line lets the app
know where the line is in the composition for
light properties among others.
Object in Sky is for poles, pylons, or any-
thing that breaks the line of the sky and
needs to be removed from the sky mask. The
final option is Small Objects, so things like
boats in a river can be protected. Depending
on the tool thats currently active, youll also
have a slider, such as Strength or Radius, to
fine-tune the amount of effect the Selec- Fixing mislabeled areas
tion Editing Tools have.
Once youve refined the labeled areas,
its time to start working on the image
properly. Click Continue to reveal all the
editing options.
editing Global Presets: You could begin by going through the Global Presets and
The Add & Edit Areas panel closes down and choosing from one of the factory presets to get a quick look for your image,
multiple new panels appear. Youll see panels but that would make this a pretty short walkthrough! Do have a look at the
for each label that you used in the image, plus presets, though, to get a feel for what the app can do. To expand the Global
panels for making global edits. Presets, just click the right-facing triangle to the left of its name.
099
lightroom magazine
Whole Picture: Instead, lets begin with the Whole Picture

section, where we can do a range of edits on the image.
Expand the Whole Picture panel and click on the Sliders tab.
The settings we used here are subtle, but they have a big
impact on our image. We set Auto Levels at 0.22, Exposure
Recovery at 0.34, Exposure at 0.2, Fill Light at 0.23 to open
shadows, and Blacks at 0.16 to decrease contrast in the
darker parts of the photo. Weve increased Vibrance to
0.10 to pop the color more and added a hint of Colorful-
ness (the latter slider is easy to overdo so we only set it to
0.07). We also added 0.22 of Contrast, which adds a little
saturation, and increased Dehaze to 0.53 to remove the
haze in the photo. The final step in this section was warm-
ing the image a little by setting the Temperature to 0.20.
A little goes a long way here.
Style: The Style section allows you to change Depth of

Field, convert to black and white with sepia toning, or add
a Vignette. Each setting initially has a single slider, but if you
move the slider for the desired section, you gain access to
other controls. Depth of Field creates a blur based on the
Radius. Higher values increase the blur. Focus Distance moves
the position of the sharp area in the image, and Sharp Range
controls the height of the sharp area. You can easily create
a tilt-shift effect using these sliders.
The Black & White and Sepia section lets you convert
to black and white with toning. Set Opacity to 1.00 for a
full black-and-white. From there, choose a color swatch for
the Blacks, Midtones, and Whites. The first swatch in each
allows a standard black-and-white setting.
Vignette allows a darkening of the edges. Set Opacity to
1.00 for the strongest setting. Radius controls the size of the
vignette, with the image almost completely covered at the
lowest settings. You can also choose a color for the vignette
from the swatches. Weve opted not to use any of these
p h ot o s h o p u s e r j u ly / a u g u st 2 0 1 6
settings for this photo.
Depth: The Depth section creates a linear vignette; it darkens

or colors the top and bottom of the image. Set the strength
of the effect with the Opacity slider. Mid Distance sets the
position that splits the image into Near, Mid, and Far. Use the
swatches to color each area separately.
labeled areas
With the overall image settings done, its time to edit the
areas weve labeled. Instead of going in order of appearance,
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lightroom magazine
Im going to start with the Sky. After all, a sky

replacement is something that users are most
likely to tackle with this software.
Sky: You have two options with Sky: Sepa-

rate Clouds from Atmosphere or not. By turn-
ing this button On, you can choose a color
look for the sky, which will be mixed with the
clouds. This is done via the Atmosphere sec-
tion that opens when the switch is flicked.
From the Clouds section, you can choose a
new sky from the built-in clouds (or click Add
to use your own). Heres an extreme example.
Its not the one Im going to use though! If
youre happy with a look and want to save it
to use again, click Save Preset.
Mountain: Weve made a few small adjust- hover your cursor over any of those previews, it will appear in the main
ments in the Mountain panel, but before we image as well.

go over those settings, its worth mentioning In this example, weve gone with a Hi/Low Key of 0.04, an Exposure
that each section has a flyout menu with Recovery of 0.04, Blacks at 0.10, Vibrance at 0.24, and Saturation
presets. It shows a tiny preview of the masked at 0.28. Again, apply subtle changes because its really easy to do too
area with the settings applied. And if you much here.
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lightroom magazine
Grass: As with the Mountain label, you can choose

presets from the flyout menu, but again weve
made subtle changes. We reduced Blacks to 0.41
to decrease contrast, added 0.05 of Vibrance, and
increased Temperature to 0.13 to warm it up. I know
it sounds small, but these changes are making a
big difference.
One other thing that you can do with each sec-
tion is use presets instead of sliders. Just click on the
Presets tab at the top of each panel. These are larger
previews of factory settings for a quick fix.
Other Labels: By now it should be fairly clear that

each section is reasonably similar. Simply repeat the
process until youre happy. For Rock, weve increased
the Contrast and darkened the area, as well as cooled
it slightly.
For Tree, weve just used the Improver from the
flyout menu.
For Ground, weve added Contrast and cooled the
look to balance it against the grass.
Lighting: The Lighting section lets you relight the

scene. Its very dependent on your labeling to create
good shadows. Theres such strong shadow in this
image already that it doesnt work as well as it might
work in other scenes.
p h ot o s h o p u s e r j u ly / a u g u st 2 0 1 6
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lightroom magazine
Fixes: In Fixes, you can remove noise with De-Noise,

or use the Straighten tool to fix perspective issues.
One thing thats important to note is that you can
go back at any point and edit your areas. Often there
can be sections of the image that are tied to the wrong
labelsometimes your edit can look okay with these;
other times they stick out like a sore thumb. Just go
back to Add & Edit Areas to rectify these.
save and close

To save, click Save and Close to return the edited file
to Lightroom. From here you can also Undo or Redo,
as well as show the original file (click-and-hold
on Show Original).
LandscapePro is surprisingly versatile, but its easy to

overdo it. The more I use it, the more I like it. If youre
into landscape photography, its definitely worth
downloading the trial and giving it a go on a few
different photos. You might find yourself liking it
quite a lot!
CLICK TO RATE
Before
103
After
ALL IMAGES BY SEAN McCORMACK
lightroom magazine
Questions Answers &

SCOTT KELBY
I use both Lightroom and Photoshop. Where Is there a way to change the color of the area
should I do my sharpening? around my photo in Loupe view?
Well, I can tell you what I do. If I wind up taking a file over Well, if by changing color you mean, Can I change it to
to Photoshop, then I sharpen it there, simply because I like a different shade of gray, or white, or black? then the
the way Photoshop displays sharpening onscreen (it seems answer is yes. Just enter Loupe view (E) then right-click out
easier to see the effect of the sharpening there than it does in that gray area around your photo. A pop-up menu will
in Lightroomat least to me anyway). If I stay in Light- appear where you can choose from a few different back-
room, however, and dont take the image into Photoshop, ground colors (as shown here).
then I just sharpen the image right within Lightroom itself.
The sharpening is actually probably better in Lightroom;
it just doesnt display as clearly as it does in Photoshop
(again, to me anyway).
In the Print module, none of the templates let

me print edge-to-edge. Even the Maximize Size
template still has a white border around it. Is
there a checkbox somewhere where you can
turn on borderless printing?
Theres no checkbox per se (that would be too easy,
right?). Instead, what you have to do is click on the Page What is stacking and why would I use it?
Setup button at the bottom of the left side panels, then Stacking is just another organizational tool (you can use
in the Page Setup dialog, from the Paper Size pop-up it in Collections or Folders), and its really handy when
menu, choose Manage Custom Sizes. Click on the + youre shooting things like panos or multi-frame HDRs
button near the bottom left of the dialog that appears, where you dont need to see all the individual frames
type in the size that you want for your print, and set the all the time. For example, lets say you shot a 16-frame
margins on all sides to zero (as show here). Double-click panorama. In the Library module, select all 16 images
the name Untitled in the list on the left, rename the then press Command-G (PC: Ctrl-G) to group all 16
custom size, and click OK. Then, click OK to close the images under one single thumbnail. Youll know its a
Page Setup dialog. stack because youll see the number 16 in the upper-
left corner of the thumbnail (to expand the stack and
see all the images inside that pano stack again, just click
on the number 16). Now imagine if you shot a number
of 16-frame panos in that shoot. Each one takes up 16
thumbnails in your collection (or folder), so you wind up
doing a lot of scrolling, but when you stack them, now
each pano takes up only one thumbnail, and its much
easier to navigate through a shoot.
Also, you can ask Lightroom to Auto Stack and it will
automatically put images shot together (by time) into
stacks for you (you can determine the length of the time;
104 for example, you can tell it If I shot these images within
lightroom magazine
5 minute of each other, theyre all from the same place). At the bottom of the View menu in the Library
To turn on Auto Stacking, go under the Photo menu, module it says, Enable Mirror Image Mode.
under Stacking, and choose Auto-Stack by Capture Time. What does that do?
Thats been in Lightroom since version 1, and it does
What does it mean if I click on a thumbnail something thats actually kind of cool (well, for portraits
and the histogram doesnt show up at all in anyway). It flips all the images horizontally, and the rea-
the Histogram panel, and right below it, it son youd ever want to do this is because people are
says, Photo is Missing? Obviously, the photo used to seeing their image each day in the mirror, but
isnt missing or I wouldnt see it, right? when you shoot them, its not a flipped image (like the
Well, kinda. What youre seeing is the low-resolution mirror), which is why so many people look at images of
preview of your image, so while you can see it, even at themselves and say, That doesnt look like me! When
a large size in many cases, thats all youre seeingthe you have Lightroom flip it, then they see the image the
low-res preview. In order to edit the image in the Develop same way they see themselves in the mirror, so it looks
module, you need to relink it to the original high-resolution right to them (and they think youre a genius photog-
version of the image. Maybe its on a hard drive you dont rapher, since youre the only one that ever made them
have connected, or maybe you moved it to a new place look right).
on your computer, or whatever. Luckily, relinking is easy
click directly on Photo is Missing in the Histogram panel I heard that when you use the White Balance
(as shown here). A dialog will appear telling you where Selector eyedropper tool (W), theres a way
the photo used to be, and asking if youd like to locate to see a preview of the white balance as you
where it is now. Just click Locate, navigate to where you move the tool over your image. How do you
moved that photo (or plug in the hard drive where youre turn this on?
storing it), click on the original file to highlight it, and click Its already onyou just have to make sure the left side
Select to relink it. panels are open, and that the Navigator panel is visible.
As you move your cursor around the image, youll see
the changes appear in that small preview window in the
Navigator panel.
ALL IMAGES BY SCOTT KELBY

CLICK TO RATE 105
lightroom magazine
TipsTricks &
SEN DUGGAN
Lightroom has a very useful filtering system that can help search. Of the choices here, the ones I use the most are
you find the images youre looking for. This can satisfy Any Searchable Field and Keywords.
the immediate need of locating a specific photo that you Any Searchable Field is useful because it will also con-
want for a project. It can also lead to discovering images sider folder names in the search. This is another excellent
that are organized in the wrong folder, allowing you the reason to modify the default date-based folder names
opportunity to move the misplaced images into the proper that Lightroom applies upon import. Adding descriptive
folder location. In this column, well take a look at ways information such as subject, event, or location to a folder
you can use the filter system in Lightroom. name ensures you can find it easily when youre looking
at a list of folders in the Folders panel, or that it will turn
accessing the library filters up when Any Searchable Field is used.
Filters in Lightroom arent like filters in Photoshop. They To rename a folder, Right-click on it in the Folders panel
dont change the appearance of the image, but they and choose Rename. For my own naming convention,
allow you to filter the view of what you see in the I remove the first two digits of the date in the folder name,
Library module Grid view, hence their name: Library Filters.
To access the filters, you need to be in Grid view (G).
The Filters can be found in the top center part of the inter-
face, immediately above the image thumbnails. There are
four types of filters, which well get to shortly.
know which part of the catalog leaving a six-digit expression in the YYMMDD format. Then,
youre searching I add a few words to further identify the subject matter or
Before you begin a search, make sure that youve targeted location of the images in the folder. For example, if I add
the right folder, or your search may come up with no results, the word steampunk to the folder name, even though
or not the ones you were expecting. The filters will only the images dont have keywords referencing steampunk,
search the contents of the folder or collection that is active they will show up when Any Searchable Field is used.
in the left-hand Folders or Collections panels. To search the Using Searchable Metadata can also be useful for find-
entire catalog, click on All Photographs in the Catalog panel. ing images that may have been tagged by the software
If you do get a message that no photos match the filter, you used to edit the shot. For example, searching meta
check that youre searching the right folder or collection. data for the term slow shutter finds all the iPhone
images that were shot with the Slow Shutter Cam app,
text filters even after theyve been modified in another app. (Note:
The Text filters are quite useful for searching the library Not all apps are created equal in how they handle meta-
for text thats associated with image files. Click the Text data and some will strip the metadata added by earlier
106 menu and choose the type of text for which you want to apps when they save a new copy of the file.)
lightroom magazine
attribute filters metadata filters

The Attribute filters let you search for images based on The Metadata filters let you search 28 attributes that are
flags, star ratings, or color labels. The Kind icons on the contained in a files metadata. With the Metadata filter acti-
far right of the Filter Bar also let you search by file type: vated, click on the name of an attribute at the top of one of
Master Photos, Virtual Copies, or Videos. Using the pick the columns to display the menu of different choices.
flag and star ratings is a practice I highly recommend. It Searching by metadata is a great way to find images
immediately adds important information to the file that made with a specific camera or lens, or even camera set-
indicates it has some level of quality value (tap P to add a tings such as shutter speed. I often like to find images
Pick flag, X for a Reject flag, U to remove a flag, 1 through made with a slower shutter speed, or a specific ISO, and
5 to add star ratings, and 0 to remove all ratings from this search filter lets me do this easily. In the multi-column
an image or selected images in Grid view). Images youve filter interface, if you only want to search for one param-
tagged with a positive quality rating (i.e., a pick flag or a eter, make sure that all the other columns are set to None.
star rating) are most likely ones youll want to find easily in Searching by date recently revealed image downloads
the future. User-added metadata such as this will help to from my iPhone that I accidentally placed in the wrong
reduce the size of the image haystack significantly when
youre looking for the elusive needle.
searching multiple attributes

When using the Attribute filter, keep in mind that its
possible to have more than one attribute selected for the
search. This can sometimes cause confusion if you dont
realize it. For instance in the example below, the filter is
searching for images where the rating is less than or equal
to 3 stars and that have a green label.
folder (2012 files nested inside the 2014 folder). This

allowed me to find these misplaced files and move
them to the correct location in my image archive folder
structure (remember that any moving of files or folders
needs to be done from within Lightroom so the program
doesnt lose track of the files).
saving filter presets

Finally, if you configure a filter in a certain way thats use-
ful for your search workflow, you can save it as a preset so
you can select it easily in the future. Click the small menu
button in the top right of
the Filter Bar to either select
searching with multiple filters one of the default filter pre-
You can also search using multiple filters, which is another sets, or to save a new one.
thing to keep in mind to ensure that you have the right Clicking on the lock icon
filters activated. For example, the search results can be will keep the chosen filter
based on a Text filter set to Keywords, and a Rating filter parameters even when you
equal to three stars. If you have multiple filters active, click change the source (e.g.,
on a filter (e.g., Text) to turn it off and search only with a folder or collection) for
one filter. the search. 107
ALL IMAGES BY SAN DUGGAN CLICK TO RATE

Product Reviews
Tamron SP 85mm F/1.8 Di VC USD Lens
Affordable Prime Lens for the Professional
Review by Larry Becker
I had the pleasure of interviewing a couple of Tamron repre-

sentatives for a video report when this lens first came out, and
I immediately wanted to get my hands on one, so I was thrilled
to be selected as the reviewer. I can tell you that the Tamron
SP 85mm F/1.8 Di VC USD Lens was all I had hoped it would
be! It captures beautiful images that are color-accurate across
the entire frame.
I found that all of the colors, not just skin tones, were true, smudges. Andr Costantini from Tamron even does a demo
and chromatic aberrations were practically nonexistent, even where he writes on the lens face with a Sharpie and hes able
in my shots of a colorful, almost rainbow bouquet of flowers to wipe it off because of the Fluorine Coating. I didnt have
shot wide open at f/1.8. Over the years, Ive really zoomed the guts to try that particular test but I assure you, my finger-
in and analyzed images at the pixel level for my reviews, and prints were no problem at all.
found myself being a little forgiving because only pixel-peep- A feature you might not expect from an 85mm f/1.8 prime
ers would notice some of the nuances of certain lenses. But is vibration compensation (VC). Tamrons VC allows for more
these days, with high-megapixel, full-frame camera offerings, than three stops of compensation so you can handhold
lens anomalies are even more this lens in low-light situations.
important. Im happy to report The auto-focus (AF) perfor-
that the Tamron SP 85mm F/1.8 mance was snappy and accu-
Di VC USD Lens really deliv- rate with my Canon EOS 6D,
ers accurate and high-quality and the focus motors were very
images at the pixel level. quiet, though not completely
This 85mm full-frame prime silent. Both VC and auto AF can
lens is in Tamrons SP class be turned off with their respec-
of lenses, which means its tive switches on the side of the
designed for pros. The lens lens barrel.
I tested was a Canon mount The build quality is first-rate
but its also available with a and the all-metal construction
Nikon mount (a Sony A mount version will be shipping soon, makes it appropriately heavy. The feel of the focus ring and
possibly by the time this review is published). the travel should be comfortable for most shooters. The lens is
The aperture range goes from f/1.8 to f/16, and of course, considered to be moisture-resistant. Finishing up with a cou-
I was excited to push the limits using the wider aperture set- ple technical specs, I should mention it has a 9-blade aperture
tings. Considering that this is an ideal portrait lens and people and there are 13 elements in 9 groups.
looking for the artistic performance will want nice bokeh (out- The new Tamron SP 85mm F/1.8 Di VC USD Lens is not
of-focus areas), I shot quite a bit at f/1.8 and looked closely only a great contender at its price point, its an impressive
at the blurry areas. They were beautiful and smooth. performer in the 85mm prime category at any price!
The Tamron SP 85mm F/1.8 Di VC USD Lens has a number
Company: TAMRON Co., Ltd. Price: $749
of the latest lens coatings designed to deliver great images,
Rating:
including eBAND (Extended Bandwidth & Angular-Depen-
Hot: Color accuracy; bokeh; VC; quick AF; price
dency) designed to cut flare and ghosting, and the front lens
Not:
108 element has a Fluorine Coating to protect against dirt and
GET THE SCOOP ON THE LATEST GEAR
Mola Sollo 28" Reflector

Silver Reflector Creates Unique Contrast and Quality
Review by Michael Corsentino
Good lighting is all about modifiers. At the end of the day, more beautifully than the Mola Sollo. Its deep, narrow profile
light is light. But its how you modify and shape that light delivers increased contrast and the unique, hard-edged qual-
that makes the difference between mediocre and exceptional ity of light that has made it so popular. With its silver interior,
lighting. Choosing the right tool for the job is the secret to the Sollo produces a narrow beam of light with heightened
lighting with purpose rather than relying on one-size-fits-all shape; a sharper edge than its white interior counterpart;
solutions. A softbox produces a different quality of light than and significant, distinct light falloff. Accentuated levels of
a reflector, which produces a different quality of light than an contrast, rapid transitions between shadows and highlights,
umbrella, and so on. added light efficiency, and cool color tones are also key
Toronto-based Mola Softlights produces a line of best-in- Sollo characteristics.
class reflectors of which Im particularly fond. As Mola points Mola does one thing and they do it extremely well. Their
out, their reflectors are made by a photographer for photog- family of reflectors are all standouts, but when it comes to
raphers. This, along with factors such as quality of light, versa- edgy fashion and punchy portraits, the Mola Sollo is the
tility, and build quality, are some of the many reasons I use the perfect choice.
Mola range of reflectors in much of my work.
Company: Mola Softlights Pricing: $773.50
In this review I want to focus specifically on the Mola Sollo,
Rating:
a 28" (app. 71 cm) silver-interior reflector with Molas sig-
Hot: Ultimate contrast; quality of light; sharp-edged; rapid falloff; build
nature undulating design. When your concept calls for the
Not: May be too specular for some
ultimate in contrast, nothing will get you there faster and
CalDigit T4
Fast and Silent Four-Bay RAID 5 Solution
Review by Erik Vlietinck
CalDigit is a supplier of storage solutions for creative profes-

sionals, including photographers and video producers. The T4
is their hybrid Thunderbolt 2 RAID-capable storage solution.
T4s have a tightly fitting die-cast aluminum enclosure aimed
at silent operation and good thermal management. They
have four lockable removable drives that carry a three-year though, but although it wasnt completely noiseless, the fans
warranty. The unit itself carries a five-year warranty. sound was low enough even after an hour of editing not to
The T4 is an SSD- or HDD-based hybrid RAID solution, interfere too much with normal audio levels. To give you an
combining a programmable chip and a macOS menu applet idea, before turning the unit on, the sound level in my room
to configure it. The uncommon support for SSDs allows reached 36 dBA. After turning it on, it rose to 3839 dBA.
CalDigit to ship a T4/4 TB that has throughput speeds of up The T4s speed is downright exemplary. Before copying
to 1370 MB/sec in RAID 0. You can set the unit to RAID 0, files to the T4, I tested its performance with both Blackmagic
1, 5, or JBOD. Unique about the T4 is that you can set up Designs and AJAs speed utilities. The write speeds were
two different RAID 0 or RAID 1 configurationseach using pretty impressive at 430 MB/sec on a Thunderbolt 1 port.
two drives. A RAID 5 takes all four. Finally, you can set up Thats RAID 5 writingRAID 0 is even faster.
one RAID 0 or 1 configuration and have the two other disks
Company: CalDigit, Inc. Price: $8991,999 (4 TB20 TB)
function as independent drives.
Rating:
The T4 dissipates heat efficiently. The drives in my unit
Hot: Enclosure; speed; price; customer care; warranty; low noise
never ran warmer than 98.6F with an ambient room tem-
Not:
perature of 77F. I was wary of the ventilators sound levels, 109
REVIEWS
Extensis Suitcase Fusion 7

Syncing Fonts with Multiple Computers
and Users Made Easy
Review by David Creamer
At first glance, the latest version of Suitcase Fusion appears that you log into an Extensis account during install rather
to be unchanged, with all the handy features users have than type in a serial number.
learned to depend on; however, there are some really nice For those needing to sync to multiple computers, Team-
new features that make it a worthwhile upgrade, or if you Sync is available for a reasonable subscription cost. This can
dont already use a third-party font manager, a worth- be for small groups of users or a single user with more than
while purchase. two computers. The TeamSync manager can activate and
One upgraded feature is TypeSync, which uploads fonts deactivate users as required, plus libraries can be assigned
to the Extensis cloud service and now works cross-platform to certain users and not others. TeamSync includes Suitcase
between Mac and Windows computers. When activated and future version upgrades, so in the long run, it could be
(the feature is an option), desired font libraries are uploaded. a more cost-effective option.
When logging in from another system or during a reinstall on Another new feature is the addition of an After Effect acti-
the same computer, compatible fonts are downloaded (to be vation plug-in. While a welcome addition, it would have been
available offline) and stay synchronized. nice to include a Premiere Pro plug-in to round off the video
This new version handles its installation and activation just software. Hopefully, that will come in a future update
like the Adobe Creative Cloudeach user of a single license
Company: Extensis Pricing: $119.95 (Upgrade: $59.95);
of Suitcase is allowed two activations. They can be on the TeamSync: $8/month per user
same platform, or one Mac and one Windows. If a third
Rating:
activation occurs, the user is given the option to log out of
Hot: CC 2015 support; FontDoctor 10 included
other activations; logically, any cloud-synced fonts are unin-
Not: No Premiere Pro activation
stalled from deactivated systems. This new service requires
Atomos Shogun Flame

The Shogun Flames
Set Your Video Projects on Fire AtomOS 7.1 delivers
a simplified HDR wave
With its 10-bit/1500-nit 7" screen, the new Atomos Shogun form system. It includes
Flame focuses on giving you an accurate view of the 10+ stops a reticle to easily opti-
of dynamic range from Log-curve cameras. The Shogun and mize the slider position
Ninja Flame are also more robust than the previous generation. for the dynamic range
The SDI-capable Shogun Flames 1500-nit screen instantly when in AtomHDR
proved its worth in direct sunlight. Even in Rec.709 mode, mode. Also included
everything on the screen was clearly visible. I doubt if youre is the ability to let the
ever going to use the included sun hood, except perhaps for Shogun decide on the HDR level for the scenes maximum
color evaluation. brightness. The waveform monitor will display a percentage
On the HDR video front, the Shogun Flame even sup- scale based on the input log mode as well.
ports Dolbys Perceptual Quantization (PQ). The PQ output The reason why youll want to buy an external recorder
is for play-out to HDR displays and televisions. In addition, that supports 4:2:2 codecs and 10-bit hasnt changed since
you can have a supported NLE send its PQ output to the the first Ninja Atomos was released: even with gorgeous-
Shoguns HDMI input. You can then adjust the Shoguns picture-capable cameras such as Sonys A7 series, 4:2:2
display from 100 to 10,000 nits to mimic a Dolby PQ- chroma subsampling gives you more detail in dark areas
compatible screen. than 4:2:0.
Except for PQ, the Shogun Flame supports a pretty com- Company: Atomos Price: Shogun Flame: $1,695; Ninja Flame: $1,295
plete list of Log-curve cameras: Sony, Arri, Canon, JVC, RED,
Rating:

Panasonic, etc. Within each camera brand, the Shogun sup-
Hot: HDR capabilities; screen; quality of build; RAW support
ports several curve types, but also several ASA settings, for
Not: Top air vents potentially expose internals to rain
110 example, for Arri.
GET THE SCOOP ON THE LATEST GEAR
DxO OpticsPro 11 Elite

Taking Lighting Adjustments to the Next Level PRIME was a stunning
noise-reduction algorithm,
DxO OpticsPro 11 incorporates three major improvements: but it had its minor prob-
Spot Weighted Smart Lighting, PRIME 2016 noise reduction, lems. PRIME 2016 gets rid
and full-screen mode. Theres now also an automatic red- of these and better pre-
eye correction; however, DxO Optics Pro still lacks a full-scale serves bokeh, smooth tran-
management module and support for IPTC metadata. sitions, fine details, dark
Spot Weighted mode is said to deliver the same results colors, and textures in your
as in-camera spot metering with the added benefit of post- image. Its also much faster
capture fine-tuning capabilities. The default Spot Weighted than before.
setting detects faces in a photo to optimize the exposure The app now has a full-screen mode for browsing through
without radically changing the rest of the image. your photo library with EXIF data in a sidebar. Basic data and
The face-detection feature only works when faces take rating fields are displayed at the bottom if you want. The new
up enough space in the image. I found it to work well with red-eye remover is based on face and eye detection. Red eyes
portraits, but not at all with a photo containing subjects at are automatically identified and corrected. Difficult cases still
some distance. Luckily, Spot Weighted mode works with- need manual intervention to specify the location of the eye
out faces as well. DxO Smart Lighting will apply a Slight within the image.
correction by default, but you can change that. Each spot
area can be shown surrounded by a rectangle that can be Company: DxO Labs Price: $199
moved and removed. With no faces to detect, the algorithm
Rating:
will automatically create a more balanced lighting scheme
Hot: PRIME is faster; Spot Weighted Smart Lighting works well
based on the manually created zones. Its as if youre using
Not: Still no support for IPTC metadata; no management module
a softbox.
Hasselblad X1D
The Power of Medium Format in a Compact Size
Review by Michael Corsentino
In the stream of never-ending press releases that come across

my desk, first-of-its-kind product announcements are rare.
Hasselblads new X1D mirrorless medium-format digital cam-
era is truly a first-of-its-kind groundbreaking product! The
X1D brings together the best attributes from both mirror-
less and medium-format cameras: the compact form-factor Dual SD card slots, a high-quality XGA electronic view-
of mirrorless with less moving parts to worry about, and finder, high-resolution rear display with touch functionality,
the incredible resolving power and dynamic range for which multiple image format options, and compatibility with all 12
medium-format digital is known. lenses and lens accessories from the Hasselblad professional
The X1D is less than half the weight of conventional digi- H System (adapter required) are also noteworthy. A new line
tal medium-format cameras. Trust me as a medium-format of XCD lenses with integral central shutter will also be avail-
shooter, I can tell you weight matters. Handmade in Sweden, able when this camera ships. The XCD f/3.5 45mm lens will
Hasselblads X1D is based around a 50-MP CMOS sensor able retail for $2,295, and the XCD f/3.2 90mm lens will retail for
to capture up to 14 stops of dynamic range, and it sports an $2,695. Expected availability of the X1D is the first week of
impressive 10025,600 ISO range. A 1/2000 to 60-minute September 2016.
shutter-speed range with full flash synchronization through-

out provides plenty of creative flexibility for strobe users. Company: Hasselblad Pricing: Body: $8,995
More than just a powerhouse palm-sized still camera, the
Rating:
Hasselblad X1D captures HD video as well. Built-in Wi-Fi, GPS,
Hot: Mirrorless medium format; HD video; high-resolution rear display
and robust exterior dust- and weatherproofing make the X1D
Not:
ideal for travel and location applications. 111
BOO K RE V I E WS P E T E R B A U E R
Photoshop Tricks for Designers: Photoshop for Photographers

How to Create Bada$$ Effects in Photoshop (Box Set)
By Corey Barker By Edward Bailey
If youre a designer, or a photographer, who wants to add Twotwotwo books in one! Book 1, 20 Photo Editing
something special to your arsenal, heres a book for you. The Techniques Every Photoshop Beginner Should Know, discusses
author, a longtime instructor at Photoshop World, is an award- the history and evolution of Photoshop and presents a basic
winning designer and photographer. The nine chapters each introduction to working with Photoshop. It looks at tools and
contain several different but related techniques. Youll find panels and presents basic Photoshop techniques, such as color
chapters on type, commercial effects, graphics, photo effects, and exposure correction, adding text, cropping and straight-
textures, light effects, color, Hollywood-style effects, and ening images, transforming images and selections, and layers.
3D. Its not intended to be an instructional manual read cover Book 2, 7 Ways to Use Adobe Photoshop Like a Pro, discusses
to cover, but rather a special effects reference. Decide what more advanced techniques, including turning a photo into a
you want to do, flip to that chapter, and follow the instruc- painting, pencil drawing, or comic book art, as well as repair-
tions. Many of the images used in the book are available for ing damaged photos and colorizing black-and-white photos.
practice so you can follow along using the image Corey used. Theres more on cropping, a look at the History panel, working
(These downloadable images are copyrighted, low-resolution with the Patch and Art History brushes, and some of Photo-
versions, not for use in your own work, although many are shops filters. Also, sections on creating flaming objects and an
available for purchase from their source.) This is a book for exploding light text effect. The author also offers a free copy
intermediate to advanced users. of another of his Photoshop books, available to download.
Publisher: Peachpit Press Pages: 192 (paperback) Publisher: CreateSpace Pages: 140
Price: $29.99 (paperback); $14.39 (Kindle) Price: $3.99 (Kindle); $27.74 (for both paperbacks)
Rating: Rating:
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photoshop user September 2016
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D E PA R T M E N T
From the Advice Desk PETER BAUER

answers to photoshop & gear-related questions
I have a very hard time selecting hair and other fuzzy edges when trying to extract somebody or something
from a similarly colored background. Any tips?Olson
To: Olson
From: KelbyOne Advice Desk
If you know ahead of time that youll be extracting a Channels panel to the RGB image window to create the
person or object from a photo, plan ahead and shoot alpha channel. If the channel you want to use is in the RGB
against a contrasting background. Green/blue screens image, Right-click on the channel and choose Duplicate
are great and many are foldable and spring-loaded to Channel to create the alpha channel.
make them portable; but plain white or plain black are Once you have an alpha channel and make it the
also usually good. active channel in the Channels panel, use Levels or
If you dont have such luxury or the image has already Curves to maximize the contrast; again, looking only at
been taken with the subject against a very similarly col- the edges of the subject. If the subject is black and the
ored background, you can use channels to help create a background is white in the alpha channel, use the Invert
mask, an alpha channel that will be used as the basis for a command or its shortcut Command-I (PC: Ctrl-I). Once
selection. My teaching image for this technique is usually a the edges are properly established, including any stray
blond in front of a beige wallwe can even select the stray hairs or other fringe elements (that you want to keep),
hair with this techniquebut it also works with a variety of use the Brush tool to clean up the rest of the image.
other such photos. Paint with black to hide areas of the background and
In a nutshell, well find the channel that has the most paint with white inside the subject. Make sure to paint
contrast along the edges of the subject. (Were looking over areas of gray both within the subject and back-
only at the edges of the subject.) That channel will become ground; gray areas will be partially selected (selected
the basis for the alpha channel from which a selection will with reduced opacity) when you make a selection based
be made. The focus needs to be on the edges because the on the alpha channel.
edge is where the selection will be made. If you dont have Command-click (PC: Ctrl-click) the thumbnail of the
good contrast elsewhere in the subject, its not a problem. alpha channel to load it as a selection, make sure the
Later you can use the Brush tool (B) to paint other parts RGB channel is active in the Channels panel, and select
of the subject and the background away from the edges. Edit>Copy. You can then open another image and paste
Remember that you have 10 channels from which (Edit>Paste) into a different background as desired.
to choosethats right 10 channels. With an RGB Remember, too, that if there are different parts of
image open, use the Image>Duplicate command, then the subject where the edges have better contrast in dif-
Image>Mode to convert to CMYK. Duplicate again and ferent channels, you can create multiple alpha channels.
convert to LAB mode (although Ive rarely found any ben- With the RGB channel active, load the first alpha channel
efit to LAB channels for selections). If one of the CMYK as described above and then use Photoshops Select>Load
channels in the Channels panel (Window>Channels) Selection with the Add to Selection option to load each of
has the best contrast along the edges, drag it from the the other alpha channels into a single selection.
KelbyOne Member CLICK TO RATE
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Are you taking advantage of the Advice Desk at the KelbyOne member website? This is the place where you can get all of your
Photoshop and Lightroom questions answered by our Advice Desk experts. Not only that, you can get photo and computer
gear help and advice, as well. What are you waiting for? Visit the Advice Desk section under My Account on the KelbyOne
116 member site today!
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T H E A D O B E P H O T O S H O P H O W -T 0 M A G A Z I N E S E P T E M B E R 2 0 1 6

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109 Mola Solla 28" Reflector

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111 DxO OpticsPro 11 Elite

From the Editor

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Nikon Announces New Topaz Releases

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Commercial > Winner

Artistic > Winner

Photo Montage > Winner

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Photo Retouching > Winner

Down suicide squad text effect

tures, and 3D in creative ways!

Step One: The first thing we need to do is find the

Step Two: Go under the Type menu and choose

Step Three: Once the font is identified and

Step Four: Press D then X to set the Foreground

earlier. Use the Character panel (Window>Character)

Step Five: We need to convert the text to a path, so

drop-down menu (the two overlapping squares) to

Step Six: Select the Rectangle Shape tool (U) in the

Step Seven: Now hold down Option-Command

Step Eight: Using the Path Selection tool, click-

Step Nine: We need to open a texture image that

Step 10: Using the Move tool (V), click-and-drag this

Step 11: Make sure the texture layer is active in

Step 12: Open both the 3D and Properties panels

Step 13: Click on the third tab at the top of the

Step 14: Click back on the first tab in the Proper-

Step 15: In the 3D panel, select the Layer 1 Front

Step 16: Create a new

hard-edged brush with

Step 17: In the Properties panel, set the Shine to

Step 19: Back in the 3D panel, select the Layer 1

Step 20: In the Properties panel, set both the Shine

Step 21: Select the Current View in the 3D panel.

Step 22: Select the Layer 1 Extrusion Material in

Step 23: Set both the Shine and Reflection to 50%,

Step 24: Textures tend to stretch a lot on extruded

Step 25: In the download files, open the second

Step 26: With the dust particle layer active, click on

Step 27: Weve now arrived at the final phase,

outhLower Lip: 100 and